By Martha Nell Smith
This significant other to America?s maximum girl poet showcases the variety and excellence that signify the thriving box of Dickinson studies.
- Covers biographical ways of Dickinson, the ancient, political and cultural contexts of her paintings, and its severe reception over the years
- Considers concerns in terms of different codecs within which Dickinson?s lyrics were released ? manuscript, print, halftone and electronic facsimile
- Provides incisive interventions into present severe discussions, in addition to establishing up clean components of severe inquiry
- Features new paintings being performed within the critique of nineteenth-century American poetry more often than not, in addition to new paintings being performed in Dickinson studies
- Designed for use along the Dickinson digital files, a web source built over the last ten years
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Extra info for A Companion to Emily Dickinson
Child, Lydia Maria. The American Frugal Housewife. Boston: Carter, Hendee and Company, 1832. Conforti, Joseph A. Imagining New England: Explorations of Regional Identity from the Pilgrims to the Mid-20th Century, Chapel Hill: U of North Carolina P, 2001. Davidoff, Lenore. ” New Society (April 26, 1973): 181–83. Downing, Andrew Jackson. The Architecture of Country Houses. 1850. Rpt. New York: Dover, 1969. Dudden, Faye. Serving Women: Household Service in Nineteenth Century America. Middletown, CT: Wesleyan UP, 1983.
JL 42), many of whom had fled the famine that devastated Ireland in and around 1847. They were a rambunctious lot cooped up in the classroom and Austin registered some difficulty reining them in, as evidenced by his sister’s encouraging letters. His contempt for them was surely little concealed, for Austin is remembered as “despis[ing] the common herd” (Sewall 297, 299). Austin’s pupils gave as good as they got. ” His notion that Africans, Native Americans, the Irish, and Chinese would never “occupy any very high place in the human family” was widely held (Ryan 58–59).
Margaret Maher not only “came to hold a place of her own in contributing to the vital atmosphere of the house,” as the Hollands’ granddaughter noted, but looks to have a played a role in saving Dickinson’s poems from planned destruction – the poems Maher remembered as being “done up in small booklets, probably twelve or fourteen tied together with a string” that Dickinson stored in the maid’s trunk (Ward 96; Murray 726). Dickinson not only depended upon Margaret Maher; that relationship – and surely the close connections she made with Maher’s brother-in-law Tom Kelley and other servants – seems to have dramatically shifted her outlook and behavior, about class if not about race.