In this paper I propose to examine several poems by Elizabeth Bishop through the prism of the concept of letter delineated in "Lituraterre", where Lacan explores the connection between the literal and the littoral in order to draw a key distinction between signifiers which are the semblances involved in ordinary communication, and the letter as a precipitate resulting from their breakdown. Insofar as the letter causes "writing effects that are structured around moments of vacillation of semblances" (M-H Roche), such effects may be traced in poems where Bishop focuses on how meaning is set adrift by eliding, displacing or transforming graphemes and phonemes. Her observation that "the names of seashore towns run out to sea" points to the littoral/liminal space of the poetic signifier that straddles enjoyment and meaning. I analyze Bishop's painterly treatment of mist through the prism of Lacan's discussion of Japanese calligraphy where the unary brush stroke, which "is the means to clear original Chaos" (E. Laurent), operates as the equivalent of the median void, often represented by fog in Chinese painting, i.e., as an avatar of the littoral that separates knowledge from enjoyment. I conclude with a reading of a poem where the semiosis of mortality hinges on the (dis-)appearance of certain phonemes, inviting us to question the literal/literary destiny of letters when they turn into Joycean litter, and prompting us to revisit Lacan's familiar aphorism that "a letter always reaches its destination".