…not knowing where
or how she had arrived at her decision to lie down in a line of verse and be buried there, that is to say, be born again as a simple set of words, “the bubble in the spirit-level.” So, said she to her remaining self, which words were they to be? grave behaving words, map signs
That became Miss Emma Bishop’s project: to find another body for her bones, bones she could at first scarcely see, but which were now ridgy, forming Ws, Ys and Zs…
Thirty years after William H. Gass published his photo-embedded novella Willie Masters’ Lonesome Wife (which I wrote about recently), he published another novella with photographs. I first read Emma Enters a Sentence of Elizabeth Bishop’s in Conjunctions issue 30 (1998), where the story contains eight photographs by Michael Eastman. It’s a memorable piece of writing and an unusually thoughtful example of an author carefully embedding photographs within a text. Eastman’s images seemed to have been custom-made for Gass’s story and each appeared to have been placed with precision on the pages of Conjunctions. But when the story appeared later that year in his book Cartesian Sonata and Other Novellas (Knopf, 1998), the photographs had disappeared. In the book’s Acknowledgements,Gass referred to the missing photographs but he didn’t explain their absence and for years I have wondered what this meant. Were the photographs not as integral as I had thought? Why were they so expendable?