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Permissions
An image of a note and poems (Emily—) to Susan Huntington Dickinson [ca. 1884]: “By permission of The Houghton Library, Harvard University, Ms AM 1118.5 (B88) © The President and Fellows of Harvard College.”
The images of the manuscripts of Emily Dickinson are reproduced courtesy of Amherst College Library and Harvard University Press. Grateful acknowledgement to Mike Kelly, Head of Archives & Special Collections, Frost Library, Amherst College, and to Margaret Dakin, Archives & Special Collections, Frost Library, Amherst College. The President and Fellows of Harvard College assert the sole ownership of and the sole right of literary rights and copyrights therein to the texts of Emily Dickinson.
e publishers and the Trustees of Amherst College from The Poems of Emily Dickinson, edited by Thomas H. Johnson, Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1951, 1955 by the President and Fellows of Harvard College. Copyright © renewed 1979, 1983 by the President and Fellows of Harvard College. Copyright © 1914, 1918, 1919, 1924, 1929, 1930, 1932, 1935, 1937, 1942, by Martha Dickinson Bianchi. Copyright © 1952, 1957, 1958, 1963, 1965, by Mary L. Hampson.
Reprinted by permission of the publishers and the Trustees of Amherst College from The Poems of Emily Dickinson: Variorum Edition, edited by Ralph W. Franklin, Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1998 by the President and Fellows of Harvard College. Copyright © 1951, 1955 by the President and Fellows of Harvard College. Copyright © renewed 1979, 1983 by the President and Fellows of Harvard College. Copyright © 1914, 1918, 1919, 1924, 1929, 1930, 1932, 1935, 1937, 1942 by Martha Dickinson Bianchi. Copyright © 1952, 1957, 1958, 1963, 1965 by Mary L. Hampson.
Reprinted by permission of the publishers and the Trustees of Amherst College from The Letters of Emily Dickinson, edited by Thomas H. Johnson, Associate Editor, Theodora Ward, Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1958 by the President and Fellows of Harvard College. Copyright © renewed 1986 by the President and Fellows of Harvard College. Copyright © 1914, 1924, 1932, 1942 by Martha Dickinson Bianchi. Copyright © 1952 by Alfred Leete Hampson. Copyright © 1960 by Mary L. Hampson.
Index
Abromson, Herman, 140, 141
Adventures in the Arts (Hartley), 112
The Adventures of Huckleberry Finn (Twain), 134
After Great Pain: The Inner Life of Emily Dickinson (Cody), 43
agoraphobia, 15, 32, 40, 41, 43, 68, 90, 164, 199
Aiken, Conrad, 107
Akhmatova, Anna, 179
Alice in Wonderland (Carroll), 84–85, 131, 160, 183
“Alone and in a Circumstance” [Fr1174], 93–95
ambiguous sexuality, of Emily, 22, 24–26, 30–31, 45, 76, 93, 160, 203, 212, 216
The American Woman’s Home (Beecher and Stowe), 188–89
Amherst. See Evergreens manor; Homestead
Amherst College, 55, 70, 81, 90, 161
Austin at, 72
Dickinson, Samuel, as cofounder of, 49–50
Dickinson archives at, 157, 175–76, 213
Robert Frost Library of, 154–55
Ancestor’s Brocades: The Literary Debut of Emily Dickinson (Bingham), 121
Andreasen, Nancy, 208
androgynous girls
Cornell’s obsession with, 117, 118, 122, 131
Emily as, 45, 122
Sue as, 144
Angier, Natalie, 210
“Annals of Evergreens” (Dickinson, S. G.), 198
Anthon, John, 110, 111
Anthon, Kate Scott Turner “Kate”
blue peninsula imagery about, 111, 122, 146, 147, 166
Bowles, Sam and, 30, 109, 216
as Cleopatra, 146
as Condor Kate, 110, 111, 112, 146, 148, 150, 156, 165, 166, 178, 186, 192
in daguerreotype with Emily, 141–42, 143, 150–51, 215
Emily’s feelings for, 30–31, 86, 108, 109–12, 122, 143–48, 215–17
Emily’s letters to, 110, 146, 192
garters for, 30–31
Leyda on Emily and, 143–44
marriage of, 108, 109, 110, 111
Patterson on, 86, 108, 109–12, 122, 143–46, 216
in poems, 144–45, 146–47, 215–16
Sue’s relationship with, 108–9, 144, 147, 198
Antony and Cleopatra (Shakespeare)
Emily as Antony from, 32, 146, 166, 194, 196–97
Kate as Cleopatra from, 146
Sue as Cleopatra from, 32, 148, 194, 197
apocalypticism, of Emily, 92, 140, 142, 162, 170, 201–2, 206, 213
appearance, of Emily, 150. See also daguerreotypes
Emily on, 89–90, 142
freckles, 20, 73, 89–90, 93, 109
Higginson on, 16, 142
as kangaroo, 90, 142, 152
Patterson on, 142
red hair, 53, 74, 76, 122, 138, 192
Aquirre, Anthony, 209
archives
Dickinson, at Amherst College, 157, 175–76, 213
electronic, 135, 154, 158
aristocratic and patrician mien, 71, 81, 95, 96, 106, 201, 206
Ashbery, John, 125
assemblages. See shadow boxes
astigmatism and eye irritation, 44, 80, 82, 143, 191
Auden, W. H., 37
Aurora Leigh (Browning, E.), 90–91, 111
Austin. See Dickinson, Austin
Auvers-sur-Oise, France, 210–12
Balanchine, George, 128–32
ballerinas
Cerrito, 116–17, 118–19, 120–21, 122, 123, 124, 125, 128, 129
Emily as, 120–21, 122, 163
Kent, 117, 125, 128–32
Maracci, 128
Nijinska, Bronislava, 128
balloon imagery, 100–101, 102
Barthes, Roland, 166
“Battle Hymn of the Republic,” 201
Beecher, Catherine E., 188–89
Beecher, Lyman, 189
Being John Malkovich, 135
Bell, Currer. See Brontë, Charlotte
Belle of Amherst, 15, 21, 30, 45, 74–75, 89, 152, 201
Emily’s self-titled, 28
The Belle of Amherst (Luce), 15–16, 18, 20, 21
Benfey, Christopher, 34, 35–36, 37, 94, 122–23, 198, 201, 204
Bernhard, Mary Elizabeth Kromer, 134
Bervin, Jen, 175–77, 180, 182–83
Bianchi, Martha Dickinson (niece), 19, 55, 142, 149, 207
Big Bang, 209
Bingham, Millicent Todd, 19, 103, 121, 157, 216
on daguerreotype, 133–34, 135
birth
Austin’s, 53
Emily’s, 53
mother’s, 49
Vinnie’s, 56
The Birth-mark: Unsettling the Wilderness in American Literary History (Howe, S.), 207
bisexuality
Emily’s, 203, 206
Sue’s, 148, 149
Blackmur, R. P., 40, 41, 44, 68, 107
Blake, William, 171, 193
blonde assassin imagery [Fr1668], 24, 30, 33, 68, 82
Bloom, Harold, 153
blue peninsula imagery, 68
Cornell’s use of, 113–14, 122–24, 127, 181
as love for Kate, 111, 122, 146, 147, 166
Boatswain (dog), 71–72
Bodman, Mrs. Luther W. See Smith, Grace
Bolts of Melody: New Poems of Emily Dickinson (Dickinson, E. E., and Bingham), 121, 216
Boltwood, Clarinda, 97
booklets, hand-sewn, 21–22, 27, 30, 63, 81–82, 96, 99, 155, 191, 193, 196
Boston Museum School of Fine Arts, 185
Bowles, Mrs. Sam, 78, 81
Bowles, Sally, 15
Bowles, Samuel, the younger, 106
Bowles, Samuel “Sam,” 91, 106, 192, 213, 215
Emily’s feelings for, 23, 150
Kate’s relationship with, 30, 109, 216
letters to, 81, 89, 177, 192, 215
as preceptor, 24, 163
Springfield Republican of, 96, 150, 167, 184
Sue’s feelings for, 198
“The Brain—is wider than the Sky” [Fr598], 32, 208
Brakhage, Stan, 130
Brontë, Anne, 22, 158, 186
Brontë, Charlotte, 22, 72, 73, 89, 158, 186
Brontë, Emily, 22, 158, 186
Browning, Elizabeth Barrett, 22, 89–91, 110–11, 158, 192
Browning, Robert, 89
Buffalo Bill, 124
Bugaku (ballet), 129, 130, 131
Burson, Nancy, 141
“By homely gifts and hindered words” [Fr1611], 183–84
Byron, Lord, 71–72
cabinet photo
, of Emily, 121–22
career invalids, 74
Carlo (dog), 23, 69
as daemon, 83, 85, 86
death of, 80, 82, 92, 95, 191, 203
in letters, 70–71, 78–79, 80
as mute confederate, 76, 78, 82, 83, 85
naming of, 72–73
Newfoundland breed characteristics
in, 71–72
in poems, 83–84
Carlo, Sam, 142, 143, 213–17
Carroll, Lewis, 84–85, 131, 160, 183
“Cassy” (fictional character), 200–201
Cerrito, Fanny, 121, 128, 129
Cornell, Joseph, interest in, 116–17, 118, 122, 123, 124, 125
Cornell, Joseph, shadow boxes of, 119, 120
“Characteristics of the Handwriting” (Ward, T.), 194–95
Chickering, Joseph, 90
childbirth, nineteenth century, 55
Chocolat Menier, 121, 122
Civil War, 169
creativity and, 80–81
Emily on, 61, 81–82, 85–86, 92, 170–71
Higginson in, 79, 170
Stowe and, 189–90
Clampitt, Amy, 191
Cleopatra, 28. See also Antony and Cleopatra
“The Clock strikes One” [Fr1598D], 39
Cody, John, 43, 45, 54, 57, 70, 74, 76, 98
The Collected Poems (Franklin), 182
Colon, Jenny, 116
commentaries, 26
Condor Kate. See Anthon, Kate Scott Turner
consumption, 49, 58, 109
contradictions, 159–60, 167, 172, 194, 201
Cooley, Otis H., 134
Cooper, James Fenimore, 108
Cornell, Helen Ten Broeck Storms, 114, 115, 117
Cornell, Joseph
androgynous girls obsession of, 117, 118, 122, 131
blue peninsula in works of, 113–14, 122–24, 127, 181
Cerrito interest of, 116–17, 118–19, 120, 122, 123, 124, 125
early life of, 114–15
fascination with Emily of, 113–14, 120–27
father of, 114, 115
Kent and, 117, 125, 128–32
Leyda and, 112–13, 131, 157
“Lovely” pencil of, 113, 123
reclusiveness of, 125, 127
shadow boxes of, 112–13, 116–20, 121–25, 138, 175, 181, 216–17
siblings of, 114
women and, 117, 119
Cornell, Robert, 114, 117–18, 126
Cowan, Perez Dickinson, 81
creativity