This paper situates Bishop’s "In the Waiting Room" in the context of World War I and the poet's queasy transition from Nova Scotia to America. Troubling the facts, it re-historicizes a poem of borderline experience typically read as introspective.
Bishop interacted with the culture of Brazil, where she lived at mid-century. She and Brazilian writer Clarice Lispector, whom she knew and translated, shared a gendered discourse of abjection and desire that offers interesting opportunities for cross-cultural analysis.
Mackey’s poetry is preoccupied with the many displacements of the African diaspora, a concern reflected in his neologism "m'ap," which unites "mishap" and "map." Mackey's poetics of m’apping transforms the ocean into a site of both history and creation.