The Gorgeous Nothings: Emily Dickinson's Envelope Poems

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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: I like Jan Bevin and other artists finding permission in the fascicles and other of ED’s written fragments to make their creative work--that's always a plus. On the other hand, scholarship requires proof rather than mere assertion, no matter how authoritatively given. Marta Werner asserts that ED’s words and the material on which they are written create a meaningful engagement, design, etc., and that this material somehow reinforces, completes, extends, both the meaning and purpose of those inscriptions. That is the assertion that I question.

There are some really standout poems to me in this but the sentence that hit me hardest was “I have no life but this to lead”, as if Emily from centuries away knows what I’m going through, what I’m thinking���. Maybe humans do have universal truths after all…. Loved this publication, the juxtaposition of the original letters and how they looked was marvellous and interesting especially as a historian and (aspiring) palaeographer, though I imagine even non-historians find it fascinating. 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. 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.)First, some simplicities that a man learns, if he works in OPEN, or what can also be called COMPOS (...) 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”. Awareness of the importance of the opposition between metrical segmentation and semantic segmentation has led some scholars to state the thesis (which I share) according to which the possibility of enjambment constitutes the only criterion for distinguishing poetry from prose. For what is enjambment, if not the opposition of a metrical line to a syntactical limit, or a prosodic pause to a semantic pause? “Poetry” will then be the name given to the discourse in which this opposition is, at least virtually, possible; “prose” will be the name for the discourse in which this opposition cannot take place. (Agamben 109) Carpenter” clearly refers to Christ and “sovereign” certainly has a different connotation than “tender”. But why did she use “unsuspecting” in the margin? Is the implication that Jesus doesn’t actually know what is happening? Why the plural? Is it a slip or are there many “Carpenters” depending on the person and the suffering.

For Proust,” Susan Howe writes in her Preface to The Gorgeous Nothings,“a fragment is a morsel of time in its pure state; it hovers between a present that is immediate and a past that once had been present.” 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 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

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I dwell in Possibility –/A fairer House than Prose –” (J657, Fr466, M233). In a less optimistic pe (...) Le buste di poesia sono dunque scritti sulle buste che, più che poesie, sono messaggi, annotazioni. Hi)stories of American Women: Writings and Re-writings / Call and Answer: Dialoguing the American West in France