Dickinson Best Quotes

My best Acquaintances are those With Whom I spoke no Word

If your Nerve, deny you— Go above your Nerve— He can lean against the Grave, If he fear to swerve— That's a steady posture— Never any bend Held of those Brass arms— Best Giant made— If your Soul seesaw— Lift the Flesh door— The Poltroon wants Oxygen— Nothing more—

Who loves you most, and loves you best, and thinks of you when others rest? 'Tis Emilie.

The world is made of stories, which bind us all together, and impossible stories are the best of all, for they bind us in impossible ways.

Look back on Time, with kindly eyes - He doubtless did his best - How softly sinks that trembling sun In Human Nature's West -

I sing to use the waiting, My bonnet but to tie, And shut the door unto my house; No more to do have I, Till, his best step approaching, We journey to the day, And tell each other how we sang To keep the dark away.

I SEE thee better in the dark, I do not need a light. The love of thee a prism be Excelling violet. I see thee better for the years That hunch themselves between, The miner’s lamp sufficient be To nullify the mine. And in the grave I see thee best— Its little panels be A-glow, all ruddy with the light I held so high for thee! What need of day to those whose dark Hath so surpassing sun, It seem it be continually At the meridian?

When the Best is gone - I know that other things are not of consequence - The Heart wants what it wants - or else it does not care -

Look back on time with kindly eyes, He doubtless did his best; How softly sinks his trembling sun In human nature's west!

The reason to read Blake and Dickinson and Freud and Dickens is not to become more cultivated or more articulate... The best reason to read them is to see if they may know you better than you know yourself. You may find your own suppressed and rejected thoughts flowing back to you with an "alienated majesty

This was in the white of the year, That was in the green, Drifts were as difficult then to think As daisies now to be seen. Looking back is best that is left, Or if it be before, Retrospection is prospect’s half, Sometimes almost more.

When the Best is gone - I know that other things are not of consequence - The Heart wants what it wants - or else it does not care.

Part Four: Time and Eternity CXIV I SING to use the waiting, My bonnet but to tie, And shut the door unto my house; No more to do have I, Till, his best step approaching, 5 We journey to the day, And tell each other how we sang To keep the dark away.

If your Nerve, deny you— Go above your Nerve— He can lean against the Grave, If he fear to swerve— That’s a steady posture— Never any bend Held of those Brass arms— Best Giant made— If your Soul seesaw— Lift the Flesh door— The Poltroon wants Oxygen— Nothing more –

When little, friends play house in order to pretend to be family, which is ironic because the beautify of friends is that they are chosen, not given. Should siblings, play friends? And so we 'make' friends or 'find' them? Emily Dickinson thought that the best verb was 'enact'.

The following year the house was substantially remodeled, and the conservatory removed. As the walls of the now crumbling wall were being torn down, one of the workmen chanced upon a small leatherbound book that had apparently been concealed behind a loose brick or in a crevice in the wall. By this time Emily Dickinson was a household name in Amherst. It happened that this carpenter was a lover of poetry- and hers in particular- and when he opened the little book and realized that that he had found her diary, he was “seized with a violent trembling,” as he later told his grandson. Both electrified and terrified by the discovery, he hid the book in his lunch bucket until the workday ended and then took it home. He told himself that after he had read and savored every page, he would turn the diary over to someone who would know how to best share it with the public. But as he read, he fell more and more deeply under the poet’s spell and began to imagine that he was her confidant. He convinced himself that in his new role he was no longer obliged to give up the diary. Finally, having brushed away the light taps of conscience, he hid the book at the back of an oak chest in his bedroom, from which he would draw it out periodically over the course of the next sixty-four years until he had virtually memorized its contents. Even his family never knew of its existence. Shortly before his death in 1980 at the age of eighty-nine, the old man finally showed his most prized possession to his grandson (his only son having preceded him in death), confessing that his delight in it had always been tempered by a nagging guilt and asking that the young man now attempt to atone for his grandfather’s sin. The grandson, however, having inherited both the old man’s passion for poetry and his tendency towards paralysis of conscience, and he readily succumbed to the temptation to hold onto the diary indefinitely while trying to decide what ought to be done with it.

He thought Emily Dickinson was perhaps the best writer America had ever produced; but on this day, heading east out of the Cities, then south down the river, he thought of how some of the writers, Poe and Hemingway in particular, used the weather to create the mood and reflect the meanings of their stories.

VIOLET: August . . . your month. Locusts are raging. “Summer psalm become summer wrath.” ’Course it’s only August out there. In here . . . who knows? All right . . . okay. “The Carriage held but just Ourselves,” dum-de-dum . . . mm, best I got . . . Emily Dickinson’s all I got . . . something something, “Horse’s Heads Were Toward Eternity . . .

I want to understand where power comes from,” she said, without any hesitation. “And how it can best be used.

I sing to use the Waiting My bonnet but to tie, And close the door unto my house No more to do have I 'Till his best step approaching, We journey to the day, And tell each other how we sung To keep the dark away.

But to be furious, murderously furious, is to be alive. No longer young, no longer pretty, no longer loved, or sweet, or lovable, unmasked, writhing on the ground for all to see in my utter ingloriousness, there’s no telling what I might do. I could film my anger and sell it, I could do some unmasking of my own, beat the fuckers at their own game, and on the way I could become the best-known fucking artist in America, out of sheer spite. You never know. I’m angry enough to set fire to a house just by looking at it. It can’t be contained, stored away with the recycling. I’m done staying quietly upstairs. My anger is not a little person’s, a sweet girl’s, a dutiful daughter’s. My anger is prodigious. My anger is a colossus. I’m angry enough to understand why Emily Dickinson shut out the world altogether, why Alice Neel betrayed her children, even though she loved them mightily. I’m angry enough to see why you walk into the water with rocks in your pockets, even though that’s not the kind of angry I am. Virginia Woolf, in her rage, stopped being afraid of death; but I’m angry enough, at last, to stop being afraid of life, and angry enough—finally, God willing, with my mother’s anger also on my shoulders, a great boil of rage like the sun’s fire in me—before I die to fucking well live. Just watch me.

I had no cause to be awake, My best was gone to sleep, And morn a new politeness took And failed to wake them up, But called the others clear, 5 And passed their curtains by. Sweet morning, when I over-sleep, Knock, recollect, for me! I looked at sunrise once, And then I looked at them, 10 And wishfulness in me arose For circumstance the same. ’T was such an ample peace, It could not hold a sigh,— ’T was Sabbath with the bells divorced, ’T was sunset all the day. So choosing but a gown And taking but a prayer, The only raiment I should need, I struggled, and was there.

At first glance, this seems an improbable scenario due to both the Martians’ and Emily Dickinson’s dispositions. Dickinson was a recluse who didn’t meet anybody, preferring to hide upstairs when neighbors came to call and to float notes down on them.14 Various theories have been advanced for her self-imposed hermitude, including Bright’s Disease, an unhappy love affair, eye trouble, and bad skin. T. L. Mensa suggests the simpler theory that all the rest of the Amherstonians were morons.15 None of these explanations would have made it likely that she would like Martians any better than Amherstates, and there is the added difficulty that, having died in 1886, she would also have been badly decomposed.

Of course one’s sense of identification with the nation is inflected by all kinds of particulars, including one’s class, race, gender, and sexual identification. … But [regarding] national character …, aside from references to a national aesthetic — literary, musical, and choreographic, there are two poles I reference: minimalist and maximalist. I love them both — the cryptic poems of Emily Dickinson folded up in tiny packets and hidden away in a box, the sparse, understated choreographies of Merce; but also the “trashy, profane and obscene” poems of Whitman and Ginsberg, [and] Martha Graham’s expressionism. I am, myself, a minimalist. But I love distortion guitar and the wild exhibitionism of so many American artists. Also, these divisions are false. Emily Dickinson, in fact, can be as trashy and obscene as the best of them! Anyway, Dickinson and Whitman are at the heart of this narrative. They are the Dancing Queen and the Guitar Hero.

The way I see it, you have two choices: what’s new and what you know. It’s a bit like when you’re looking for software for your PC or Mac. There will always be the latest program or app or gadget that promises all manner of new and shiny things for you. You don’t know it because you haven’t worked with it before — but that’s exciting because you don’t know what to expect. Compared to this, anything familiar seems dull. But sometimes what you know is the best option: Sure, it might not be as shiny or fancy as the new thing, but you’ve taken the time to get to know it, you know what to expect from it and you can trust it to do what you need it to. You’re frowning. Is this making any sense to you at all?

The poet, when he wrote "Thou wilt come no more, gentle ANNIE," was clearly laboring under a mistake. If he had written "Thou wilt be sure to come again next season, gentle ANNIE," he would have hit it. Lecture committees know this. Miss DICKINSON earns her living by lecturing. Occasionally she takes a turn at scrubbing pavements, or going to hear WENDELL PHILLIPS on "The Lost Arts," or other violent exertion, but her best hold is lecturing. She has followed the business ever since she was a girl, and twenty-four (24) years of steady application have made her no longer a Timid Young Thing. She is not afraid of audiences any more. It is a favorite recreation of the moral boot-blacks and pious

started to read the excellent biography of Blake by Peter Ackroyd. I think it is one of the best of his books, the other being London: The Biography. I got the feeling that Ackroyd was almost channelling the spirit of Blake to rise from the pages and speak directly to the reader.

Chronic pain and grief over loss nonetheless remain as unavoidable facts of lives shaped by catastrophic accident, chronic and progressive illness, or genetic predisposition. Despite their strategic elision in disability studies or transcendence in happy stories in the popular press about trauma overcome, bodily pain and grief persist, to be accounted for as best one can. This book is my contribution to that record. I find that Emily Dickinson is right -- in the wake of great pain, the pulse of life slows, and the interval between life-sustaining beats interminably extends. Life is suspended. In that interval, the difference between the one you once were and the one you have become must be addressed, the pain acknowledged, and the grief admitted. It can be a treacherous process, given all that might be lost.

The Zookeeper’s Wife is the story of Jan and Antonina Zabinski, Polish Christian zookeepers who, horrified by Nazi racism, managed to save more than three hundred people. Author Diane Ackerman writes movingly about Polish émigré Eva Hoffman’s psychic earthquake of having to shed her name in order to save her life: “Nothing much has happened, except a small, seismic mental shift. The twist in our names takes them a tiny distance from us—but it is a gap into which the infinite hobgoblin of abstraction enters.” Suddenly Eva Hoffman’s given name, and that of her sister, no longer exists even though “they were as surely us as our eyes or hands.” The new names were actually “identification tags, disembodied signs pointing to objects that happen to be my sister and myself. We walk to our seats, into a roomful of unknown faces, with names that make us strangers to ourselves.” DISCOVERING WHO YOU ARE Our names, our identities, our figuring out “This is who I am” are a huge part of discovering our dreams. And haven’t many of us said, “I’ll start dreaming once I wrap up with X, Y, or Z project.” At the same time, we are asking ourselves, “Why do I keep putting things off? There’s so much to do but I can’t get anything done.” Perhaps we have it backwards. Perhaps having goals for ourselves is not something to do after we’ve wrapped up X, Y, and Z projects. Perhaps daring to dream is a goal we need to pursue now, because it’s key to getting those X, Y, and Z projects done. Psychologist Timothy Pychyl writes in an article titled “Teenagers, Identity Crises, and Procrastination” that if we can’t answer the questions “Who am I?” and “What am I?” we’re more likely to procrastinate. In other words, the more people know who they are, the less likely they are to procrastinate. Pychyl explains the interconnectedness between identity and agency as follows: “Identity is that knowledge of who we are. . . . Agency is the belief that we are in control of our decisions and responsible for our outcomes. . . . It means we make a difference, we make things happen, we act on the world. Thus, being an active agent depends on identity, or knowing who we are.” Perhaps, then, the best thing we can do is to put our busyness to the side, and instead focus on our identity and our dreams—or, as management consultant Robin Dickinson said after he read Pychyl’s study, “Focus on your To-Be List, before the To-Do List.” When we return to that to-do list we might just find we’re actually beginning to get things done.

I think, probably, whether your're better off in the country or in the city depends, in the final analysis, on where you'd rather be. You're best off where you're the happiest.

By Higginson's report, Emily Dickinson famously remarked, 'If I read a book and it makes my whole body so cold no fire can warm me, I know that it is poetry. If I feel physically as if the top of my head were taken off, I know that it is poetry. These are the only ways I know it. Is there any other way?' She should, in that remark, have shamed forever the facile, the decorative, the easily consoling, the tame. She names, after all, responses that suggest violent transformation, the overturning of complacency by peril. In practice, this has meant that poets quote Dickinson and proceed to write poems from which will and caution and hunger to accommodate present taste have drained all authenticity and unnerving originality. Richard Siken, with the best poets of his impressive generation, has chosen to take Dickinson at her word. I had her reaction.

What has The Decline and Fall to do with it?” “It became his Bible. He was chilled to the bone by it. You should read it, but with caution. It’s quite capable of strangling the soul. Dickinson was a rationalist; he recognized the ultimate truth in the Roman tragedy: that once expansion has stopped, decay is constant and irreversible. Every failure of reason or virtue loses more ground. “I haven’t been able to find his book on Gibbon, but I know what he’ll say: that Gibbon was not writing only of the Romans, nor of the British of his own time. He was writing of us … . “To anyone who thinks in those terms, who looks around him, this world is fast sliding toward a dark age.” We drank silently for a few minutes. I had the sense that time had locked in place, that we sat unmoving, the world frozen around us.

The satirist rose up nobly, their chin to the sky. “It is best to raise our Princes on a high hill away from the city, away from the fields and the grasslands where our people do their labor. Far away from the sickness and the filth of the cities, where we have invented new ways to debase and ruin ourselves. Up here our Princes can concern themselves only with trim and taboos! Up here our Princes can play games of principle instead of working in the fields and the filth! Today the taboo is against going uphill too quickly! That is the most important thing!

We have a moral duty to put ourselves in danger for the innocent. Humanitarian work is the best thing the American military does. Dropping bombs on noncombatants is the worst.

People are always surprised and disturbed by Emily Dickinson's 'reclusive' lifestyle and come up with all sorts of theories to explain her staying in her room, doing her gardening at night, and vanishing upstairs whenever visitors came to call: depression, a skin condition that wouldn't let her out in the sun, lupus, a love affair that ended badly and that she never got over, agoraphobia, epilepsy, etc. I, however, find her behavior completely understandable. She lived in Amherst, Massachusetts, for God's sake.

This was in the white of the year— that—was in the green— drifts were as difficult then to think as daisies now to be seen— Looking back is best that is left or if it be—before— retrospection is prospect’s half, sometimes, almost more.