The Gorgeous Nothings: Emily Dickinson's Envelope Poems

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But not for all of them, as shown by the recent print edition of the complete poems, the third to b (...) A study of the line breaks in this corpus of texts should therefore take into consideration the interaction of several issues. Firstly, line breaks can no longer be a mere matter of poetics, more specifically of metrics, but are crucially determined by material constraints out of which a poetics of the line may emerge , a poetics that calls into question the role measured lines play in defining poetry; a poetics which particularly challenges the pivotal role of the line break as the primary mode of distinguishing verse from prose. In “The End of the Poem,” Giorgio Agamben has proposed a definition of poetry contra prose according to the line break as a superstructural characteristic: And if you care about poetry at all, who wouldn’t jump at the chance for that kind of intimacy? Billy Collins and Archibald MacLeish
certainly would. Published by New Directions, the book has the large format of an art book and the different elements of its composition keep a fine balance between the visible and the legible, including for instance a “Visual index” classifying the envelopes according to their shapes. Poised on the limit between the two modes, Marta Werner’s transcripts of the facsimile manuscripts suggest how delicate their interactions can be, particularly by giving prominent visibility to the creases, folds and lines dividing the surfaces of the envelopes.

It would seem that Johnson chose the version that had more comfort. The MS, I think, more powerfully conveys anguish--the thin ice of faith over despair. La busta postale è quella che contiene la lettera, è una sorta di scrigno, qualcosa che avviluppa, contiene, include qualche altra cosa. First, some simplicities that a man learns, if he works in OPEN, or what can also be called COMPOS (...)

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I dwell in Possibility –/A fairer House than Prose –” (J657, Fr466, M233). In a less optimistic pe (...) False impression” could easily be read as a pun here. Without detracting from its substance, it mu (...) Conjunctions of the Literary and the Philosophical in Twentieth- and Twenty-First-Century American Writing Access-restricted-item true Addeddate 2022-10-24 06:01:21 Associated-names Werner, Marta L., 1964- transcriber; Bervin, Jen, transcriber Autocrop_version 0.0.14_books-20220331-0.2 Bookplateleaf 0002 Boxid IA40750502 Camera USB PTP Class Camera Collection_set printdisabled External-identifier Etymology tells us that “secret” also has to do with lines, since it comes from an Indo-European ro (...)

The Gorgeous Nothings] opens up an aspect of her craft that suggests she was, in the so-called late ecstatic period of her career, experimenting with creating texts in relation to the visual, spatial, and technological possibilities of her medium—composing in response to the confines of her writing world rather than despite it. One of the many interesting points made in the introductory material is that Emily played with the actual shape of the envelope as she developed her thoughts. Susan Howe says that the poems should be viewed as “visual productions”. Let’s start from the smallest particle of all, the syllable. It is the king and pin of versification, what rules and holds together the lines, the larger forms, of a poem. … It is by their syllables that words juxtapose in beauty, by these particles of sound as clearly as by the sense of the words which they compose. In any given instance, because there is a choice of words, the choice, if a man is in there, will be, spontaneously, the obedience of his ear to the syllables. … It would do no harm, as an act of correction to both prose and verse as now written, if both rime and meter, and, in the quantity words, both sense and sound, were less in the forefront of the mind than the syllable, if the syllable, that fine creature, were more allowed to lead the harmony on” (Olson 241, ellipses mine).I grew up in Atlanta, Georgia, but have called New Hampshire home since 1999. My studio is located in the historic, mill village of Harrisville. I miss fried okra, the early southern spring, and restaurants that stay open past 9:00 p.m., but rural life agrees with me. In New Hampshire I can see the stars, go kayaking or snowshoeing, watch bald eagles fish in the lake, and focus on my creative work in silence. I no longer have to worry about traffic jams; deer, wild turkeys, and frost heaves are the primary road hazards here. Although I live in the country, I’m fortunate enough to be part of a vibrant arts community that extends beyond this small New England village. The quiet days are punctuated by regular travel and frequent visits to museums, theaters, readings, arts events, lectures, and open studios around the country. ( You can read my full CV here.) Let’s start from the smallest particle of all, the syllable. It is the king and pin of versificati (...)

I dwell in Possibility –/A fairer House than Prose –” (J657, Fr466, M233). In a less optimistic perspective, they might also be seen as coffin builders. These manuscripts should be understood as visual productions,” writes Susan Howe in The Birth-mark. Published by New Directions, the book has the large format of an art book and the different element (...) Le buste di poesia sono dunque scritti sulle buste che, più che poesie, sono messaggi, annotazioni. If fame belonged to me, I could not escape her—if she did not, the longest day would pass me on the chase—and the approbation of my Dog, would forsake me—then—My Barefoot-Rank is better—Hi)stories of American Women: Writings and Re-writings / Call and Answer: Dialoguing the American West in France Lccn 2015047826 Ocr tesseract 5.2.0-1-gc42a Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 0.8212 Ocr_module_version 0.0.18 Ocr_parameters -l eng Old_pallet IA-NS-1200429 Openlibrary_edition This is beautiful and it certainly encapsulates something of the experience undergone by the poet. But the envelope MS has the following significant variants—none of which are crossed out: