The definitive edition of Emily Dickinson’s correspondence, expanded and revised for the first time in over sixty years. Emily Dickinson was a letter writer before she was a poet. And it was through letters that she shared prose reflections—alternately humorous, provocative, affectionate, and philosophical—with her extensive community. While her letters often contain poems, and some letters consist entirely of a single poem, they also constitute a rich genre all their own. Through her correspondence, Dickinson appears in her many facets as a reader, writer, and thinker; social commentator and comedian; friend, neighbor, sister, and daughter. The Letters of Emily Dickinson is the first collected edition of the poet’s correspondence since 1958. It presents all 1,304 of her extant letters, along with the small number available from her correspondents. Almost 300 are previously uncollected, including letters published after 1958, letters more recently discovered in manuscript, and more than 200 “letter-poems” that Dickinson sent to correspondents without accompanying prose. This edition also redates much of her correspondence, relying on records of Amherst weather patterns, historical events, and details about flora and fauna to locate the letters more precisely in time. Finally, updated annotations place Dickinson’s writing more firmly in relation to national and international events, as well as the rhythms of daily life in her hometown. What emerges is not the reclusive Dickinson of legend but a poet firmly embedded in the political and literary currents of her time. Dickinson’s letters shed light on the soaring and capacious mind of a great American poet and her vast world of relationships. This edition presents her correspondence anew, in all its complexity and brilliance.
This comprehensive edition contains the largest number of Dickinson's poems ever assembled, arranged chronologically and drawn from a range of archives. The text of each manuscript is rendered individually, including, within the capacity of standard type, Dickinson's spelling, capitalization, and punctuation.
Beyond Safety argues that concerns about the ethical impossibility of individual safety in the face of risks with increasingly obvious global consequences alters representations of neoliberal contemporary life. As the climate crises in the Caribbean and Australia, ongoing European refugee and American border crises, and, most recently, anxieties about Coronavirus illustrate, contemporary life is characterized by global connections that produce and reflect precarious outcomes and dangers. The ability to ignore risk or shift it to others underscores the fact that it is mitigable for particular segments of society while inescapable for others. Emily Johansen investigates depictions of global danger and safety in contemporary transnational fictional and popular texts-those characterized by a narrative or representational emphasis on border crossing and global interdependences. She demonstrates how these texts use risk to question and re-imagine the norms and practices of contemporary global citizenship. Beyond Safety thus brings together three of the central keywords of contemporary literary criticism of the last ten years (cosmopolitanism, precarity, neoliberalism) and shows how their intersection allows for a fuller conception of contemporary life and imagines a new global future.
A selection of the remarkable letters of Emily Dickinson in an elegant Pocket Poet edition. The same inimitable voice and dazzling insights that make Emily Dickinson’s poems immortal can be found in the whimsical, humorous, and often deeply moving letters she wrote to her family and friends throughout her life. The selection of letters presented here provides a fuller picture of the eccentric recluse of legend, showing how immersed in life she was: we see her tending her garden; baking bread; marking the marriages, births, and deaths of those she loved; reaching out for intellectual companionship; and confessing her personal joys and sorrows. These letters, invaluable for the light they shed on their author, are, as well, a pure pleasure to read.
The 19th–century American poet’s uncensored and breathtaking letters, poems, and letter-poems to her sister-in-law and childhood friend. For the first time, selections from Emily Dickinson’s thirty-six year correspondence with her childhood friend, neighbor, and sister-in-law, Susan Huntington Dickinson, are compiled in a single volume. Open Me Carefully invites a dramatic new understanding of Emily Dickinson’s life and work, overcoming a century of censorship and misinterpretation. For the millions of readers who love Emily Dickinson’s poetry, Open Me Carefully brings new light to the meaning of the poet’s life and work. Gone is Emily as lonely spinster; here is Dickinson in her own words, passionate and fully alive. Praise for Open Me Carefully “With spare commentary, Smith . . . and Hart . . . let these letters speak for themselves. Most important, unlike previous editors who altered line breaks to fit their sense of what is poetry or prose, Hart and Smith offer faithful reproductions of the letters’ genre-defying form as the words unravel spectacularly down the original page.” —Renee Tursi, The New York Times Book Review
This compact edition, designed for use in undergraduate courses, combines a substantial selection of Dickinson’s poems (including one complete fascicle) with a selection of letters and a range of contextual materials. In a number of cases several different versions of a poem are presented side by side. The texts are based on the handwritten manuscripts themselves, in the facsimile form in which the Emily Dickinson Archive now makes the vast majority of Dickinson’s manuscript versions available to the general public. The three major editions that are based directly on the manuscripts—those of Thomas H. Johnson (1955), R.W. Franklin (1998) and Cristanne Miller (2016)—have also been consulted; in many cases where the transcriptions of these editors differ from one another, this edition provides information in the notes as to those differences. Extensive explanatory footnotes are also provided, as is a concise but wide-ranging introduction to Dickinson and her work. The appendices include excerpts from numerous nineteenth-century reviews of Dickinson’s first published volume (including by William Dean Howells and Andrew Lang). Thomas Wentworth Higginson’s influential Atlantic Monthly article, “Emily Dickinson’s Letters,” is also included in its entirety.
A collection of poems by “one of America’s greatest and most original poets of all time” (Poetry Foundation). One of the nineteenth century’s leading poets, Emily Dickinson wrote nearly 1,800 poems during her lifetime, though only a handful were published. This collection includes some of Dickinson’s best-known works, reflecting her thoughts on nature, life, death, the mind, and the spirit. “Emily Dickinson is one of our most original writers, a force destined to endure in American letters. . . . Without elaborate philosophy, yet with irresistible ways of expression, Emily Dickinson’s poems have true lyric appeal, because they make abstractions, such as love, hope, loneliness, death, and immortality, seem near and intimate and faithful.” —The Atlantic “Emily Dickinson did not leave any poetics or treatise to explain her life’s work, so we can come to her poetry with minds and hearts open, and unearth whatever it is we need to find. Her oeuvre is a large one and most of her work was done in secret—she didn’t share most of what she wrote. Ten or so poems were published in her lifetime, mostly without her consent. She often included poems with letters but, after her death, the poet’s sister Vinnie was surprised to find almost eighteen hundred individual poems in Dickinson’s bedroom, some of them bound into booklets by the poet.” —Publishers Weekly “Dickinson found love, spiritual quickening and immortality, all on her own terms.” —The Guardian
A fascinating and novel exploration of the transformative role played by the American West in the development of modernism in the United States Drawing extensively from various disciplines including ethnology, geography, geology, and environmental studies, this groundbreaking book addresses shifting concepts of time, history, and landscape in relation to the work of pioneering American artists during the first half of the 20th century. Paintings, watercolors, and photographs by renowned artists such as Frederic Remington, Georgia O'Keeffe, Ansel Adams, Thomas Hart Benton, Dorothea Lange, and Jackson Pollock are considered alongside American Indian ledger drawings, tempuras, and Dineh sandpaintings. Taken together, these works document the quest to create a specifically American art in the decades prior to World War II. The Modern West begins with a captivating meditation on the relationship between human culture and the physical landscape by Barry Lopez, who traveled the West in the artists' footsteps. Emily Ballew Neff then describes the evolving importance of the West for American artists working out a radically new aesthetic response to space and place, from artist-explorers on the turn-of-the-century frontier, to visionaries of a Californian arcadia, to desert luminaries who found in its stark topography a natural equivalent to abstraction. Beautifully illustrated and handsomely designed, this book is essential to anyone interested in the West and the history of modernism in American art.
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