Domhnall Mitchell

Emily Dickinson has often been pictured as a sensitive but isolated poet--someone who published very little in her lifetime and limited herself to lyrics, considered to be the kind of poems most removed from social and political life. In recent years, scholars have challenged that view, and this book extends the discussion in valuable new directions. Domhnall Mitchell begins by focusing on three historical phenomena--the railroad, the Dickinson homestead, and horticulture--and argues that poems about trains, home, and flowers engage with thei meanings in ways that extend beyond the confines of the aesthetic. He shows how Dickinson's poems and letters reveal the full complexity of her position as a woman situated within a larger social and economic class. In the second half of the book, Mitchell considers the ideological, textual, and editorial implications of Dickinson's strategic privatization of her art. He relates the particular forms of her manuscripts' appearance, distribution, and collation to aspects of her social as well as her literary consciousness. In a chapter that is certain to provoke debate, he explores what it means to read individual poems and letters in manuscript versions rather than in printed editions. By paying close attention to textual evidence, he makes the case that various features of the manuscripts are actually matters of accident or immediate convenience rather than the visual markers of a new aestheic principle. Mitchell closes by using the theories of Mikhail Bakhtin to explore the contradictions of a "private" poetry that engages verbally in multiple areas of nineteenth-century life and discourse. By attending to the contemporaneous particularities of recurrent words and images, he demonstrates that Dickinson could stay at home and still be at home in history, too.

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A study of the poet's distinctive compositional practices; Debates about editorial proprieties have been at the center of Emily Dickinson scholarship since the 1981 publication of the two-volume Manuscript Books of Emily Dickinson, edited by Ralph W. Franklin. Many critics have since investigated the possibility that autograph poems might have primacy over their printed versions, and it has been suggested that to read Dickinson in any standard typographic edition is effectively to read her in translation, at one remove from her actual practices. More specifically, it has been claimed that line arrangements, the shape of words and letters, and the particular angle of dashes are all potentially integral to any given poem's meaning, making a graphic contribution to its contents. In Measures of Possibility, Domhnall Mitchell sets out to test the hypothesis of Dickinson's textual radicalism, and its consequences for readers, students, and teachers, by looking closely at features such as spacing, the physical direction of the writing, and letter-shapes in hand-written lyric and epistolary texts. Through systematic contextualization and cross-referencing, Mitchell provides the reader with a critical apparatus by which to measure the extent to which contemporary approaches to Dickinson's autograph procedures can reasonably be formulated as corresponding to the poet's own purposes.