By Martha Nell Smith

This significant other to America?s maximum lady poet showcases the range and excellence that signify the thriving box of Dickinson studies.

  • Covers biographical ways of Dickinson, the historic, political and cultural contexts of her paintings, and its severe reception over the years
  • Considers matters with regards to the several 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 severe inquiry
  • Features new paintings being performed within the critique of nineteenth-century American poetry usually, 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

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Additional resources for A Companion to Emily Dickinson

Sample text

She was not standoffish. She was not conscious of class distinctions,” but “Austin and the father and mother were a different story” (Evans and Moran 1994). When Emily Norcross Dickinson, pregnant with the poet, arrived at the brick Homestead on Main Street, she could not have predicted how she and her husband would alter the geopolitical compact of the region and nation. Raised by a shrewd businessman father with a large but practical vision, she was reluctant to leave her parents’ home in Monson for marriage in Amherst.

Analyses of the meaning of the later years and the impact of servants on her writing life conclude this perspective on Dickinson’s daily life. Abetting the Farm James, surname and background unknown, was among the earliest laborers to stack Dickinson wood. In Edward’s absence, an eight-year-old Austin was given to direct James to put up wood in the family’s “keeping room” and Edward’s law office (Leyda 1: 40). The boy rapidly assumed many outdoor tasks from care for livestock to landscaping, in part because of the aptitude he showed for it.

Mitchell, Domhnall. Emily Dickinson: Monarch of Perception. Amherst, MA: U of Massachusetts P, 2000. Morrison, Toni. Playing in the Dark: Whiteness and the Literary Imagination. Cambridge, MA: Harvard UP, 1992. Mudge, Jeanne McClure. Emily Dickinson and the Image of Home. Amherst, MA: U of Massachusetts P, 1975. Murray, Aífe. 3 (1999): 697–732. Norcross, Louise. ”]. Letter to the editor. The Woman’s Journal. Boston. (26 March 1904), 98. Pierson, William. Black Yankees: Development of an African-American Subculture in 18th Century New England.

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