On the contrary, Death is made analogous to a wooer in what emerges as essentially an allegory, with abstractions consistently personified.
|Early years||See Article History Alternative Title: With Walt WhitmanDickinson is widely considered to be one of the two leading 19th-century American poets.|
In lieu of an abstract, here is a brief excerpt of the content: Emily Dickinson's Open Folios: Scenes of Reading, Surfaces of Writing. U of Michigan P,pp. Werner presents both an experimental edition of the forty holograph drafts and fragments known as the Lord correspondence and a highly suggestive analysis of this material.
Werner's book proceeds from the simple seeming proposition that we must learn to seeDickinson's holographs before readingthem.
In this claim Werner aligns herself with Susan Howe, Martha Nell Smith, Sharon Cameron and a [End Page ]growing list of scholars who believe that the visual complexities of Dickinson's holograph manuscripts significantly challenge generic categories such as poetry, prose, letters, and books.
Werner's work most particularly resembles Howe's stylistically, for Werner allows her critical perceptions to shape the texture of her prose.
Convinced that at the heart of Dickinson's work is an interplay of voices, Werner herself abjures traditional argumentation in favor of a poetic writing that encourages readers to collaborate with the voices of literary discourse in a conversation designed to expand rather than resolve interpretive possibilities.
Werner describes her book as "an edition about undoing" 13 that shifts the focus of reading "from the lexical toward the visual" so that "deciphering gives way to witnessing"and each reader becomes a "bibliographer-poet finding his or her own way toward the future by striking out in a different direction through the past" 6.
Of the many techniques Werner utilizes to undo assumptions about the past, perhaps the most effective is her non-discursive weaving of Dickinson's holograph fragments and the specialized language of textual analysis throughout her own critical narrative. In one instance, she juxtaposes her assertion that non-generic holograph markings "require a new nomenclature" 15 with the photograph of a holograph specimen accompanied only by the austere language of descriptive bibhography.
Such a procedure proclaims the authority of Dickinson's hand while maintaining appreciation for critical practices that approximate but never achieve exact description.
The request for new nomenclature thus makes sense, not because Werner has shown the failure of past efforts but because through her presentation prior accomplishments emerge as contributions to an ongoing conversation rather than competing discourses.
In this way, the form of Werner's book invites readers to join with author and critic as equal partners in a conversation that undoes the closural processes of the critical past in order to better understand applications of that past to the present.
This open-ended quality of Werner's presentation allows her to offer additions to the critical conversation about Dickinson without compelling her readers to assess each item's merit in terms of an underlying unified argument.
Such is the case, for instance, when she suggests that in addition to semantic content holograph documents also function as "scenes of writing" where physical surfaces "witness" the poet at work. Similarly, her alternative account of scissored manuscripts introduces a new critical perspective available to many argumentative strategies but exclusively allied to none.
Without rejecting the familiar assumptions that an insensitive early [End Page ]editor or a protective sibling mutilated Dickinson's holograph leaves, Werner considers the possibility that Dickinson cut out pieces herself to distribute as autograph "keepsakes" or to construct new poetic compositions.
The important point Werner makes here and elsewhere has less to do with the accuracy of her suppositions than the recognition that her view casts in a constructive light manuscript anomalies previously viewed as unimportant or damaging.
This unbinding of perspective performs as the best of all Werner's suggestions do—it opens our eyes to the limitations of our own interpretive traditions and enables us to see Dickinson's writing in a clearer, less mediated light. The difficulties Open Foliosmay pose for readers will probably correspond in one way or another to the book's strongest attributes.
One might hope, for instance, that a work focusing so closely on visual aspects of Dickinson's holographs would make manuscript study more appealing to readers coming to Dickinson for the If you would like to authenticate using a different subscribed institution that supports Shibboleth authentication or have your own login and password to Project MUSE, click 'Authenticate'.T.S.
Eliot was no stranger to classical literature. Early on in his life, due to a congenital illness, he found his refuge in books and stories, and this is where the classics-studded poem The Waste Land stems from.
Drawing allusions from everything from the Fisher King to Buddhism, The Waste Land was published in , and remains one of the most important Modernist texts to date.
Suicide, homicide, physician-assisted suicide, violence (including domestic violence and gun violence), sudden death (from accidents and otherwise), dementia and other forms of lingering illness -- complex and difficult endings may bring complicated losses and complicated grief.
Dream Interpretation of the Unconscience and Subconscience - An important procedure for gaining data on the unconscious and subconscious mind is through the analysis of dreams (Butcher, ). From Hans Christian Andersen's fairytale characters to Lewis Carroll's Wonderland and Emily Dickinson's poetic imagery, the writings and lives of some of the world's most celebrated authors indicate signs of autism and Asperger's Syndrome.
Emily Dickinson, in full Emily Elizabeth Dickinson, (born December 10, , Amherst, Massachusetts, U.S.—died May 15, , Amherst), American lyric poet who lived in seclusion and commanded a singular brilliance of style and integrity of vision.
With Walt Whitman, Dickinson is widely considered to be one of the two leading 19th-century American poets. Online shopping for Books from a great selection of Movements & Periods, Regional & Cultural, Criticism & Theory, Genres & Styles, Books & Reading, Reference & more at everyday low prices.