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Emily Dickinson led a quiet life, treasuring her privacy and eventually giving herself over completely to her art: it was in her poetry that she “deliberately decided to live” and there that she is most clearly revealed to us. Yet until now, no biography of this most enigmatic of American poets has attempted to unravel the intricate relationship between the poet’s life and her poetry, between the life of her mind and the voice of her poems. Now, Cynthia Griffin Wolff (author of the highly acclaimed A Feast of Words: The Triumph of Edith Wharton) gives us a brilliantly literary biography of Emily Dickinson that reveals this relationship through a rich, comprehensive understanding of Dickinson herself and a new, extraordinarily illuminating reading of her exquisite yet often daunting poems.
The definitive edition of Emily Dickinson’s correspondence, expanded and revised for the first time in over sixty years. Emily Dickinson was a letter writer before she was a poet. And it was through letters that she shared prose reflections—alternately humorous, provocative, affectionate, and philosophical—with her extensive community. While her letters often contain poems, and some letters consist entirely of a single poem, they also constitute a rich genre all their own. Through her correspondence, Dickinson appears in her many facets as a reader, writer, and thinker; social commentator and comedian; friend, neighbor, sister, and daughter. The Letters of Emily Dickinson is the first collected edition of the poet’s correspondence since 1958. It presents all 1,304 of her extant letters, along with the small number available from her correspondents. Almost 300 are previously uncollected, including letters published after 1958, letters more recently discovered in manuscript, and more than 200 “letter-poems” that Dickinson sent to correspondents without accompanying prose. This edition also redates much of her correspondence, relying on records of Amherst weather patterns, historical events, and details about flora and fauna to locate the letters more precisely in time. Finally, updated annotations place Dickinson’s writing more firmly in relation to national and international events, as well as the rhythms of daily life in her hometown. What emerges is not the reclusive Dickinson of legend but a poet firmly embedded in the political and literary currents of her time. Dickinson’s letters shed light on the soaring and capacious mind of a great American poet and her vast world of relationships. This edition presents her correspondence anew, in all its complexity and brilliance.
Music is a vital element in the poems and prose of Emily Dickinson but, despite its importance, the function of music as a literary technique in her work has not yet been fully explored; what information exists is scarce and scattered. The significance of the musical terminology and imagery in Dickinson's poetry and prose are thoroughly explored in this book. It considers the music of Dickinson's life and times and how it influenced her writing, how she combined music and poetry to create her own style, several important nineteenth century reviews for what they reveal about the musical quality of her work, and her use of Protestant hymns as a model for her poetry. It also provides insights into musical interpretations of her poetry as related to the author by some fifty modern-day composers and arrangers, and discusses musical reflections of her poems and letters.
A massively detailed, illustrated biography of Emily Dickinson.
A New York Times Book Review Editors’ Choice, this engaging, insightful portrayal of Emily Dickinson sheds new light on one of American literature’s most enigmatic figures. On August 3, 1845, young Emily Dickinson declared, “All things are ready” and with this resolute statement, her life as a poet began. Despite spending her days almost entirely “at home” (the occupation listed on her death certificate), Dickinson’s interior world was extraordinary. She loved passionately, was hesitant about publication, embraced seclusion, and created 1,789 poems that she tucked into a dresser drawer. In These Fevered Days, Martha Ackmann unravels the mysteries of Dickinson’s life through ten decisive episodes that distill her evolution as a poet. Ackmann follows Dickinson through her religious crisis while a student at Mount Holyoke, which prefigured her lifelong ambivalence toward organized religion and her deep, private spirituality. We see the poet through her exhilarating frenzy of composition, through which we come to understand her fiercely self-critical eye and her relationship with sister-in-law and first reader, Susan Dickinson. Contrary to her reputation as a recluse, Dickinson makes the startling decision to ask a famous editor for advice, writes anguished letters to an unidentified “Master,” and keeps up a lifelong friendship with writer Helen Hunt Jackson. At the peak of her literary productivity, she is seized with despair in confronting possible blindness. Utilizing thousands of archival letters and poems as well as never-before-seen photos, These Fevered Days constructs a remarkable map of Emily Dickinson’s inner life. Together, these ten days provide new insights into her wildly original poetry and render an “enjoyable and absorbing” (Scott Bradfield, Washington Post) portrait of American literature’s most enigmatic figure.
Among the 19th century poets, Emily Dickinson is by far the most scientifically minded. Science is the voice that summoned Dickinson at Mount Holyoke Female Seminary and gave her unique distinction as a poetess of botanical and entomological and astronomical classifications. Like no other 19th century poet she forms an integration between science and spirituality. She studied at Holyoke at the exact historical moment of the first Seneca Falls Women’s Rights Convention in 1848. This, therefore, is a feminist book. It speaks up for the Divine Feminine. On the front cover purple-white rosemary blossoms are exploding with color. Emily Dickinson’s garden was a place where butterflies, bees, and hummingbirds drank up the radiance of flowers. Rosemary in particular was one of her favorite healing herbs. C.G. Jung mentions the antitoxin of rosemary flowers as a synonym for the Self, the total personality. When Steven Herrmann refers to Emily Dickinson as a Medicine Woman, he is speaking of an archetype of healing within all humans. Her poems are enduring imprints of the Medicine Woman archetype. It is by access to the Medicine Woman archetype that she’s able to espouse a democracy of equality that the world needs right now. She advises women to cherish “Power” and take heed from the Serpent. We need a Medicine Woman to balance things out. In a democratic sense, she’s a fierce and uncompromising spokeswoman for Liberty. She is a dispenser of a new American myth for our times.
This compact edition, designed for use in undergraduate courses, combines a substantial selection of Dickinson’s poems (including one complete fascicle) with a selection of letters and a range of contextual materials. In a number of cases several different versions of a poem are presented side by side. The texts are based on the handwritten manuscripts themselves, in the facsimile form in which the Emily Dickinson Archive now makes the vast majority of Dickinson’s manuscript versions available to the general public. The three major editions that are based directly on the manuscripts—those of Thomas H. Johnson (1955), R.W. Franklin (1998) and Cristanne Miller (2016)—have also been consulted; in many cases where the transcriptions of these editors differ from one another, this edition provides information in the notes as to those differences. Extensive explanatory footnotes are also provided, as is a concise but wide-ranging introduction to Dickinson and her work. The appendices include excerpts from numerous nineteenth-century reviews of Dickinson’s first published volume (including by William Dean Howells and Andrew Lang). Thomas Wentworth Higginson’s influential Atlantic Monthly article, “Emily Dickinson’s Letters,” is also included in its entirety.
Emily Dickinson, probably the most loved and certainly the greatest of American poets, continues to be seen as the most elusive. One reason she has become a timeless icon of mystery for many readers is that her developmental phases have not been clarified. In this exhaustively researched biography, Alfred Habegger presents the first thorough account of Dickinson’s growth–a richly contextualized story of genius in the process of formation and then in the act of overwhelming production. Building on the work of former and contemporary scholars, My Wars Are Laid Away in Books brings to light a wide range of new material from legal archives, congregational records, contemporary women's writing, and previously unpublished fragments of Dickinson’s own letters. Habegger discovers the best available answers to the pressing questions about the poet: Was she lesbian? Who was the person she evidently loved? Why did she refuse to publish and why was this refusal so integral an aspect of her work? Habegger also illuminates many of the essential connection sin Dickinson’s story: between the decay of doctrinal Protestantism and the emergence of her riddling lyric vision; between her father’s political isolation after the Whig Party’s collapse and her private poetic vocation; between her frustrated quest for human intimacy and the tuning of her uniquely seductive voice. The definitive treatment of Dickinson’s life and times, and of her poetic development, My Wars Are Laid Away in Books shows how she could be both a woman of her era and a timeless creator. Although many aspects of her life and work will always elude scrutiny, her living, changing profile at least comes into focus in this meticulous and magisterial biography.
Some biographical information is given but the focus of this volume is an analysis of Dickinson's poetry.