“Scandal and pathos abound” (The New Yorker) in this riveting account of the mother and daughter who brought Emily Dickinson’s genius to light. Longlisted for the PEN/Jacqueline Bograd Weld Award for Biography • Finalist for the Plutarch Award Despite Emily Dickinson’s renown, the story of the two women most responsible for her initial posthumous publication—Mabel Loomis Todd and her daughter, Millicent Todd Bingham—has remained in the shadows of the archives. Utilizing hundreds of overlooked letters and diaries to weave together three unstoppable women, Julie Dobrow reveals the intrigue of Dickinson’s literary beginnings, including Mabel’s tumultuous affair with Emily’s brother, Austin Dickinson, controversial editorial decisions, and a battle over the right to define the so-called Belle of Amherst.

Heginbotham's book focuses on Emily Dickinson's work as a deliberate writer and editor. The fascicles were forty small portfolios of her poems written between 1856 and 1864, composed on four to seven stationery sheets, folded, stacked, and sewn together with twine. What revelations might come from reading her poems in her own context? Are they simply "scrapbooks," as some claim, or are they evidence of conscious, canny editing? Read in their original places, each lyric becomes different-and more interesting-than when read in isolation. We cannot know why Dickinson compiled the books or what she thought of them, but we can observe what she left in them. What she left is visible only by noting the way the poem answers in a dialogue across the pages, the way lines spilling onto a second page introduce the next poem, the way openings suggest image clusters so that each book has its own network of concerns and language-not a story or philosophical preachment but an aesthetic wholeness. This book is the first to demonstrate that Dickinson's poetic and philosophical creativity is most startling when the reader observes the individual lyric in the poet's own, and only, context for them. For teacher, student, scholar, and poetry lover, Heginbotham creates an important new framework for understanding one of the most complex, clever, and profound U.S. poets.

The poetry book The Legacy of Emily Dickinson: Poems by Anthony Ross Potter and Elizabeth Leopold Potter is a collection of Potter’s poetry. It will include Mr. Potter’s life experiences to provide context for the poems. The book will feature Potter’s seven-part poem, “In the Subway,” and the photographs that inspired the poem, as well as several other poems. Also featured are poems by his mother, Elizabeth Leopold Potter. Anthony Potter is a cousin of Emily Dickinson. His mother’s great-grandfather, Henry Kirk Dickinson, was her uncle. While his poetry is influenced by Imagism and Ezra Pound, his muse was inspired by Emily Dickinson. His late mother was a third cousin of Emily’s, and her style was very similar in imagery, rhythm, and metaphor. She bears an uncanny resemblance to Emily Dickinson, as photos in the book will reveal.

A beautiful, visual biography of America's greatest woman poet, containing over 275 photographs and illustrations.

Traces the lives of three American women, Puritan, Victorian, and modern, and compares the themes and philosophy of their poetry

A collection of the author's greatest poetry--from the wistful to the unsettling, the wonders of nature to the foibles of human nature--is an ideal introduction for first-time readers. Original.

Paying special attention to her experience of faith, Lundin relates Dickinson's life -- as it can be charted through her poems and letters -- to nineteenth-century American political, social, religious, and intellectual history. --From publisher description.

How does the consciousness of being a woman affect the workings of the poetic imagination? With this question Margaret Homans introduces her study of three nineteenth-century women poets and their response to a literary tradition that defines the poet as male. Her answer suggests why there were so few great women poets in an age when most of the great novelists were women. Originally published in 1981. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

For most of her life Emily Dickinson regularly embedded poems, disguised as prose, in her lively and thoughtful letters. Although many critics have commented on the poetic quality of Dickinson's letters, William Shurr is the first to draw fully developed poems from them. In this remarkable volume, he presents nearly 500 new poems that he and his associates excavated from her correspondence, thereby expanding the canon of Dickinson's known poems by almost one-third and making a remarkable addition to the study of American literature. Here are new riddles and epigrams, as well as longer lyrics that have never been seen as poems before. While Shurr has reformatted passages from the letters as poetry, a practice Dickinson herself occasionally followed, no words, punctuation, or spellings have been changed. Shurr points out that these new verses have much in common with Dickinson's well-known poems: they have her typical punctuation (especially the characteristic dashes and capitalizations); they use her preferred hymn or ballad meters; and they continue her search for new and unusual rhymes. Most of all, these poems continue Dickinson's remarkable experiments in extending the boundaries of poetry and human sensibility.