When a literary icon stays with the Dickinson family, Emily and her housemaid Willa find themselves embroiled in a shocking murder in this new mystery from USA Today bestselling and Agatha Award–winning author Amanda Flower. August 1856. The Dickinson family is comfortably settled in their homestead on Main Street. Emily’s brother, Austin Dickinson, and his new wife are delighted when famous thinker and writer Ralph Waldo Emerson comes to Amherst to speak at a local literary society and decides he and his young secretary, Luther Howard, will stay with the newlyweds. Emily has been a longtime admirer of Emerson’s writing and is thrilled at the chance to meet her idol. She is determined to impress him with her quick wit, and if she can gather the courage, a poem. Willa Noble, the second maid in the Dickinson home and Emily's friend, encourages her to speak to the famous but stern man. But his secretary, Luther, intrigues Willa more because of his clear fondness for the Dickinson sisters. Willa does not know if Luther truly cares for one of the Dickinson girls or if he just sees marrying one of them as a way to raise himself up in society. After a few days in his company, Willa starts to believe it’s the latter. Miss Lavinia, Emily’s sister, appears to be enchanted by Luther; a fact that bothers Emily greatly. However, Emily’s fears are squashed when Luther turns up dead in the Dickinson’s garden. It seems that he was poisoned. Emerson, aghast at the death of his secretary, demands answers. Emily and Willa set out to find them in order to save the Dickinson family reputation and stop a cold-blooded fiend from killing again.

Offers advice on writing essays about the works of Emily Dickinson and lists sample topics for twenty of her poems.

Combining both a historical and a critical approach toward the works of major British, American, French, German and Russian poets, this work surveys a century of high poetic achievement

A new appreciation of the development of Emily Dickinson's poetics.

This is a book about terminals and boundaries, mortality and closure, the infinitesimals of style and the finite limits of representational language, about least and last things together. It is a book, to start with, about three vast and familiar facts of life and art: death, content, and form. Only by their particular triangulation in the genre of prose fiction do they mark out the hypothesis of the present study: that death in fiction is the fullest instance of form indexing content, is indeed the moment when content, comprising the imponderable of negation and vacancy, can be found dissolving to pure form. Death in narrative yields, by yielding to, sheer style.

A massively detailed, illustrated biography of Emily Dickinson.

Dickinson's writings were influenced by her ambivalent attitude toward the conventions of the nineteenth-century literary marketplace and her desire to shape more intimate relations with chosen contemporaries. Still, her poems and letters engage modern readers and speak to the social and gendered politics of our own day. The essays in Dickinson and Audience treat both the importance of Dickinson's personal friendships and the ways in which contemporary poetics continue to sustain the vitality of her writings. With contributions from Willis J. Buckingham, Karen Dandurand, Betsy Erkkila, Virginia Jackson, Charlotte Nekola, Martin Orzeck, David Porter, Robert Regan, Richard B. Sewall, R. McClure Smith, Stephanie A. Tingley, and Robert Weisbuch, the collection boasts a wide variety of critical approaches to the poet and her works - from traditional biographical and historical analyses to deconstructionist, feminist, and reader-response interpretations.

Emily Dickinson is best known as an intensely private, even reclusive writer. Yet the way she has been mythologised has meant her work is often misunderstood. This introduction delves behind the myth to present a poet who was deeply engaged with the issues of her day. In a lucid and elegant style, the book places her life and work in the historical context of the Civil War, the suffrage movement, and the rapid industrialisation of the United States. Wendy Martin explores the ways in which Dickinson's personal struggles with romantic love, religious faith, friendship and community shape her poetry. The complex publication history of her works, as well as their reception, is teased out, and a guide to further reading is included. Dickinson emerges not only as one of America's finest poets, but also as a fiercely independent intellect and an original talent writing poetry far ahead of her time.

In the arena of poetry and poetics over the past century, no idea has been more alive and contentious than the idea of form, and no aspect of form has more emphatically sponsored this marked formal concern than the line. But what, exactly, is the line? Emily Rosko and Anton Vander Zee’s anthology gives seventy original answers that lead us deeper into the world of poetry, but also far out into the world at large: its people, its politics, its ecology. The authors included here, emerging and established alike, write from a range of perspectives, in terms of both aesthetics and identity. Together, they offer a dynamic hybrid collection that captures a broad spectrum of poetic practice in the twenty-first century. Rosko and Vander Zee’s introduction offers a generous overview of conversations about the line from the Romantics forward. We come to see how the line might be an engine for ideals of progress—political, ethical, or otherwise. For some poets, the line touches upon the most fundamental questions of knowledge and existence. More than ever, the line is the radical against which even alternate and emerging poetic forms that foreground the visual or the auditory, the page or the screen, can be distinguished and understood. From the start, a singular lesson emerges: lines do not form meaning solely in their brevity or their length, in their becoming or their brokenness; lines live in and through the descriptions we give them. Indeed, the history of American poetry in the twentieth century could be told by the compounding, and often confounding, discussions of its lines. A Broken Thing both reflects upon and extends this history, charting a rich diffusion of theory and practice into the twenty-first century with the most diverse, wide-ranging and engaging set of essays to date on the line in poetry, revealing how poems work and why poetry continues to matter.