While Dickinson wrote love poetry that indicates a strong attachment, it has proved impossible to know the object of her feelings, or even how much was fed by her poetic imagination. The chief tension in her work comes from a different source: her inability to accept the orthodox religious faith of her day and her longing for its spiritual comfort. Immortality she called
the flood subject, and she alternated confident statements of belief with lyrics of despairing uncertainty that were both reverent and rebellious. Her verse, noted for its aphoristic style, its wit, its delicate metrical variation and irregular rhymes, its directness of statement, and its bold and startling imagery, has won enormous acclaim and had a great influence on 20th-century poetry.
Dickinson's posthumous fame began when Mabel Loomis Todd and Higginson edited and published two volumes of poems (1890, 1891) and some of her correspondence (2 vol., 1894). Other editions of verse followed, many of which were marred by unskillful and unnecessary editing. A definitive edition of her works did not appear until the 1950s, when T. H. Johnson published her poems (3 vol., 1955) and letters (3 vol., 1958); only then was serious study of her work possible. Dickinson scholarship was further advanced by R. W. Franklin's variorum edition of her poetry (3 vol., 1998). Dickinson's
scraps, lines written on envelopes, backs of letters, and other scavenged paper, have been published as The Gorgeous Nothings (2013) and Envelope Poems (2016; a selected ed.).
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