Approaching Emily Dickinson


Book Description

"The book gives detailed attention to the principal trends in Dickinson scholarship during the past half-century: rhetorical and stylistic analysis of the poems and letters; biographical studies informed by theories of gender, sexuality, and by medical history; feminist studies of the poet's life and work; textual studies of the bound and unbound fascicles and the so-called worksheet drafts (or "scraps"); new assessments of the poet's social and cultural milieu, including influences on her spiritual sensibility; and of her theories of poetry, including lyricism."--BOOK JACKET.




The Passion of Emily Dickinson


Book Description

In a profound new analysis of Dickinson's life and work, Judith Farr explores the desire, suffering, exultation, spiritual rapture, and intense dedication to art that characterize Dickinson's poems, deciphering their many complex and witty references to texts and paintings of the day.




Poems by Emily Dickinson


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My Emily Dickinson


Book Description

"Starts off as a manifesto but becomes richer and more suggestive as it develops."—The New York Sun For Wallace Stevens, "Poetry is the scholar's art." Susan Howe—taking the poet-scholar-critics Charles Olson, H.D., and William Carlos Williams (among others) as her guides—embodies that art in her 1985 My Emily Dickinson (winner of the Before Columbus Foundation Book Award). Howe shows ways in which earlier scholarship had shortened Dickinson's intellectual reach by ignoring the use to which she put her wide reading. Giving close attention to the well-known poem, "My Life had stood—a Loaded Gun," Howe tracks Dickens, Browning, Emily Brontë, Shakespeare, and Spenser, as well as local Connecticut River Valley histories, Puritan sermons, captivity narratives, and the popular culture of the day. "Dickinson's life was language and a lexicon her landscape. Forcing, abbreviating, pushing, padding, subtracting, riddling, interrogating, re-writing, she pulled text from text...."







Emily Dickinson


Book Description

Examines the life of the reclusive nineteenth-century Massachusetts poet whose posthumously published poetry brought her the public attention she had carefully avoided during her lifetime.




The Language of Emily Dickinson


Book Description

"The Language of Emily Dickinson" provides valuable insight into the cryptic, complex, and unique language of America’s premier poet. The essays make each subject of exploration accessible to general readers, providing sufficient background and contextual information to situate anyone interested in a better understanding of Dickinson’s language. The collection also makes a substantial contribution to Dickinson studies with new scholarship in philology, musicality, and manuscript study. Cynthia L. Hallen, creator of the invaluable Emily Dickinson Lexicon, offers a detailed examination of Dickinson’s words and phrases that are lexically alive and semantically vital. Nicole Panizza, an accomplished pianist, explores Dickinson’s poetic relationship with music as bilingual practice. Holly L. Norton outlines the surprising connections between Dickinson’s poetry and rap music, and Trisha Kannan contributes to recent discussions regarding Dickinson’s fascicles, the manuscript “books” that contain just over 800 of Dickinson’s 1,789 poems, by reading Fascicle 30 in relation to the work and life of John Keats. This book will be of interest to scholars of Emily Dickinson and advanced readers of poetry—such as those in upper-level undergraduate English courses and graduate students in departments of English—as well as to general readers with an interest in Emily Dickinson.




The New Emily Dickinson Studies


Book Description

This collection presents new approaches to Dickinson, informed by twenty-first-century theory and methodologies. The book is indispensable for Dickinson scholars and students at all levels, as well as scholars specializing in American literature, poetics, ecocriticism, new materialism, race, disability studies, and feminist theory.




Reading in Time


Book Description

This book provides new information about Emily Dickinson as a writer and new ways of situating this poet in relation to nineteenth-century literary culture, examining how we read her poetry and how she was reading the poetry of her own day. Cristanne Miller argues both that Dickinson's poetry is formally far closer to the verse of her day than generally imagined and that Dickinson wrote, circulated, and retained poems differently before and after 1865. Many current conceptions of Dickinson are based on her late poetic practice. Such conceptions, Miller contends, are inaccurate for the time when she wrote the great majority of her poems. Before 1865, Dickinson at least ambivalently considered publication, circulated relatively few poems, and saved almost everything she wrote in organized booklets. After this date, she wrote far fewer poems, circulated many poems without retaining them, and took less interest in formally preserving her work. Yet, Miller argues, even when circulating relatively few poems, Dickinson was vitally engaged with the literary and political culture of her day and, in effect, wrote to her contemporaries. Unlike previous accounts placing Dickinson in her era, Reading in Time demonstrates the extent to which formal properties of her poems borrow from the short-lined verse she read in schoolbooks, periodicals, and single-authored volumes. Miller presents Dickinson's writing in relation to contemporary experiments with the lyric, the ballad, and free verse, explores her responses to American Orientalism, presents the dramatic lyric as one of her preferred modes for responding to the Civil War, and gives us new ways to understand the patterns of her composition and practice of poetry.




Positive As Sound


Book Description

The strange rhymes of Emily Dickinson's verse have offended some readers, attracted others, and proved a stumbling block for critics. In the first thorough analysis of the poet's rhyming practices, Judy Jo Small goes beyond simple classification and enumeration to reveal the aesthetic and semantic value of Dickinson's rhymes and show how they help shape the meaning of her lyrics. Considering Dickinson's rhyming technique in light of its historical context, Small argues that the poet's radical innovations were both an outgrowth of nineteenth-century aesthetics ideas about the music of poetry and a reaction against conventional constraints—not the least of which was the image of the female poet as a songbird pouring forth her soul's joys and sorrows in lyrical melody. Unlike other scholars, Small attaches special importance to Dickinson's own musical background. Revealing Dickinson's auditory imagination as a primary source of her poetic power, Small shows that sound is an important subject in the verse and that the phonetic texture contributes to the meaning. By looking closely at individual poems, Small demonstrates that Dickinson's deviations from "normal" rhyme schemes play a significant part in her artistic design: her modulations and dislocations of rhyme serve to structure the poems and contribute to their dynamic shifts of mood and meaning. Analyzing Dickinson's more daring experiments, Small shows how the poet achieved uncanny effects with fluctuating partial rhymes in some poems and with homonymic puns in others. It is in the interplay between the musical and the written aspects of Dickinson's language, Small contends, that her poetry comes alive. Small takes particular note of the use of rhyme at the ends of poems, illustrating Dickinson's brilliant effects in closing some poems decisively and in leaving others tantalizingly open-ended. Teaching us how to listen to Dickinson's poems and not simply to scrutinize them on paper,Positive as Soundis an innovative, lucidly written book that contributes not only to Dickinson scholarship but also to the general study of poetics.