Lyndall Gordon's masterful and groundbreaking biography of Emily Dickinson offers all the scandal and intrigue of an audaciously plotted novel. But every detail of this tale of flagrant adultery, voyeurism, threats, estrangements, court battles and a hate that poisoned generations is impeccably researched, fluidly narrated and shockingly true.
You must take one of the guided tours to view the house. The museum offers two different tours, "[Emily Dickinson]'s World" and "This Was a Poet." The first includes both homes and takes longer; the second just goes through the Homestead and focuses on Dickinson's work more than the house itself. (Dickinson's poems, by the way, can almost all be recited to the tune of "The Yellow Rose of Texas" and "The Battle Hymn of the Republic." She wrote in what is considered standard American ballad meter. This is a cool and interesting thing until you've had "I heard a fly buzz when I died" stuck in your head to the tune of "The Yellow Rose of Texas" for an hour or two.) To find out about visiting the Emily Dickinson Museum, go to www.emilydickinsonmuseum. org or call 413-542-8161. For more on Di...
Other essays address the poet's politics, literary influence, and the reading practices of the period. Betsy Erkkila reconstructs the poet's conservative Whig politics and uncovers manifold allusions to political life. Here she explains the centrality of George Washington, icon of republicanism and late Federalism, for [Emily Dickinson] and others, who believed "their authority, status, and power were being eroded by the new forces of democracy, party, self-interest, money, vulgarity, and demagoguery" (135). According to Erkkila, Dickinson's poems on "whiteness," "color," and "caste" would profit by similar analysis: for instance, "The Lamp burns sure -- within -- / Tho' Serfs -- supply the Oil" (Fr 247) "assumes the naturalness of the master/slave relation and the invisibility of slave...
If you go What: The Belle of Amherst, a one-woman show about Emily Dickinson Where: Alban Arts & Conference Center, 65 Olde Main Plaza, St. Albans When: 7 p.m. Saturday, Jan. 23 Tickets: $10 per person; $8 per person for groups of 15 or more Call: 304-539-3147, or e-mail albanarts@gmail.com Actress Pam Chabora remembers the first time she portrayed legendary poet Emily Dickinson.
bcalwell@cnpapers.com 304-348-5188 Actress Pam Chabora remembers the first time she portrayed legendary poet Emily Dickinson.
Dean's List University of New Hampshire, Durham: Erica Crichton, Stacie Hale, Jillian Knight, Randy Shoe and Jade Wilcox, all of Berwick; Elizabeth Barker, Stephen Campbell, Nicole Conley, Hannah Cooper, Jennifer Falvey, Katie Hallam, Taygra Longstaff, Brandon McDonald and Adam Urbani, all of Eliot; Naomi Ball, Jason Berube, Joe Chen, Lana Ciali, Theodore Gagner, Katelyn Guay, Colin Joyce, Luke Lee- Goldstein, Amy Leung, Matthew Musto, Stephanie Rodriguez, Joshua Stawarz, Nicholas Ventresca and Lindsey Wright, all of Kittery; Kailey Ruel, North Berwick; Erica Leslie, Samantha Mick, Marina Penna and Sarah Ward, all of South Berwick; Taylor Bradbury, Nicholas Caramihalis, Hillary Christopher, Joseph Corsello, Kaitlyn Dow, Jed Fiske, Katherine Hird, Meghan Lusty, Megan Ramsey, Evan Wallace...
Yet Dickinson's poetry of the Civil War era raises important questions about speaking to and for "America"; as the ironic stance of the post-war letter to Todd suggests, these questions are invariably raised obliquely. Following the publication of Johnson's complete edition of the poems in 1955, the first generation of scholars who read Dickinson emphasized her intellectual and physical isolation from the outside world.2 Recent scholarship, however, urges us to consider the ways in which her work addresses both her immediate community of family and friends and the wider audience she undoubtedly reached through circulation of her work in correspondence; recent scholarship also urges us to consider the ways in which Dickinson's work addresses political and literary developments in ninete...
No reader of Emily Dickinson's poems can miss her constant and loving references to flowers. Sometimes she simply glorified their beauty, but closer reading shows that she also associated them with her own spiritual or emotional state, often linking the writing of poetry and the cultivation of flowers as related gifts of her muse. It therefore comes as no surprise that while Dickinson adored wildflowers, she was also a painstaking gardener, laboring lovingly in both the outdoor flowerbeds on her father's 14-acre property in Amherst, Mass., and in the conservatory he built so she could preserve tender plants and grow tropical flowers despite the rigors of the New England winter.
What freshens Barnstone's approach is that she links cultural history with feminism and manuscript study while approaching her inquiry with the artistic insights and lucid prose of an accomplished poet witnessing delightedly to the emergence of a twentieth-century poetic consciousness in Amherst's daughter of the Puritans. To support her case for Emersonian romanticism and self-discovery as characterizing the period of artistic development immediately following Dickinson's most productive and anti- Calvinist poetic year, Barnstone calls special attention to "necromantic" poems (77, 78, 90), such as "I felt a Funeral, in my Brain," as well as "Mine - by the Right of the White Election," which draws on religious diction to claim artistic entitlement.
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