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From her early poetry in the 1930s, Elizabeth Bishop has invariably revealed her interest in surrealism in literature and art. Most significantly, the poet aspires to create the “surrealism of everyday life” in her poems in contrast with orthodox surrealism led by a French poet Andre Breton. Fascinated by the paintings of Giorgio De Chirico, a precursor of Rene Magritte, Bishop develops her own unique style of “surrealism of everyday life.” Her early poems blur the boundaries between reality and fantasy instead of inquiring into the realm of dreams and the unconscious. Transcending the bounds of genres and media, Bishop’s “surrealism of everyday life” shows remarkable similarities with Magritte’s surrealist aesthetics. In her poems, as in Magritte’s paintings, Bishop shows a new world which is not capable of seeing from a stereotypical perspective. Unlike the orthodox surrealists, both Bishop and Magritte represent the grotesque images which provoke the feelings of strangeness, mystery, uncanniness as well as laughter. Bishop keeps developing the grotesque images of “surrealism of everyday life” by emphasizing the “uncertainty” which she regards as a catalyst of exhilaration in everyday life. In her late poem “Rainy Season; Sub-Tropics,” Bishop minutely describes the grotesque animals with disproportionate freakish bodies like “Giant Toad” and “Giant Snail.” Through these animals’ humorous self-mocking monologues, Bishop creates a mysterious and fantastic world hidden beneath our everyday life.