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Overview
How do we know that Emily Dickinson wrote poems? How do we recognize a poem when we see one? In Dickinson's Misery, Virginia Jackson poses fundamental questions about reading habits we have come to take for granted. Because Dickinson's writing remained largely unpublished when she died in 1886, decisions about what it was that Dickinson wrote have been left to the editors, publishers, and critics who have brought Dickinson's work into public view. The familiar letters, notes on advertising fliers, verses on split-open envelopes, and collections of verses on personal stationery tied together with string have become the Dickinson poems celebrated since her death as exemplary lyrics.
Jackson makes the larger argument that the century and a half spanning the circulation of Dickinson's work tells the story of a shift in the publication, consumption, and interpretation of lyric poetry. This shift took the form of what this book calls the "lyricization of poetry," a set of print and pedagogical practices that collapsed the variety of poetic genres into lyric as a synonym for poetry.
Featuring many new illustrations from Dickinson's manuscripts, this book makes a major contribution to the study of Dickinson and of nineteenth-century American poetry. It maps out the future for new work in historical poetics and lyric theory.
Product Details
| ISBN-13: | 9781400850754 |
|---|---|
| Publisher: | Princeton University Press |
| Publication date: | 12/03/2013 |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 320 |
| File size: | 6 MB |
About the Author
Table of Contents
List of Illustrations ixAcknowledgments xiii
Abbreviations xvii
Beforehand 1
Chapter One: Dickinson Undone 16
Bird-tracks 16
"When what they sung for . . ." 26
Lyric Context 31
Hybrid Poems 38
Dickinson Unbound 45
The Archive 53
Chapter Two: Lyric Reading 68
"My Cricket" 68
Lyric Alienation 92
Lyric Theory 100
Against (Lyric) Theory 109
Chapter Three: Dickinson's Figure of Address 118
"The only poets" 118
Lyric Media 126
"The man who makes sheets of paper" 133
"You-there-I-here" 142
"The most pathetic thing I do" 158
Chapter Four: "Faith in Anatomy" 166
Achilles' Head 166
The Interpretant 179
"No Bird-yet rode in Ether--" 185
The Queen's Place 196
Chapter Five: Dickinson's Misery 204
"Misery, how fair" 204
"The Literature of Misery" 212
"This Chasm" 219
"And bore her safe away" 228
Conclusion 235
Notes 241
Selected Works Cited 275
Index 293
What People are Saying About This
Dickinson's Misery stunningly combines scrupulous historical and theoretical explorations of Dickinson's bizarre poetic practices, and in so doing it opens the most fundamental questions about what critics and readers since Dickinson have come to call the "lyric." Future writing on poetry in nineteenth-century America and on the nature of lyric and lyrical reading will need to address Jackson's searching arguments.
— Jonathan Culler, Cornell University, author of "On Deconstruction"
Dickinson's Misery is our luxury. This rich and rewarding study uncovers intellectual value where no one thought to look for it before: in the envelopes, clippings, pictures, flowers, and dead insects that so often accompanied a Dickinson lyric. A lively, mischievous, and memorable book.
— Diana Fuss, Princeton, author of "The Sense of an Interior: Four Writers and the Rooms that Shaped Them" and "Essentially Speaking: Feminism, Nature, and Difference".
Dickinson's Misery is our luxury. This rich and rewarding study uncovers intellectual value where no one thought to look for it before: in the envelopes, clippings, pictures, flowers, and dead insects that so often accompanied a Dickinson lyric. A lively, mischievous, and memorable book."—Diana Fuss, Princeton, author of The Sense of an Interior: Four Writers and the Rooms that Shaped Them and Essentially Speaking: Feminism, Nature, and Difference."Dickinson's Misery stunningly combines scrupulous historical and theoretical explorations of Dickinson's bizarre poetic practices, and in so doing it opens the most fundamental questions about what critics and readers since Dickinson have come to call the "lyric." Future writing on poetry in nineteenth-century America and on the nature of lyric and lyrical reading will need to address Jackson's searching arguments."—Jonathan Culler, Cornell University, author of On Deconstruction"Who doubts that Emily Dickinson wrote lyric poems? Yet this turns out to be one of those truisms that dissolves in the face of simple attention. By showing how much we normalize the strange things that Dickinson wrote precisely by reading them as lyrics, Jackson has written a book that earns its subtitle: a theory of lyric reading. This is one of the most inventive and observant books yet written on Dickinson, but it is more than that: I know of no better study of the performative character of reading, nor of any book that does more to open our eyes to just how little we know about the range of genres and styles of reading in the past."—Michael Warner, Rutgers University
Who doubts that Emily Dickinson wrote lyric poems? Yet this turns out to be one of those truisms that dissolves in the face of simple attention. By showing how much we normalize the strange things that Dickinson wrote precisely by reading them as lyrics, Jackson has written a book that earns its subtitle: a theory of lyric reading. This is one of the most inventive and observant books yet written on Dickinson, but it is more than that: I know of no better study of the performative character of reading, nor of any book that does more to open our eyes to just how little we know about the range of genres and styles of reading in the past.
— Michael Warner, Rutgers University