Martha Nell Smith

She argues that Dickinson did publish her work in letters and in forty manuscript books that circulated among a cultured network of correspondents, most important of whom was her sister-in-law, Susan Huntington Gilbert Dickinson. Rather than considering this material unpublished because unprinted, Smith views its alternative publication as a conscious strategy on the poet's part, a daring poetic experiment that also included Dickinson's unusual punctuation, line breaks, stanza divisions, calligraphic orthography, and bookmaking - all the characteristics that later editors tried to standardize or eliminate in preparing the poems for printing. Dickinson's relationship with her most important reader, Sue Dickinson, has also been lost or distorted by multiple levels of censorship, Smith finds. Emphasizing the poet-sustaining aspects of the passionate bonds between the two women, Smith shows that their relationship was both textual and sexual

Rereading Emily Dickinson

Rowing in Eden

Suzanne Juhasz

Cristanne Miller

Chair Department of English and Edward H Butler Professor of Literature Cristanne Miller

In this boldly revisionary work, three noted Dickinson scholars take issue with the traditional tragic image of Emily Dickinson by focusing on the comic elements of her art from a feminist point of view.

Comic Power in Emily Dickinson

Mary Loeffelholz

This companion to America?s greatest woman poet showcases thediversity and excellence that characterize the thriving field ofDickinson studies. Covers biographical approaches of Dickinson, the historical,political and cultural contexts of her work, and its criticalreception over the years Considers issues relating to the different formats in whichDickinson?s lyrics have been published ? manuscript, print,halftone and digital facsimile Provides incisive interventions into current criticaldiscussions, as well as opening up fresh areas of criticalinquiry Features new work being done in the critique ofnineteenth-century American poetry generally, as well as new workbeing done in Dickinson studies Designed to be used alongside the Dickinson ElectronicArchives, an online resource developed over the past ten years

A Companion to Emily Dickinson

Emily Dickinson, A User’s Guide presents a comprehensive introduction to the life and works of Emily Dickinson, Offers a richly appreciative biographical and critical introduction to America’s most widely admired woman poet Written by a world-renowned Emily Dickinson scholar and American literary critic Represents the only book that reads Dickinson through her manuscripts, the print editions of her work, and the major digital Dickinson editions published since 1994 The User’s Guide is a new kind of book for a new era of reading Is the only book that is an introduction to the poet, her work, and her receptions among readers Is the only book that presents new biography and textual discoveries that have just come to light in 2011 Interprets Dickinson through the dynamic interchange between the reader’s sense of her life and her work Draws on prominent critical views from the past century, including sentimental, modernist, new critical, psychological, feminist, queer, and postmodernist readings

A User's Guide

Emily Dickinson

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? Regarding the question of publication, Smith urges a reconception of the act of publication itself. She argues that Dickinson did publish her work in letters and in forty manuscript books that circulated among a cultured network of correspondents, most important of whom was her sister-in-law, Susan Huntington Gilbert Dickinson. Rather than considering this material unpublished because unprinted, Smith views its alternative publication as a conscious strategy on the poet's part, a daring poetic experiment that also included Dickinson's unusual punctuation, line breaks, stanza divisions, calligraphic orthography, and bookmaking—all the characteristics that later editors tried to standardize or eliminate in preparing the poems for printing. Dickinson's relationship with her most important reader, Sue Dickinson, has also been lost or distorted by multiple levels of censorship, Smith finds. Emphasizing the poet-sustaining aspects of the passionate bonds between the two women, Smith shows that their relationship was both textual and sexual. Based on study of the actual holograph poems, Smith reveals the extent of Sue Dickinson's collaboration in the production of poems, most notably "Safe in Their Alabaster Chambers." This finding will surely challenge the popular conception of the isolated, withdrawn Emily Dickinson. Well-versed in poststructuralist, feminist, and new textual criticism, Rowing in Eden uncovers the process by which the conventional portrait of Emily Dickinson was drawn and offers readers a chance to go back to original letters and poems and look at the poet and her work through new eyes. It will be of great interest to a wide audience in literary and feminist studies.

Martha Nell Smith

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