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"Dickinson, Emily (1830-1886)"
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Dickinson's Misery
How do we know that Emily Dickinson wrote poems? How do we recognize a poem when we see one? InDickinson's Misery, Virginia Jackson poses fundamental questions about reading habits we have come to take for granted. Because Dickinson's writing remained largely unpublished when she died in 1886, decisions about what it was that Dickinson wrote have been left to the editors, publishers, and critics who have brought Dickinson's work into public view. The familiar letters, notes on advertising fliers, verses on split-open envelopes, and collections of verses on personal stationery tied together with string have become the Dickinson poems celebrated since her death as exemplary lyrics.
Jackson makes the larger argument that the century and a half spanning the circulation of Dickinson's work tells the story of a shift in the publication, consumption, and interpretation of lyric poetry. This shift took the form of what this book calls the \"lyricization of poetry,\" a set of print and pedagogical practices that collapsed the variety of poetic genres into lyric as a synonym for poetry.
Featuring many new illustrations from Dickinson's manuscripts, this book makes a major contribution to the study of Dickinson and of nineteenth-century American poetry. It maps out the future for new work in historical poetics and lyric theory.
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Because I could not stop for death : an Emily Dickinson mystery
\"Emily Dickinson and her housemaid, Willa Noble, realize there is nothing poetic about murder in this first book in an all-new series from USA Today bestselling and Agatha Award-winning author Amanda Flower. January 1855 Willa Noble knew it was bad luck when it was pouring rain on the day of her ever-important job interview at the Dickinson home in Amherst, Massachusetts. When she arrived late, disheveled with her skirts sodden and filthy, she'd lost all hope of being hired for the position. As the housekeeper politely told her they'd be in touch, Willa started toward the door of the stately home only to be called back by the soft but strong voice of Emily Dickinson. What begins as tenuous employment turns to friendship as the reclusive poet takes Willa under her wing. Tragedy soon strikes and Willa's beloved brother, Henry, is killed in a tragic accident at the town stables. With no other family and nowhere else to turn, Willa tells Emily about her brother's death and why she believes it was no accident. Willa is convinced it was murder. Henry had been very secretive of late, only hinting to Willa that he'd found a way to earn money to take care of them both. Viewing it first as a puzzle to piece together, Emily offers to help, only to realize that she and Willa are caught in a deadly game of cat and mouse that reveals corruption in Amherst that is generations deep. Some very high-powered people will stop at nothing to keep their profitable secrets even if that means forever silencing Willa and her new mistress...\"-- Provided by publisher.
Book
I heard a fly buzz when I died
\"When a literary icon stays with the Dickinson family, Emily and her housemaid Willa find themselves embroiled in a shocking murder in this new mystery from USA Today bestselling and Agatha Award-winning author Amanda Flower. August 1856. The Dickinson family is comfortably settled in their homestead on Main Street. Emily's brother, Austin Dickinson, and his new wife are delighted when famous thinker and writer Ralph Waldo Emerson comes to Amherst to speak at a local literary society and decides he and his young secretary, Luther Howard, will stay with the newlyweds. Emily has been a longtime admirer of Emerson's writing and is thrilled at the chance to meet her idol. She is determined to impress him with her quick wit, and if she can gather the courage, a poem. Willa Noble, the second maid in the Dickinson home and Emily's friend, encourages her to speak to the famous but stern man. But his secretary, Luther, intrigues Willa more because of his clear fondness for the Dickinson sisters. Willa does not know if Luther truly cares for one of the Dickinson girls or if he just sees marrying one of them as a way to raise himself up in society. After a few days in his company, Willa starts to believe it's the latter. Miss Lavinia, Emily's sister, appears to be enchanted by Luther; a fact that bothers Emily greatly. However, Emily's fears are squashed when Luther turns up dead in the Dickinson's garden. It seems that he was poisoned. Emerson, aghast at the death of his secretary, demands answers. Emily and Willa set out to find them in order to save the Dickinson family reputation and stop a cold-blooded fiend from killing again\"-- Provided by publisher.
BOOK
Religion Around Emily Dickinson
Religion Around Emily Dickinson begins with a seeming
paradox posed by Dickinson's posthumously published works: while
her poems and letters contain many explicitly religious themes and
concepts, throughout her life she resisted joining her local church
and rarely attended services. Prompted by this paradox, W. Clark
Gilpin proposes, first, that understanding the religious aspect of
the surrounding culture enhances our appreciation of Emily
Dickinson's poetry and, second, that her poetry casts light on
features of religion in nineteenth-century America that might
otherwise escape our attention. Religion, especially Protestant
Christianity, was \"around\" Emily Dickinson not only in explicitly
religious practices, literature, architecture, and ideas but also
as an embedded influence on normative patterns of social
organization in the era, including gender roles, education, and
ideals of personal intimacy and fulfillment. Through her poetry,
Dickinson imaginatively reshaped this richly textured religious
inheritance to create her own personal perspective on what it might
mean to be religious in the nineteenth century. The artistry of her
poetry and the profundity of her thought have meant that this
personal perspective proved to be far more than \"merely\" personal.
Instead, Dickinson's creative engagement with the religion around
her has stimulated and challenged successive generations of readers
in the United States and around the world.
eBook
The letters of Emily Dickinson
\"The Letters of Emily Dickinson collects, redates, and recontextualizes all of the poet's extant letters, including dozens newly discovered or never before anthologized. Insightful annotations emphasize not the reclusive poet of myth but rather an artist firmly embedded in the political and literary currents of her time\"-- Provided by publisher.
BOOK
Religion around Emily Dickinson
Religion Around Emily Dickinson begins with a seeming paradox posed by Dickinson's posthumously published works: while her poems and letters contain many explicitly religious themes and concepts, throughout her life she resisted joining her local church and rarely attended services. Prompted by this paradox, W. Clark Gilpin proposes, first, that understanding the religious aspect of the surrounding culture enhances our appreciation of Emily Dickinson's poetry and, second, that her poetry casts light on features of religion in nineteenth-century America that might otherwise escape our attention. Religion, especially Protestant Christianity, was \"around\" Emily Dickinson not only in explicitly religious practices, literature, architecture, and ideas but also as an embedded influence on normative patterns of social organization in the era, including gender roles, education, and ideals of personal intimacy and fulfillment. Through her poetry, Dickinson imaginatively reshaped this richly textured religious inheritance to create her own personal perspective on what it might mean to be religious in the nineteenth century. The artistry of her poetry and the profundity of her thought have meant that this personal perspective proved to be far more than \"merely\" personal. Instead, Dickinson's creative engagement with the religion around her has stimulated and challenged successive generations of readers in the United States and around the world.
eBook
Emily Dickinson and the religious imagination
\"Dickinson knew the Bible well. She was profoundly aware of Christian theology and she was writing at a time when comparative religion was extremely popular. This book is the first to consider Dickinson's religious imagery outside the dynamic of her personal faith and doubt. It argues that religious myths and symbols, from the sun-god to the open tomb, are essential to understanding the similetic movement of Dickinson's poetry - the reach for a comparable, though not identical, experience in the struggles and wrongs of Abraham, Jacob and Moses, and the life, death and resurrection of Christ. Linda Freedman situates the poet within the context of American typology, interprets her alongside contemporary and modern theology and makes important connections to Shakespeare and the British Romantics. Dickinson emerges as a deeply troubled thinker who needs to be understood within both religious and Romantic traditions\"-- Provided by publisher.
BOOK
Secular Lyric
Relates the revolutionary trajectory inaugurated by Poe, Whitman, and Dickinson to the contemporary secular era and its relation to literature.InSecular Lyrics, Michael interrogates the distinctively individual ways that Poe, Whitman, and Dickinson adapt ancient and renaissance conventions of lyric expression to the developing conditions of their modern context, and especially to the heterogeneity of beliefs and believers in a secular society and to the altered or emergent role that literature assumes in a secular age. In close readings of Poe, Whitman, and Dickinson, Michael analyzes how each of these poets registers the pressures and possibilities of thesechanges in the contexts and audiences for poetry within the transformative tropes and rhetorical textures of their poems. Especially Michael shows how each of these poets, in idiosyncratic but related ways, registers the pressures of the modern crowd-which Benjamin rightly identified as nineteenth-century poetry's essential topic-within their poems, where the mass appears as potential readers, as resistant skeptics, as a heterogeneous crowd of contending beliefs and contentious believers. (Here Michael engages Charles Taylor's redefinitions of secularity in his epochalA Secular Ageand recent debates about the secularity or post-secularity of literature and criticism in our present moment.) These nineteenth-century poets (unlike their more conventional contemporaries) cannot imagine credibly advising, authoritatively sermonizing, or effectively consoling the mass, heterogeneous audience they confront. For them, the processes of signification rather than the communication of truths become central to their poetry, which in turn becomes an important origin of the modern poetry that in Europe and the United States follows. Each invokes the normative practices that have long characterized Western poetry only to disrupt the audience's conventional expectations and enliven the reader's sense of language's material density and the limits and potentials of modern life. What Kristeva, years ago, identified as a revolution in poetic language begins not with Mallarmé but with Poe, Whitman, and Dickinson, in their attempts to create a space for literature in the modern, secular era they sensed stirring the atmosphere around them.Explores Poe's, Whitman's, and Dickinson's historically specific and generically transformative engagement with the literary tradition of lyric poetry.Examines how Poe, Whitman, and Dickinson sought to situate themselves and their work in relation to a secularized public.
eBook