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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 author confronts the thorny question of whether any set of editing practices can adequately represent in print the distinctive characteristics of Emily Dickinson's writing".--BOOKJACKET.
Emily Dickinson wrote a "letter to the world" and left it lying in her drawer more than a century ago. This widely admired epistle was her poems, which were never conventionally published in book form during her lifetime. Since the posthumous discovery of her work, general readers and literary scholars alike have puzzled over this paradox of wanting to communicate widely and yet apparently refusing to publish. In this pathbreaking study, Martha Nell Smith unravels the paradox by boldly recasting two of the oldest and still most frequently asked questions about Emily Dickinson: Why didn't she publish more poems while she was alive? and Who was her most important contemporary audience? Regardi...
In Dickinson Unbound, Alexandra Socarides takes readers on a journey through the actual steps and stages of Emily Dickinson's creative process. In chapters that deftly balance attention to manuscripts, readings of poems, and a consideration of literary and material culture, Socarides takes up each of the five major stages of Dickinson's writing career: copying poems onto folded sheets of stationery; inserting and embedding poems into correspondence; sewing sheets together to make fascicles; scattering loose sheets; and copying lines on often torn and discarded pieces of household paper. In so doing, Socarides reveals a Dickinsonian poetics starkly different from those regularly narrated by l...
This pioneering collection of new essays challenges established modes of reading American lyric poetry, by orientating interpretation so that it incorporates an awareness of the book context in which individual poems are embedded. These essays critically explore individual books by Walt Whitman, Wallace Stevens, Robert Frost, Ezra Pound, Hart Crane, William Carlos Williams, Randall Jarrell, Robert Lowell, Adrienne Rich, Susan Howe, Lyn Hejinian and Jorie Graham, and consider the book as a restrictive, "binding" concept for Emily Dickinson and some contemporary American poets. Rebound both provides innovative readings of supposedly familiar poets and books, and also generates critical strateg...
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Eberwein offers a fresh perspective on Emily Dickinson's use of the limiting factors in life to accomplish her quest for empowerment. She begins with Dickinson's experience of limitation, including the distortedly dimunitive self-image she projected in her writing, and her emphasis on limitation and deprivation. She examines the literary strategies Dickinson used to penetrate these boundaries--literary role models, stylistic devices that empowered her writing, and her engagement in dramatic role play to experience alternative life situations such as that of aristocrat, traveler, boy, bride, or sentimental or Gothic hero. Studying Dickinson's poems in their 19th century Christian Calvinist context, the author demonstrates how the poet intensified the limitations and losses she found in the "circuit world" of ordinary experience, in order to heighten awareness of what she called "circumference," the boundary of mortal existence. ISBN 0-87023-473-0: $25.00.