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Critical essays explore the life and poetic themes of American poet Emily Dickinson.
A large-print collection of more than one hundred poems by nineteenth-century American author Emily Dickinson, including "Wild Nights!", "The Chariot," and "The Battlefield."
An inspiring and kid-accessible biography of one of the world's most famous poets. Emily Dickinson, who famously wrote "Hope is the thing with feathers that perches in the soul," is brought to life in this moving story. In a small New England town lives Emily Dickinson, a girl in love with small things—a flower petal, a bird, a ray of light, a word. In those small things, her brilliant imagination can see the wide world—and in her words, she takes wing. From celebrated children's author Jennifer Berne comes a lyrical and lovely account of the life of Emily Dickinson: her courage, her faith, and her gift to the world. With Dickinson's own inimitable poetry woven throughout, this lyrical biography is not just a tale of prodigious talent, but also of the power we have to transform ourselves and to reach one another when we speak from the soul. • Fantastic educational opportunity to share Emily Dickinson's story and poetry with young readers • An inspirational real-life story that will appeal to children and adults alike. • Jennifer Berne is the author of critically acclaimed children's biographies of Albert Einstein and Jacques Cousteau. Fans who enjoyed Emily Writes: Emily Dickinson and her Poetic Beginnings, Emily and Carlo, and Uncle Emily will love On Wings of Words. • Books for kids ages 5–8 • Poetry for children • Biographies for children Jennifer Berne is the award-winning author of the biographies Manfish: A Story of Jacques Cousteau and On a Beam of Light: A Story of Albert Einstein. She lives in Copake, New York. Becca Stadtlander is the illustrator of many children's and young adult publications, including Sleep Tight Farm. She was born and raised in Covington, Kentucky.
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.
For most of her life Emily Dickinson regularly embedded poems, disguised as prose, in her lively and thoughtful letters. Although many critics have commented on the poetic quality of Dickinson's letters, William Shurr is the first to draw fully developed poems from them. In this remarkable volume, he presents nearly 500 new poems that he and his associates excavated from her correspondence, thereby expanding the canon of Dickinson's known poems by almost one-third and making a remarkable addition to the study of American literature. Here are new riddles and epigrams, as well as longer lyrics that have never been seen as poems before. While Shurr has reformatted passages from the letters as poetry, a practice Dickinson herself occasionally followed, no words, punctuation, or spellings have been changed. Shurr points out that these new verses have much in common with Dickinson's well-known poems: they have her typical punctuation (especially the characteristic dashes and capitalizations); they use her preferred hymn or ballad meters; and they continue her search for new and unusual rhymes. Most of all, these poems continue Dickinson's remarkable experiments in extending the boundaries of poetry and human sensibility.
Heginbotham's book focuses on Emily Dickinson's work as a deliberate writer and editor. The fascicles were forty small portfolios of her poems written between 1856 and 1864, composed on four to seven stationery sheets, folded, stacked, and sewn together with twine. What revelations might come from reading her poems in her own context? Are they simply "scrapbooks," as some claim, or are they evidence of conscious, canny editing? Read in their original places, each lyric becomes different-and more interesting-than when read in isolation. We cannot know why Dickinson compiled the books or what she thought of them, but we can observe what she left in them. What she left is visible only by noting the way the poem answers in a dialogue across the pages, the way lines spilling onto a second page introduce the next poem, the way openings suggest image clusters so that each book has its own network of concerns and language-not a story or philosophical preachment but an aesthetic wholeness. This book is the first to demonstrate that Dickinson's poetic and philosophical creativity is most startling when the reader observes the individual lyric in the poet's own, and only, context for them. For teacher, student, scholar, and poetry lover, Heginbotham creates an important new framework for understanding one of the most complex, clever, and profound U.S. poets.
"Through analysis of letters, journals, diaries, records, periodicals, newspapers, and marginalia, Finnerty juxtaposes Dickinson's engagement with Shakespeare with the responses of her contemporaries. Her Shakespeare emerges as an immoral dramatist and highly moral poet; a highbrow symbol of class and cultivation and a lowbrow popular entertainer; an impetus behind the emerging American theater criticism and an English author threatening American creativity; a writer culturally approved for women and yet one whose authority women often appropriated to critique their culture. Such a context allows the explication of Dickinson's specific references to Shakespeare and further conjecture about how she most likely read him."--BOOK JACKET.
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.
“This is my letter to the world . . .” — Emily Dickinson The Poetry of Emily Dickinson is a collection of pieces by 19th-century American poet Emily Dickinson, who insisted that her life of isolation gave her an introspective and deep connection with the world. As a result, her work parallels her life—misunderstood in its time, but full of depth and imagination, and covering such universal themes as nature, art, friendship, love, society, mortality, and more. During Dickinson’s lifetime, only seven of her poems were published, but after her death, her prolific writings were discovered and shared. With this volume, readers can dive into the now widely respected poetry of Emily Dickinson.