By Martha Nell Smith
This significant other to America?s maximum lady poet showcases the variety and excellence that symbolize the thriving box of Dickinson studies.
- Covers biographical techniques of Dickinson, the historic, political and cultural contexts of her paintings, and its serious reception over the years
- Considers matters on the subject of different codecs within which Dickinson?s lyrics were released ? manuscript, print, halftone and electronic facsimile
- Provides incisive interventions into present severe discussions, in addition to establishing up clean components of serious inquiry
- Features new paintings being performed within the critique of nineteenth-century American poetry often, in addition to new paintings being performed in Dickinson studies
- Designed for use along the Dickinson digital data, a web source constructed over the last ten years
Read or Download A Companion to Emily Dickinson PDF
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Extra info for A Companion to Emily Dickinson
Five years later Dickinson came at it slightly differently when using the term “serf” in reference to stableman Dick Matthews. , indentured servant) as early as three decades after the war of independence (Roediger 25, 47, 70): Good-night! I can’t stay any longer in a world of death. Austin is ill of fever. I buried my garden last week – our man, Dick, lost a little girl through the scarlet fever. I thought perhaps that you were dead, and not knowing the sexton’s address, interrogate the daisies.
Of an unnamed seamstress, Dickinson remarked, around summer 1883, that “the support of a Mother, and almost imbecile Husband and two very sweet little Girls, hangs upon her Needle, so her sight is no luxury, but necessity –” (JL 833). By her life’s end she had drawn close to members of the white working class, especially the Irish, although place-holding (or distancing) adjectives still slipped out to explain the “recycling” of a gift: “[Sue] sent me a lovely Banquet of Fruit, which I sent to a dying Irish Girl in our neighborhood –” (JL 790).
Ellen Louise Hart gave me two opportunities to collaborate in what were especially pleasing public presentations: a musical and poetry evening to mark Poetry San José ’s twenty-fifth year and a mixed-media performance and talk at the San Francisco Public Library. A two-year appointment at the Institute for Research on Women and Gender at Stanford University enabled some of this research to be conducted and provided the opportunity to receive responses to these findings from astute audiences at the Graduate Irish Studies Conference held at Claremont Graduate University, and the Emily Dickinson International Society conference in Trondheim, Norway.