By Jerome Charyn

“Remarkable perception . . . [a] certain meditation/investigation. . . . Jerome Charyn the unpredictable, elusive, and enigmatic is a common fit for Emily Dickinson, the quintessence of these." —Joyce Carol Oates, writer of untamed Nights! and The misplaced Landscape

We imagine we all know Emily Dickinson: the Belle of Amherst, virginal, reclusive, and doubtless mad. yet in A Loaded Gun, Jerome Charyn introduces us to another Emily Dickinson: the fierce, very good, and sexually charged poet who wrote:

My lifestyles had stood—a Loaded Gun—
Though I than He— may perhaps longer live
He longer must—than I—
For i've got however the strength to kill,
Without—the energy to die—

Through interviews with modern students, shut readings of Dickinson's correspondence and handwritten manuscripts, and a suggestive, newly came upon picture that's imagined to express Dickinson along with her lover, Charyn's literary sleuthing unearths the good poet in ways in which have in simple terms been hinted at formerly: as a girl who was once deeply philosophical, intensely engaged with the area, drawn to individuals of either sexes, and ready to write poetry that disturbs and delights us today.
Jerome Charyn is the writer of, such a lot lately, sour Bronx: 13 tales, i'm Abraham: a singular of Lincoln and the Civil warfare, and the key lifetime of Emily Dickinson: a unique. He lives in New York.

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Confron ti ng what is ta ken as idiosyncracy, individual organs may escap e the cont rol of the: subject, and it is this very animality projected onto the raci al O ther, so the argument runs, that is desired and mim icked as sadistic ritual, degradation, and ultimately in genocide against that O ther. Accused of participating in forbidden magic and bloody ritual. the Jews : are declared guilty of something which they, as the first burghers, were the first to overcome: Ihe lureof baseinstincts, reversion 10 animality and " MIMESIS AND A LTERI'fY THE GOLDEN A RMY: T HE O RG ANI Z AT IO N OF M IMESIS the ground , the service of images.

If in times past the shamans warded off danger by mean s of . images imitating that danger, and in this sense they used equivalencemimesis- as an instrument, then tod ay we live a curious inversion of this equi valence, a Hegelian Aufhebung of it. "Before, the fetishes were subj ect to the law of equivalence, " write Adorno and Ho rkheimer. " l Yielding For Adorno and. 1 th ink Hegel (wi th different con sequences), the sensuous moment of know ing includes a fie lding and mirro ring of the knower in the unkno wn, o f thou ght in irs object.

And the cutting and reversals signify the rupture in the relationship and the wish to have it restored. But here again. could we say that such symbolic identities form an image of likeness in the same way as do Fraze r's effi gies? Surely the symbols belong to an order of abstraction removed from wha t we might like to call " real" likeness, and Mauss and H ubert are totall y jusrified in reacting against naive notions of likeness, But what happens if we move the frame outward fro m the realm of the ritu al ob jects, the candles and the cigar s, the fl ames and the curses, ro include the geseus of the ritualist herself?

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