Rowing in Eden: Rereading Emily Dickinson
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Anuntul a expirat la:12.01.2023, 12:35
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Specificatii
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considering this material unpublished because unprinted, Smith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withdrawn Emily Dickinson.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.
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