"In this brilliant and hilarious jailbreak of a novel, Charyn channels the genius poet and her great leaps of the imagination." —Donna Seaman, Booklist (starred review) Jerome Charyn, "one of the most important writers in American literature" (Michael Chabon), continues his exploration of American history through fiction with The Secret Life of Emily Dickinson, hailed by prize-winning literary historian Brenda Wineapple as a "breathtaking high-wire act of ventriloquism." Channeling the devilish rhythms and ghosts of a seemingly buried literary past, Charyn removes the mysterious veils that have long enshrouded Dickinson, revealing her passions, inner turmoil, and powerful sexuality. The novel, daringly written in first person, begins in the snow. It's 1848, and Emily is a student at Mount Holyoke, with its mournful headmistress and strict, strict rules. Inspired by her letters and poetry, Charyn goes on to capture the occasionally comic, always fevered, ultimately tragic story of her life-from defiant Holyoke seminarian to dying recluse.
In a profound new analysis of Dickinson's life and work, Judith Farr explores the desire, suffering, exultation, spiritual rapture, and intense dedication to art that characterize Dickinson's poems, deciphering their many complex and witty references to texts and paintings of the day.
PEN/ Jacqueline Bograd Weld Award for Biography Longlist O, The Oprah Magazine “Best Books of Summer” selection “Magnetic nonfiction.” —O, The Oprah Magazine “Remarkable insight . . . [a] unique meditation/investigation. . . . Jerome Charyn the unpredictable, elusive, and enigmatic is a natural match for Emily Dickinson, the quintessence of these.” —Joyce Carol Oates, author of Wild Nights! and The Lost Landscape We think we know Emily Dickinson: the Belle of Amherst, virginal, reclusive, and possibly mad. But in A Loaded Gun, Jerome Charyn introduces us to a different Emily Dickinson: the fierce, brilliant, and sexually charged poet who wrote: My Life had stood—a Loaded Gun— … Though I than He— may longer live He longer must—than I— For I have but the power to kill, Without—the power to die— Through interviews with contemporary scholars, close readings of Dickinson’s correspondence and handwritten manuscripts, and a suggestive, newly discovered photograph that is purported to show Dickinson with her lover, Charyn’s literary sleuthing reveals the great poet in ways that have only been hinted at previously: as a woman who was deeply philosophical, intensely engaged with the world, attracted to members of both sexes, and able to write poetry that disturbs and delights us today. Jerome Charyn is the author of, most recently, Bitter Bronx: Thirteen Stories, I Am Abraham: A Novel of Lincoln and the Civil War, and The Secret Life of Emily Dickinson: A Novel. He lives in New York.
"Starts off as a manifesto but becomes richer and more suggestive as it develops."—The New York Sun For Wallace Stevens, "Poetry is the scholar's art." Susan Howe—taking the poet-scholar-critics Charles Olson, H.D., and William Carlos Williams (among others) as her guides—embodies that art in her 1985 My Emily Dickinson (winner of the Before Columbus Foundation Book Award). Howe shows ways in which earlier scholarship had shortened Dickinson's intellectual reach by ignoring the use to which she put her wide reading. Giving close attention to the well-known poem, "My Life had stood—a Loaded Gun," Howe tracks Dickens, Browning, Emily Brontë, Shakespeare, and Spenser, as well as local Connecticut River Valley histories, Puritan sermons, captivity narratives, and the popular culture of the day. "Dickinson's life was language and a lexicon her landscape. Forcing, abbreviating, pushing, padding, subtracting, riddling, interrogating, re-writing, she pulled text from text...."
In this first substantial study of Emily Dickinson's devotion to flowers and gardening, Judith Farr seeks to join both poet and gardener in one creative personality. She casts new light on Dickinson's temperament, her aesthetic sensibility, and her vision of the relationship between art and nature, revealing that the successful gardener's intimate understanding of horticulture helped shape the poet's choice of metaphors for every experience: love and hate, wickedness and virtue, death and immortality. Gardening, Farr demonstrates, was Dickinson's other vocation, more public than the making of poems but analogous and closely related to it. Over a third of Dickinson's poems and nearly half of her letters allude with passionate intensity to her favorite wildflowers, to traditional blooms like the daisy or gentian, and to the exotic gardenias and jasmines of her conservatory. Each flower was assigned specific connotations by the nineteenth century floral dictionaries she knew; thus, Dickinson's association of various flowers with friends, family, and lovers, like the tropes and scenarios presented in her poems, establishes her participation in the literary and painterly culture of her day. A chapter, "Gardening with Emily Dickinson" by Louise Carter, cites family letters and memoirs to conjecture the kinds of flowers contained in the poet's indoor and outdoor gardens. Carter hypothesizes Dickinson's methods of gardening, explaining how one might grow her flowers today. Beautifully illustrated and written with verve, The Gardens of Emily Dickinson will provide pleasure and insight to a wide audience of scholars, admirers of Dickinson's poetry, and garden lovers everywhere. Table of Contents: Introduction 1. Gardening in Eden 2. The Woodland Garden 3. The Enclosed Garden 4. The "Garden in the Brain" 5. Gardening with Emily Dickinson Louise Carter Epilogue: The Gardener in Her Seasons Appendix: Flowers and Plants Grown by Emily Dickinson Abbreviations Notes Acknowledgments Index of Poems Cited Index Reviews of this book: In this first major study of our beloved poet Dickinson's devotion to gardening, Farr shows us that like poetry, gardening was her daily passion, her spiritual sustenance, and her literary inspiration...Rather than speaking generally about Dickinson's gardening habits, as other articles on the subject have done, Farr immerses the reader in a stimulating and detailed discussion of the flowers Dickinson grew, collected, and eulogized...The result is an intimate study of Dickinson that invites readers to imagine the floral landscapes that she saw, both in and out of doors, and to re-create those landscapes by growing the same flowers (the final chapter is chock-full of practical gardening tips). --Maria Kochis, Library Journal Reviews of this book: This is a beautiful book on heavy white paper with rich reproductions of Emily Dickinson's favorite flowers, including sheets from the herbarium she kept as a young girl. But which came first, the flowers or the poems? So intertwined are Dickinson's verses with her life in flowers that they seem to be the lens through which she saw the world. In her day (1830-86), many people spoke 'the language of flowers.' Judith Farr shows how closely the poet linked certain flowers with her few and beloved friends: jasmine with editor Samuel Bowles, Crown Imperial with Susan Gilbert, heliotrope with Judge Otis Lord and day lilies with her image of herself. The Belle of Amherst, Mass., spent most of her life on 14 acres behind her father's house on Main Street. Her gardens were full of scented flowers and blossoming trees. She sent notes with nosegays and bouquets to neighbors instead of appearing in the flesh. Flowers were her messengers. Resisting digressions into the world of Dickinson scholarship, Farr stays true to her purpose, even offering a guide to the flowers the poet grew and how to replicate her gardens. --Susan Salter Reynolds, Los Angeles Times Cuttings from the book: "The pansy, like the anemone, was a favorite of Emily Dickinson because it came up early, announcing the longed-for spring, and, as a type of bravery, could withstand cold and even an April snow flurry or two in her Amherst garden. In her poem the pansy announces itself boldly, telling her it has been 'resoluter' than the 'Coward Bumble Bee' that loiters by a warm hearth waiting for May." "She spoke of the written word as a flower, telling Emily Fowler Ford, for example, 'thank you for writing me, one precious little "forget-me-not" to bloom along my way.' She often spoke of a flower when she meant herself: 'You failed to keep your appointment with the apple-blossoms,' she reproached her friend Maria Whitney in June 1883, meaning that Maria had not visited her . . . Sometimes she marked the day or season by alluding to flowers that had or had not bloomed: 'I said I should send some flowers this week . . . [but] my Vale Lily asked me to wait for her.'" "People were also associated with flowers . . . Thus, her loyal, brisk, homemaking sister Lavinia is mentioned in Dickinson's letters in concert with sweet apple blossoms and sturdy chrysanthemums . . . Emily's vivid, ambitious sister-in-law Susan Dickinson is mentioned in the company of cardinal flowers and of that grand member of the fritillaria family, the Crown Imperial."
Dickinson knew the Bible well. She was profoundly aware of Christian theology and she was writing at a time when comparative religion was extremely popular. This book is the first to consider Dickinson's religious imagery outside the dynamic of her personal faith and doubt. It argues that religious myths and symbols, from the sun-god to the open tomb, are essential to understanding the similetic movement of Dickinson's poetry - the reach for a comparable, though not identical, experience in the struggles and wrongs of Abraham, Jacob and Moses, and the life, death and resurrection of Christ. Linda Freedman situates the poet within the context of American typology, interprets her alongside contemporary and modern theology and makes important connections to Shakespeare and the British Romantics. Dickinson emerges as a deeply troubled thinker who needs to be understood within both religious and Romantic traditions.
