The Gorgeous Nothings: Emily Dickinson's Envelope Poems

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The Gorgeous Nothings: Emily Dickinson's Envelope Poems

The Gorgeous Nothings: Emily Dickinson's Envelope Poems

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If fame belonged to me, I could not escape her—if she did not, the longest day would pass me on the chase—and the approbation of my Dog, would forsake me—then—My Barefoot-Rank is better— This is beautiful and it certainly encapsulates something of the experience undergone by the poet. But the envelope MS has the following significant variants—none of which are crossed out: Olson , Charles. “Projective Verse.” Collected Prose . Eds. Donald Allen and Benjamin Friedlander. Berkeley: University of California Press, 1997.

Etymology tells us that “secret” also has to do with lines, since it comes from an Indo-European ro (...) Montgomery , Will. The Poetry of Susan Howe: History, Theology, Authority . London: Palgrave MacMillan, 2010. 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. Published by New Directions, the book has the large format of an art book and the different elements of its composition keep a fine balance between the visible and the legible, including for instance a “Visual index” classifying the envelopes according to their shapes. Poised on the limit between the two modes, Marta Werner’s transcripts of the facsimile manuscripts suggest how delicate their interactions can be, particularly by giving prominent visibility to the creases, folds and lines dividing the surfaces of the envelopes.The Gorgeous Nothings] opens up an aspect of her craft that suggests she was, in the so-called late ecstatic period of her career, experimenting with creating texts in relation to the visual, spatial, and technological possibilities of her medium—composing in response to the confines of her writing world rather than despite it. 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 Etymology tells us that “secret” also has to do with lines, since it comes from an Indo-European root word meaning “separate, cut off,” also to be found in “harvest” amongst others. One of Susan Howe’s earliest poetry sequences is entitled Secret History of the Dividing Line (Howe, 1996 87-122). Let’s start from the smallest particle of all, the syllable. It is the king and pin of versificati (...) First, some simplicities that a man learns, if he works in OPEN, or what can also be called COMPOS (...)

But not for all of them, as shown by the recent print edition of the complete poems, the third to b (...) Poet and artist Jen Bervin understands this tension between past and present, as well as between text and object, better than most. Her own art practice beautifully explores this interplay. Her 2004 book of modified Shakespearean sonnets, Nets, is a classic in the world of erasure poetry, and strips the bard’s famous lines “bare to the nets,” chiseling away at the familiar sentences to reveal surprising new poems. tender’ is given with the variant “sovereign” but written in the margin up the side of the paper is “unsuspecting carpenters”. Published by New Directions, the book has the large format of an art book and the different element (...) La busta postale è quella che contiene la lettera, è una sorta di scrigno, qualcosa che avviluppa, contiene, include qualche altra cosa.


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

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