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.
Posts Tagged: Emily Dickinson
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.
Do you ever jot down lines of poetry on the back of an envelope?
So did Emily Dickinson, as you might see if you look through the Emily Dickinson Archive.
Launched yesterday, the site hosts “high-resolution images of Dickinson’s surviving manuscripts available in open access” for readers who don’t have the time to travel to special-collections libraries in New England....more
Though it can be hard to remember between tweeting at your favorite writer and joining a Facebook event page for a reading, there was a time when many authors led reclusive lives with minimal self-promotion.
Bookish has rounded up a list of some of the most private (Salinger, Pynchon)—and their modern-day, super-public opposites (John Green, Susan Orlean)....more
For Bookish, music writer and self-described “karaoke ho” Rob Sheffield lists which songs famous authors of the past would have belted out on karaoke night.
He’s unquestionably right about Oscar Wilde crooning something from The Smiths, though it seems a missed opportunity not to have given James Joyce “Baby Got Back.”
Which tunes do you think your favorite writers would have favored?...more
We’ve all heard stories of publishing houses unwittingly rejecting future classics or bestsellers—most recently the detective novel J. K. Rowling wrote under a pseudonym.
But have you ever wondered how your favorite authors would fare in a writing workshop?...more
At their best, love and translation share some contradictions, including selfishness and generosity. Translation is impossible, or at least not very good, without a passionate desire to own the material and leave one’s mark on it. At the same time, few translators want to “hide the light” of their translations “under a bushel.” The translations they undertake and complete belong to them, are marked by them, and yet they are without much value unless shared....more