One writer, in reference to EMILY DICKINSON specifically, expressed this wonderful thought:
“penmanship is a form of self-presentation”
This observation is so true. Anyone who works with original documents will testify to the merits of this sentiment.
The writer, Prof. Elisa New, recognizes that “We no longer live in a world with much handwriting..” She stresses that, in looking at the originals, “Dickinson’s poems work as visual, as well as verbal, art.” To this end, the site she highly recommends is the Emily Dickinson Archive: An Open-Access Website for the Manuscripts of Emily Dickinson.
By eschewing the printed word, we readers “can read each poem in her distinctive handwriting, with distinctive punctuation.” No doubt, reading the manuscripts provides a workout! But a satisfactory struggle that brings the reader that much closer to the composer.
When you BROWSE IMAGES by COLLECTION, you will realize just how VAST this online images project is. Amherst College’s collection alone contains over 1660 images. They have been collated from a “lucky” set of thirteen archives, including the Library of Congress (Washington DC) and the Morgan Library & Museum (New York City). When you click on the cross (+) beside each listed site you will see the various manuscripts and be able to choose to see specific documents.
If to know a person is to experience what their hand put upon paper, then I am lucky with my Smith & Gosling research; I have a collection of letters as well as images. I can TOUCH what they have touched, written, read, drawn, and preserved.
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I first began to read ABOUT Emily Dickinson when, in a hospital waiting room, I read a review of the then-just-published biography by Julie Dobrow, After Emily (2018). Dobrow’s research into the life of Mabel Loomis Todd fascinated me, even as it made me intensely dislike the main person (along with Dickinson’s philandering brother, Austin Dickinson). The book also gave me a “second sister” to wish for more information about: sister-in-law Sue Dickinson, in addition to Lavinia Dickinson. It was a great “grief” not to be able to visit Austin and Sue’s home, Evergreens, when I visited the Dickinson Homestead in December of 2022. Both properties, which sit side-by-side on a lovely plot of land in downtown Amherst, Massachusetts, are now open, much-needed renovations having taken place during the covid shut-down.
I now have a good “collection” of Dickinson books, but not the poetry. Dickinson’s LETTERS, my initial interest, needed so much extratextual knowledge, that I had to leave off reading those (in the one-volume book condensed from the three-volume set by Johnson). I remember when this book arrived in the mail! Buttery-soft-fabric-encased hardcover, complete with dust jacket. It was exquisite. “They don’t make them like they used to do!”
Most of my collection are biographical – for that is what intrigues me the most. Like Jane Austen, Emily Dickinson wrote and lived in small village/town. Unlike Jane Austen, Dickinson published very little. Austen, on the other hand, worked hard to get her novels into print. Dickinson could rely on some amount of security, in the family home, with family funds. Austen did not always have the extreme generosity of family, although the female nucleus of her immediate circle did provide the security required for any writer to thrive.
The Dickinsons had their ups and downs, but, as the two house museums attest, they did have a place to call their own. Fans and artists can actually “rent” Emily’s bedroom for some useful “me time.” These are called “Studio Sessions.” I recall reading about this program in one of the (email) newsletters. Wouldn’t Jane Austen’s House Museum in Chawton gain significant funding with such a scheme!
Enjoy the manuscripts, and I will append in the COMMENTS section a list of my Dickinson books for anyone interested.