The Implicit Intimacy of Dickinson's Dashes
The dash in Emily Dickinson’s poetry, initially edited away as a sign of incompletion, has since come to be seen as crucial to the impact of her poems. Critics have examined the dash from a myriad of angles, viewing it as a rhetorical notation for oral performance, a technique for recreating the rhythm of a telegraph, or a subtraction sign in an underlying mathematical system.1 However, attempting to define Dickinson’s intentions with the dash is clearly speculative given her varied dash-usage; in fact, one scholar illustrated the fallibility of one dash-interpretation by applying it to one of Dickinson’s handwritten cake recipes (Franklin 120). Instead, I begin with the assumption that “text” as an entity involving both the reading and writing of the material implies a reader’s attempt to recreate the act of writing as well as the writer’s attempt to guide the act of reading. I will focus on the former, given the difficulties surrounding the notion of authorial intention a.k.a. the Death of the Author. Using three familiar Dickinson poems—“The Brain—is wider than the Sky,” “The Soul selects her own Society,” and “This was a Poet—It is that,”—I contend that readers can penetrate the double mystery of Emily Dickinson’s reclusive life and lyrically dense poetry by enjoying a sense of intimacy not dependent upon the content of her poems. The source of this intimacy lies in her remarkable punctuation. Dickinson’s unconventionally-positioned dashes form disjunctures and connections in the reader’s understanding that create the impression of following Dickinson through the creative process towards intimacy with the poet herself.
This implicit intimacy becomes clear ...
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...ickinsonÂ’s highly personal notations. Ironically, what at first seems an idiosyncratic stylistic effect operates to create a deep sense of intimacy between the reader and the creative process of a highly reclusive individual. Far from distancing the reader, the dash actually provides a gateway between the act of reading and the poetÂ’s moment of creation, only possible if we view the text as a shifting co-creation of reader and poet.
Works Cited:
Edith Wylder, The Last Face: Emily Dickinson's Manuscripts (Albuquerque: University of New Mexico Press, 1971).
Jerusha Hall McCormack, “Domesticating Delphi: Emily Dickinson and the Electro-Magnetic Telegraph,” American Quarterly 55.4 (2003) 569-601.
Michael Theune, “’One and One are One’…and Two: An Inquiry into Dickinson’s Use of Mathematical Signs,” The Emily Dickinson Journal 10.1 (2001) 99-116.
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(A detailed analysis of Emily Dickinson’s poetry, and how it related to human understanding and, Dickinson’s view of the individual)
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Scribner, Charles. “Emily Dickinson.” American Writers. Ed. Walton Litz. New York: Charles Scribner’s Sons, 1998
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