Posts Tagged: Emily Dickinson
I have known the poet Elizabeth Metzger since kindergarten—and ever since I have known her, she has been a poet. When we played the The Game of Life, a board game, she wrote small lyrics about the futures we ended the game with; when I had a crush, she wrote light verse about the boys I swooned over; when I was reading Redwall and Lord of the Rings, she was reading Emily Dickinson....more
What does it mean to be carried away? To be captured, carried off, liberated? To lose control of oneself? Lerner doesn’t show concern for questions like these. More generally, The Hatred of Poetry takes little interest in the rarities of technique across a poet’s body of work and avoids questions about his or her sense of history.
I became tantalized by the idea of a genius poet whose talent was nourished not by extensive travel, nor by formal literary training, but rather by an intimacy with the kinds of creatures Americans routinely encounter and rarely appreciate.
For Slate, Ferris Jabr dives deep into the imagery of Emily Dickinson’s poetry to find new appreciation for the level of detail Dickinson’s knowledge of nature lent to her work....more
Emily Dickinson continues to appeal to literary critics fascinated by her poetry’s terse and alarming emotional breadth. Many biographies attribute her emotional poetry to a sense of agoraphobia, but at Lit Hub, Jerome Charyn makes the case for Emily Dickinson as a more complicated and clever character who was very aware of how the emotion in her poetry would be interpreted through the lens of gender....more
At the New Yorker, Valeria Luiselli gives us an essay in defense of monuments, libraries, park benches, daughters, Dickinson, and ‘simplicissimusses’:
In that first New York of my early twenties, I decided that I despised writers who admitted to crying over art or beauty or solitude, those who indulged in elevated states of mind.
Brown has tied the concept to sound/color synesthesia, a neurological phenomenon that causes people to see color when they hear music. Her research has led her to believe that during Dickinson’s most productive creative period (1860–1865), she could have been experiencing this type of synesthesia.
For her “The Poems (We Think) We Know” column at the Los Angeles Review of Books, Alexandra Socarides writes about Emily Dickinson’s celebrated “I’m Nobody! Who are you?,” debunking its commonly held interpretation:
There is a seemingly stark private/public dichotomy laid out by the poem’s two stanza structure.