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Notes
EMILY DICKINSON'S POEMS are reprinted in accordance with Thomas H. Johnson's
three-volume variorum The Poems of Emily Dickinson ( Cambridge,
Mass.: Harvard University Press, 1963). References to this edition in the text
include Johnson's number of the cited poem. Unless otherwise noted, quotations
from Dickinson's letters are taken from The Letters of Emily Dickinson, ed.
Thomas H. Johnson and Theodora Ward. 3 vols. ( Cambridge, Mass.: Harvard
University Press, 1965). References to this edition appear in the text with the
abbreviation L, followed by the volume and page numbers. All scriptural quata-
tions are from the Authorized ( King James) Version of the Bible, the version that
Dickinson knew. INTRODUCTION
1. Sandra M. Gilbert and Susan Gubar ( Madwoman. in the Attic. The Woman
Writer and the Nineteenth-Century Literary Imagination [ New Haven: Yale Uni-
versity Press, 1979]) have analyzed Dickinson as madwoman: Margaret Homans
( Woman Writers and Poetic Identity: Dorothy Wordworth, Emily Bronte, and Emily
Dickinson [ Princeton: Princeton University Press, 1980]) has seen linguistic dis-
ruption as an element of her power as a woman writer; Suzanne Juhasz ( The
Undiscovered Continent: Emily Dickinson and the Space of the Mind [ Bloomington:
Indiana University Press, 1983]) has argued that Dikinson lived in the mind to
escape a male world; Vivian R. Pollack ( Dickinson: The Anxiety of Gender [ Ithaca,
N.Y.: Cornell University Press, 1984]) has discussed Dickinson's "anxiety of gen-
der"; and Joanne Feit Diehl, Barbara J. Williams, Sharon Cameron, and Jane
Donahue Eberwein have discussed aspects of Dickinson's frustration or, as James
L. Machor has described it, Dickinson's affectation of feminine timidity within
patriarchal structures (see Joanne Feit Diehl, Dickinson and the Romantic Imagi-
nation [ Princeton: Princeton University Press, 1981]; Barbara J. Williams, "A
Room of Her Own: Emily Dickinson as Woman Artist," in feminist Criticism:
Essays on Theory, Poetry, and Prose, ed. Cheryl L. Brown and Karen Olson [Me-
tuchen, N.J.: Scarecrow, 1978], pp. 69-91; Sharon Cameron, "'A Loaded Gun':
Dickinson and the Dialetic of Rage," PMLA 93 [ 1978]; 423-37, Jane Donahue Eberwein
, Dickinson: Strategies of Limitation [Amherst: University of Massachu-
setts Press, 1985], and James L. Machor, "Emily Dickinson and the Feminine
Rhetoric," Arizona Quarterly 36 [ 1980]: 131-46).
2. Richard Chase ( Emily Dickinson [ New York: William Sloane, 1951; reprint,
Westport, Conn.: Greenwood, 1971]) has acknowledged the presence of Puritan-
ism in Dickinson's poetry. One of the best treatments of Calvinism in the poetry is
Ronald Lanyi, "'My Faith That Dark Adores--': Calvinist Theology in the Poetry
of Emily Dickinson," Arizona Quarterly 32 (Autumn 1976): 264-78. Robert Weisbuch
( Emily Dickinson's Poetry [ Chicago: University of Chicago Press, 1975]) has
argued that Dickinson's bridal role was a means of overcoming the guilt impressed
on her by the Calvinist system, which she could not accept, through a strategy of
asserting her innocence in emblems reserved for the elect. More recently, in a study
of Dickinson's cultural contexts, St. Barton Levi Armand ( Emily Dickinson andHer Culture: The Soul's Society

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Publication Information: Book Title: Emily Dickinson: Daughter of Prophecy. Contributors: Beth Maclay Doriani - author. Publisher: University of Massachusetts Press. Place of Publication: Amherst, MA. Publication Year: 1996. Page Number: 205.
    
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