By Martha Nell Smith
This spouse to America?s maximum girl poet showcases the variety and excellence that symbolize the thriving box of Dickinson studies.
- Covers biographical techniques of Dickinson, the ancient, political and cultural contexts of her paintings, and its serious reception over the years
- Considers matters in relation to the various codecs during which Dickinson?s lyrics were released ? manuscript, print, halftone and electronic facsimile
- Provides incisive interventions into present severe discussions, in addition to starting up clean components of serious inquiry
- Features new paintings being performed within the critique of nineteenth-century American poetry usually, in addition to new paintings being performed in Dickinson studies
- Designed for use along the Dickinson digital records, a web source constructed during the last ten years
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Additional resources for A Companion to Emily Dickinson
New York: New American Library, 1953. 255–67. —. The Years and Hours of Emily Dickinson. Two volumes. New Haven: Yale UP, 1960. E. , Random House Dictionary of American Slang. New York: Random House, 1994. Logue, Cal M. ” Journal of Black Studies (March 1979): 335–49. McCaffery, Larry. Personal correspondence. 27 July 1997. McClintock, Anne. Imperial Leather: Race, Gender and Sexuality in the Colonial Contest. New York: Routledge, 1995. Mitchell, Domhnall. Emily Dickinson: Monarch of Perception.
M. Ezell and Katherine O’Brien O’Keeffe. Ann Arbor: U of Michigan P, 1994. 139–81. Jacobs, Harriet. Incidents in the Life of a Slave Girl. 1861. Rpt. Cambridge, MA: Harvard UP, 1987. Lang, Amy. ” The Culture of Sentiment: Race, Gender, and Sentimentality in 19th-century America. Ed. Shirley Samuels. New York: Oxford UP, 1992. 128–42, 307–08. LeLacheur, Melinda. African American Historical Sites: Amherst MA. Amherst History Museum, 1996. Leyda, Jay. ” New World Writing. New York: New American Library, 1953.
Such tropes also show up in poems, as when the speaker figures the visual response of a peasant – a metonym she apparently “reads” and expects her audience to – in the concluding lines of “I’m saying every day”: Meet me in Arragon – My old Gown – on – And the surprised Air Rustics – wear – Summoned – unexpectedly – To Exeter – (FP 575) “Afraid! Of Whom am” (dated 1862 by Franklin) uses a male working-class figure to convey temporal fear and fierceness. The porter is a threshold figure whose strength in policing the boundaries of the speaker’s home inspires more awe, and is more inevitable, says the speaker, than death.