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The Letters of Emily Dickinson, by Emily Dickinson
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Emily Elizabeth Dickinson (December 10, 1830 – May 15, 1886) was an American poet. Dickinson was born in Amherst, Massachusetts. Although part of a prominent family with strong ties to its community, Dickinson lived much of her life highly introverted. After studying at the Amherst Academy for seven years in her youth, she briefly attended the Mount Holyoke Female Seminary before returning to her family’s house in Amherst. Considered an eccentric by locals, she developed a noted penchant for white clothing and became known for her reluctance to greet guests or, later in life, to even leave her bedroom. Dickinson never married, and most friendships between her and others depended entirely upon correspondence. While Dickinson was a prolific private poet, fewer than a dozen of her nearly 1,800 poems were published during her lifetime. The work that was published during her lifetime was usually altered significantly by the publishers to fit the conventional poetic rules of the time. Dickinson’s poems are unique for the era in which she wrote; they contain short lines, typically lack titles, and often use slant rhyme as well as unconventional capitalization and punctuation. Many of her poems deal with themes of death and immortality, two recurring topics in letters to her friends. Although Dickinson’s acquaintances were most likely aware of her writing, it was not until after her death in 1886 — when Lavinia, Dickinson’s younger sister, discovered her cache of poems — that the breadth of her work became apparent to the public. Her first collection of poetry was published in 1890 by personal acquaintances Thomas Wentworth Higginson and Mabel Loomis Todd, though both heavily edited the content. A complete, and mostly unaltered, collection of her poetry became available for the first time when scholar Thomas H. Johnson published The Poems of Emily Dickinson in 1955. Despite some unfavorable reception and skepticism over the late 19th and early 20th centuries regarding her literary prowess, Dickinson is now almost universally considered to be one of the most significant of all American poets.
- Sales Rank: #3214175 in Books
- Published on: 2015-09-28
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .72" w x 6.00" l, .93 pounds
- Binding: Paperback
- 316 pages
Review
[These letters] present us with as inward a view of one of God's rarer creatures as we are likely to be given...The letters themselves are as no others. The briefest line can be a mystery (and, when fathomed, a communion), the formal note a sign...If [these letters] are put alongside those of...Coleridge and Keats, they will present the most striking contrast in a poet's reactions and sensibilities. But they will stand there unashamed. (The Times)
She was no solemn bookworm destined to grow into a crabbed recluse, but a lively original creature, fully participating in the joys and despairs of a busy circle of friends and relatives...Here was a woman capable of the most intense emotion who was forced, or forced herself, to crystallize her feelings into words and phrases. The letters and poems are all of a piece. The letters, in fact, read sometimes like the raw materials of the poems. (Listener)
Emily Dickinson's letters are among the major treasures of American literature...[In] this one-volume selection...virtually everything of interest to the general reader or nonspecialist has been retained. (Library Journal)
From the Back Cover
This one-volume selection is at last available in paperback. It provides crucial texts for the appreciation of American literature, women's experience in the nineteenth century, and literature in general.
About the Author
Known as The Myth of Amherst for her withdrawal from society while still a young women, Emily Dickinson (1830-1886) had an inner life that was deeply emotional and intense. She know rapture and despair, pondered the wonder of God and the meaning of death. She broke tradition and was criticized for her seminal experiments with unorthodox phrasing, rhyme and broken meter, within concise verse forms, thus becoming an innovator and forerunner of modern poets.
Most helpful customer reviews
45 of 45 people found the following review helpful.
Essential Piece of the Dickinson Puzzle
By Gianmarco Manzione
An appraisal of this great figure's work is incomplete without a good look at these selected letters. As fascinating to the Dickinson scholar as they are to the casual enthusiast, Dickinson's letters -- along with those of Keats or Hopkins -- prove that this is every bit as legitimate a genre as fiction or poetry. Some of Dickinson's most gorgeous and enduring statements are here, and to read these in chronological order is to map the gradual development of America's premier woman poet. Even in a letter she wrote at 12-years-old, the idiosyncratic dashes with which she distinguished her poetic voice are abundant, and already have that effect of forcing the reader to savor clusters of words as they unravel down the page. Similarly, Dickinson's mind-blowing instinct for the staggering metaphor is in full gear throughout ("Vinnie came soft as a moccasin") and, for all her great death poetry, it is in a letter regarding the death of her father where we find perhaps her most vulnerable and moving confrontation with mortality:
"Father does not live with us now -- he lives in a new house. Though it was built in an hour it is better than this. He hasn't any garden because he moved after gardens were made, so we take him the best flowers, and if we only knew he knew, perhaps we could stop crying."
Perhaps most fascinating of all, though, is the mixture of extremes Dickinson's personality manifests throughout these letters, a crude bluntness that mingles with the most tender innocence. She at once condemns a cousin's valentine as "A little condescending, & sarcastic, your Valentine to me, I thought" and begins another missive with the exuberant mysticism of a child speaking as if out of some fairytale: "I wanted to write, and just tell you that me, and my spirit were fighting this morning. It isn't known generally, and you musn't tell anybody." Of course, this book also includes that characteristically bizarre and unforgettable final letter, which she wrote while suffering from the illness that would take her life just days later: "Little Cousins, Called Back. Emily." Especially enjoyable about this particular volume are the endnotes with which the editor follows up most letters. These brief but informed observations offer a fascinating and thorough glimpse into Dickinson's reading life, while also helping to illuminate her more obscure autobiographical allusions. This book is as fascinating an odyssey as Dickinson's complete poems, and I think readers do themselves a great service by delving into these letters alongside that more celebrated aspect of her genius.
30 of 30 people found the following review helpful.
A letter like immortality
By Rosana Mendes Campos
...
If you are, like me, an Emily Dickinson's great admirer you will be genuinely drawn into this book. Emily Dickinson has bewitched and perplexed everyone with her extremely profound poetry disguised in apparent simplicity. However, in her book of letters we uncover the woman (and not the author) behind her work, whose main assets were acute sensitivity and lovingness. This collection, unlike other books of the genre, such as Elizabeth Bishop's One Art or Keats's book of letters, do not reveal much of her poetry, as her mental struggle with the work, her intentions, or choice of words. Even so, the reader is allowed into her family relationships, into her care and love for her few friends, and above all into her deep-set feeling of solitude. Besides, throughout her letters she discloses her main existential concerns, which are inevitably reflected in her poems. This book makes it possible to discover the books she read and the ones that offered her the greatest pleasure. As the collection includes from her juvenile writings to her latest letters when already living in social "exile," they form a most engrossing reading, with the characteristics of an autobiography, without the intention by the author to write one. In her very words, "my letter as a bee, goes laden."
33 of 34 people found the following review helpful.
Precious surviving fragments of a great oeuvre.
By tepi
EMILY DICKINSON SELECTED LETTERS. Edited by Thomas H. Johnson. 364 pp. Cambridge, Massachusetts : The Belknap Press of Harvard University Press, 1971. SBN674-25060-5 (hbk).
Emily Dickinson was a great letter writer, in all senses of the word. In fact one gets the impression that she actually preferred writing to people, than meeting and conversing with them, and for her the arrival of a letter was a great event. A letter was something she looked forward to with keen anticipation, and which she savored to the full whenever one arrived.
The present selection of letters represents only a small proportion of the letters Emily Dickinson actually wrote. She was an inveterate letter-writer, had many correspondents, and wrote thousands of letters. And people in those days collected letters just as today.
Unfortunately it was the custom, whenever anyone died, to make a bonfire of all of their correspondence, probably because of its personal and confidential nature. In this way thousands of pages of Emily Dickinson's writings have been lost to posterity, and we would know much more aboute the details of her day-to-day life, and be able to date her poems more accurately, if it hadn't been for this tragic loss.
Just how great the loss is may be gaged by taking a look at the way Ellen Louise Hart and Martha Nell Smith have treated her letters in 'Open Me Carefully : Emily Dickinson's Intimate Letters to Susan Huntington Dickinson' (1998). Whereas Thomas Johnson prints all of ED's letters as straight prose, which of course leads us to read them as straight prose, Hart-Smith give us their particular letters as they actually appear in the original draft - not as continous lines of prose but as very short lines with numerous line breaks - in other words, as poetry.
It would seem that at least some of ED's 'letters' are not so much letters as 'letter-poems,' and when read as poems produce a remarkable range of effects that are lost when all line breaks are removed and the 'letter' is regularized as straight prose. The loss of her letters now begins to look much more serious, for there seems to be a growing feeling among readers that her letters were every bit as great an artistic achievement as her poems.
Given this, the present book becomes something that should interest all serious students of ED, although before reading it they might (if they haven't already) take at look at the Hart-Smith, and keep it in mind while reading the Johnson. One wonders how much poetry may be lurking unrecognized in the regularized lines of 'Emily Dickinson's Selected Letters.'
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