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by Dorothy Oberhaus
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History & Criticism
  • Author:
    Dorothy Oberhaus
  • ISBN:
    0271016434
  • ISBN13:
    978-0271016436
  • Genre:
  • Publisher:
    Penn State University Press (November 14, 1996)
  • Pages:
    276 pages
  • Subcategory:
    History & Criticism
  • Language:
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In Emily Dickinson’s Fascicles: Method & Meaning, Dorothy Oberhaus pays Dickinson an even higher compliment-she shows the scriptural power of the poems in the fortieth fascicle

In Emily Dickinson’s Fascicles: Method & Meaning, Dorothy Oberhaus pays Dickinson an even higher compliment-she shows the scriptural power of the poems in the fortieth fascicle. Cynthia L Hallen, Literature and Belief. Dorothy Huff Oberhaus is Professor of English, Mercy College, Dobbs Ferry, New York.

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Emily Dickinson's Fascicles: Method and Meaning by Oberhaus, Dorothy.

The manuscript books of Emily Dickinson, 2 vols. Oberhaus, D. H. (1996). Emily Dickinson’s fascicles: method & meaning. The Emily Dickinson Journal, 5(2), 149–154. Cambridge, MA: Harvard University Press. Dickinson, E. (1998). The poems of Emily Dickinson, 3 vols. The continuing presence of Emily Dickinson. In G. Grabher, R. Hagenbuchle, & C. Miller (Ed., The Emily Dickinson handbook (pp. 3–7). Amherst: University of Massachusetts Press.

Emily Dickinson's Fascicles: Method & Meaning Dorothy Huff Oberhaus Paperback. Dorothy Huff Oberhaus

Emily Dickinson's Fascicles: Method & Meaning Dorothy Huff Oberhaus Paperback. Dorothy Huff Oberhaus. Publisher: Pennsylvania State Univ Pr Feb 1 1997.

Emily Dickinson (Poet to Poet) by Emily Dickinson Paperback Book The Cheap Fast. Emily Dickinson's Fascicles: Method and Meaning by Oberhaus, Dorothy.

Emily Dickinson's Fascicles: Method and Meaning. University Park: Pennsylvania State UP. Dorothy Oberhaus. The second section of the book reads Dickinson’s frequent choice to write about death within a tradition of mourning poetry popular among nineteenth-century American women poets. Petrino presents the surprising-and on that Dickinson’s tendency to write from beyond the grave was not iconoclastic but rather was influenced by epitaphs found on tombstones, such as Death is a debt to nature due, Which I have paid and so must you (108).

In Emily Dickinson’s Fascicles: Method & Meaning, Dorothy Oberhaus pays Dickinson an even higher compliment-she shows the scriptural power of the poems in the fortieth fascicle

In Emily Dickinson’s Fascicles: Method & Meaning, Dorothy Oberhaus pays Dickinson an even higher compliment-she shows the scriptural power of the poems in the fortieth fascicle.

Emily Dickinson's fascicles, the forty booklets comprising more than 800 of her poems that she gathered and bound together with string, had long been cast into disarray until R. W. Franklin restored them to their original state, then made them available to readers in his 1981 Manuscript Books of Emily Dickinson. Many Dickinson readers believe their ordering to be random, while others have proposed that one or more of the fascicles appear to center upon some organizing principle.

In this important critical study, Dorothy Huff Oberhaus demonstrates for the first time the structural principles underlying Emily Dickinson's assembling of the fascicles. Oberhaus argues that Dickinson's fortieth fascicle is a three-part meditation and the triumphant conclusion of a long lyric cycle, the account of a spiritual and poetic pilgrimage that begins with the first fascicle's first poem. The author in turn finds that the other thirty-eight fascicles are meditative gatherings of interwoven poems centering upon common themes.

Discovering the structural principles underlying Dickinson's arrangement of the fascicles presents a very different poet from the one portrayed by previous critics. This careful reading of the fascicles reveals that Dickinson was capable of arranging a long, sustained major work with the most subtle and complex organization. Oberhaus also finds Dickinson to be a Christian poet for whom the Bible was not merely a source of imagery, as has long been thought; rather, the Bible is essential to Dickinson's structure and meaning and therefore an essential source for understanding her poems.

Discovering the structural principles underlying Dickinson’s arrangement of the fascicles presents a very different poet from the one portrayed by previous critics. This careful reading of the fascicles reveals that Dickinson was capable of arranging a long, sustained major work with the most subtle and complex organization. Oberhaus also finds Dickinson to be a Christian poet for whom the Bible was not merely a source of imagery, as has long been thought; rather, the Bible is essential to Dickinson’s structure and meaning and therefore an essential source for understanding her poems.