Emily Dickinson Love Quotes

If I can stop one heart from breaking, I shall not live in vain.

Morning without you is a dwindled dawn.

The Heart wants what it wants - or else it does not care

Heart, we will forget him, You and I, tonight! You must forget the warmth he gave, I will forget the light.

The lovely flowers embarrass me. They make me regret I am not a bee...

Till I loved I never lived.

Unable are the loved to die. For love is immortality.

Write me of hope and love, and hearts that endured.

That I shall love always, I argue thee that love is life, and life hath immortality

Love is anterior to life, posterior to death, initial of creation, and the exponent of breath.

We outgrow love like other things and put it in a drawer, till it an antique fashion shows like costumes grandsires wore.

If you were coming in the fall, I'd brush the summer by, With half a smile and half a spurn, As housewives do a fly. If I could see you in a year, I'd wind the months in balls, And put them each in separate drawers, Until their time befalls.

My love for those I love -- not many -- not very many, but don't I love them so?

That love is all there is, Is all we know of love.

To see her is a picture— To hear her is a tune— To know her an Intemperance As innocent as June— To know her not—Affliction— To own her for a Friend A warmth as near as if the Sun Were shining in your Hand.

I think of love, and you, and my heart grows full and warm, and my breath stands still.

Till it has loved, no man or woman can become itself.

I hope you love birds too. It is economical. It saves going to heaven.

Heart, we will forget him! You and I, to-night! You may forget the warmth he gave, I will forget the light. When you have done, pray tell me, That I my thoughts may dim; Haste! lest while you’re lagging, I may remember him!

Love is its own rescue; for we, at our supremest, are but its trembling emblems.

I HIDE myself within my flower That wearing on your breast, You, unsuspecting, wear me too— And angels know the rest. I hide myself within my flower, That, fading from your vase, You, unsuspecting, feel for me Almost a loneliness...

That Love is all there is Is all we know of Love, It is enough, the freight should be Proportioned to the groove.

Till I loved I never liked enough.

I measure every Grief I meet With narrow, probing, Eyes; I wonder if It weighs like Mine, Or has an Easier size. I wonder if They bore it long, Or did it just begin? I could not tell the Date of Mine, It feels so old a pain. I wonder if it hurts to live, And if They have to try, And whether, could They choose between, It would not be, to die. I note that Some -- gone patient long -- At length, renew their smile. An imitation of a Light That has so little Oil. I wonder if when Years have piled, Some Thousands -- on the Harm Of early hurt -- if such a lapse Could give them any Balm; Or would they go on aching still Through Centuries above, Enlightened to a larger Pain By Contrast with the Love. The Grieved are many, I am told; The reason deeper lies, -- Death is but one and comes but once, And only nails the eyes. There's Grief of Want and Grief of Cold, -- A sort they call "Despair"; There's Banishment from native Eyes, In sight of Native Air. And though I may not guess the kind Correctly, yet to me A piercing Comfort it affords In passing Calvary, To note the fashions of the Cross, And how they're mostly worn, Still fascinated to presume That Some are like My Own.

The bustle in a house The morning after death Is solemnest of industries Enacted upon earth,-- The sweeping up the heart, And putting love away We shall not want to use again Until eternity

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

Marginalia Sometimes the notes are ferocious, skirmishes against the author raging along the borders of every page in tiny black script. If I could just get my hands on you, Kierkegaard, or Conor Cruise O'Brien, they seem to say, I would bolt the door and beat some logic into your head. Other comments are more offhand, dismissive - Nonsense." "Please!" "HA!!" - that kind of thing. I remember once looking up from my reading, my thumb as a bookmark, trying to imagine what the person must look like who wrote "Don't be a ninny" alongside a paragraph in The Life of Emily Dickinson. Students are more modest needing to leave only their splayed footprints along the shore of the page. One scrawls "Metaphor" next to a stanza of Eliot's. Another notes the presence of "Irony" fifty times outside the paragraphs of A Modest Proposal. Or they are fans who cheer from the empty bleachers, Hands cupped around their mouths. Absolutely," they shout to Duns Scotus and James Baldwin. Yes." "Bull's-eye." "My man!" Check marks, asterisks, and exclamation points rain down along the sidelines. And if you have managed to graduate from college without ever having written "Man vs. Nature" in a margin, perhaps now is the time to take one step forward. We have all seized the white perimeter as our own and reached for a pen if only to show we did not just laze in an armchair turning pages; we pressed a thought into the wayside, planted an impression along the verge. Even Irish monks in their cold scriptoria jotted along the borders of the Gospels brief asides about the pains of copying, a bird singing near their window, or the sunlight that illuminated their page- anonymous men catching a ride into the future on a vessel more lasting than themselves. And you have not read Joshua Reynolds, they say, until you have read him enwreathed with Blake's furious scribbling. Yet the one I think of most often, the one that dangles from me like a locket, was written in the copy of Catcher in the Rye I borrowed from the local library one slow, hot summer. I was just beginning high school then, reading books on a davenport in my parents' living room, and I cannot tell you how vastly my loneliness was deepened, how poignant and amplified the world before me seemed, when I found on one page A few greasy looking smears and next to them, written in soft pencil- by a beautiful girl, I could tell, whom I would never meet- Pardon the egg salad stains, but I'm in love.

Her breast is fit for pearls, But I was not a "Diver" - Her brow is fit for thrones But I have not a crest, Her heart is fit for home- I- a Sparrow- build there Sweet of twigs and twine My perennial nest.

I miss you, mourn for you, and walk the streets alone- often at night, beside, I fall asleep in tears, for your dear face, yet not one word comes back to me. If it is finished, tell me, and I will raise the lid to my box of Phantoms, and lay one more love in; but if it lives and beats still, still lives and beats for me, then say so, and I will strike the strings to one more strain of happiness before I die.

Who has not found the heaven below Will fail of it above. God's residence is next to min, His furniture is love.

Unable are the loved to die, for love is immortality.

Sensuality does not wear a watch but she always gets to the essential places on time. She is adventurous and not particularly quiet. She was reprimanded in grade school because she couldn’t sit still all day long. She needs to move. She thinks with her body. Even when she goes to the library to read Emily Dickinson or Emily Bronte, she starts reading out loud and swaying with the words, and before she can figure out what is happening, she is asked to leave. As you might expect, she is a disaster at office jobs. Sensuality has exquisite skin and she appreciates it in others as well. There are other people whose skin is soft and clear and healthy but something about Sensuality’s skin announces that she is alive. When the sun bursts forth in May, Sensuality likes to take off her shirt and feel the sweet warmth of the sun’s rays brush across her shoulder. This is not intended as a provocative gesture but other people are, as usual, upset. Sensuality does not understand why everyone else is so disturbed by her. As a young girl, she was often scolded for going barefoot. Sensuality likes to make love at the border where time and space change places. When she is considering a potential lover, she takes him to the ocean and watches. Does he dance with the waves? Does he tell her about the time he slept on the beach when he was seventeen and woke up in the middle of the night to look at the moon? Does he laugh and cry and notice how big the sky is? It is spring now, and Sensuality is very much in love these days. Her new friend is very sweet. Climbing into bed the first time, he confessed he was a little intimidated about making love with her. Sensuality just laughed and said, ‘But we’ve been making love for days.

To wait an Hour—is long— If Love be just beyond— To wait Eternity—is short— If Love reward the end—

Love is like the wild rose-briar; Friendship like the holly-tree. The holly is dark when the rose-briar blooms, But which will bloom most constantly? The wild rose-briar is sweet in spring ,Its summer blossoms scent the air; Yet wait till winter comes again, And who will call the wild-briar fair? Then, scorn the silly rose-wreath now, And deck thee with holly's sheen, That, when December blights thy brow, He still may leave thy garland green.

I would have drowned twice to save you sinking, dear.

Write me of hope and love, and hearts that endured. —EMILY DICKINSON

Love is Immortality.

This is my letter to the world, That never wrote to me,-- The simple news that Nature told, With tender majesty. Her message is committed To hands I cannot see; For love of her, sweet countrymen, Judge tenderly of me!

Oh Susie, I often think that I will try to tell you how very dear you are, and how I'm watching for you, but the words won't come, though the tears will, and I sit down disappointed. Yet, darling, you know it all-- then why do I seek to tell you? I do not know. In thinking of those I love, my reason is all gone from me, and I do fear sometimes that I must make a hospital for the hopelessly insane, and chain myself up there so I won't injure you.

Love can do all but raise the Dead I doubt if even that From such a giant were withheld Were flesh equivalent But love is tired and must sleep, And hungry and must graze And so abets the shining Fleet Till it is out of gaze.

I suppose that having lost true love once, I never wanted to replace it with a lukewarm approximation that would only serve to make me remember it forever.

At some level, all love is combat, a wrestling with ghosts.

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 shall think of you at sunset, and at sunrise, again; and at noon, and forenoon, and afternoon, and always, and evermore, till this little heart stops beating and is still.

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?

To lose the approbation of my dog is a thing too horrible to contemplate.

If you were coming in the Fall, I'd brush the Summer by With half a smile and half a spurn, As Housewives do a Fly. If I could see you in a year, I'd wind the months in balls — And put them each in separate Drawers, For fear the numbers fuse — If only Centuries, delayed, I'd count them on my Hand, Subtracting, till my fingers dropped Into Van Diemen's land. If certain, when this life was out, That yours and mine should be, I ’d toss it yonder like a rind, And taste eternity. But, now, uncertain of the length Of this, that is between, It goads me, like the Goblin Bee, That will not state — its sting.

How vain it seems to write, when one knows how to feel-- how much more near and dear to sit beside you, talk with you, hear the tones of your voice...Give me strength, Susie, write me of hope and love, and of hearts that endure...

I love the cause that slew me

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 -

...Dearer you cannot be, for I love you so already, that it almost breaks my heart - perhaps I can love you anew, every day of my life, every morning and evening - oh, if you will let me, how happy I shall be!

They dropped like flakes, they dropped like stars, Like petals from a rose, When suddenly across the lune A wind with fingers goes. They perished in the seamless grass, No eye could find the place; But God on his repealless list Can summon every face

Listen, we’ll come visit you. Okay? I’ll dress up as William Shakespeare, Lucent as Emily Dickinson, and beautiful ‘Ray’ as someone dashing and manly like Jules Verne or Ernest Hemingway...and we’ll write on your white-room walls. We’ll write you out of your supposed insanity. I love you, Micky Affias. -James (from "Descendants of the Eminent")

Did the harebell loose her girdle To the lover bee, Would the bee the harebell hallow Much as formerly?

The Daisy follows soft the Sun— And when his golden walk is done— Sits shyly at his feet— He—waking—finds the flower there— Wherefore—Marauder—art thou here? Because, Sir, love is sweet! We are the flower—Thou the Sun! Forgive us, if as days decline— We nearer steal to thee! Enamored of the parting West— The peace—the flight—the Amethyst— Night's possibility!

I need you more and more, and the great world grows wider, and dear ones fewer and fewer, every day that you stay away --

Until you have loved, you cannot become yourself.

Unable are the Loved to die, for Love is Immortality

,To own a Susan of my own Is of itself a Bliss — Whatever realm I forfeit, Lord, Continue me in this!

The worm doth woo the mortal, death claims a living bride, Night unto day is married, morn unto eventide, Earth a merry damsel, and heaven a knight so true, And Earth is quite coquettish, and beseemeth in vain to sue.

After you went, a low wind warbled through the house like a spacious bird, making it high but lonely. When you had gone the love came. I supposed it would. The supper of the heart is when the guest has gone.

Mr. O'Donnell was at the library counter, performing the sort of grim rituals librarians perform with index cards and stumpy pencils and those rubber stamps with columns of rotating numbers. "Ms. Auerbach! What will it be today? Camus? Cervantes?" "Actually I'm looking for a book of poetry by Emily Dickinson" He paused somberly, toying with the twirled tip of his mustache. No matter how seriously librarians are engaged in their work, they are always glad to be interrupted when the theme is books. It makes no difference to them how simple the search is or how behind on time either of you might be running - they consider all queries scrupulously. They love to have their knowledge tested. They lie in wait, they will not be rushed.

Oh Susie, I would nestle close to your warm heart, and never hear the wind blow, or the storm beat, again. Is there any room there for me, or shall I wander away all homeless and alone? Thank you for loving me, darling...

Summer-we all have seen- A few of us-believed- A few the more aspiring Unquestionably loves... .

That Love is all there is, Is all we know of Love…. —Emily Dickinson

Your poetry--it doesn't deserve to be locked away, hidden from the rest of the world. And neither do you.

For love is immortality.

The small heart cannot break. The ecstasy of its penalty solaces the large.

That love is all there is; is all we know of love. It is enough; the freight should be proportioned to the groove.

Lest Love should value less What loss would value more, Had it the stricken privilege --- It cherishes before.

Unable are the Loved to die, for Love is Immortality,” Jet said, quoting Emily Dickinson.

Proud of my broken heart since thou didst Break it, Proud of the pain I did not feel till thee

Unable are the Loved to die, For Love is Immortality … EMILY DICKINSON

Water is taught by thirst; Land, by the oceans passed; Transport, by throe; Peace, by its battles told; Love, by memorial mould; Birds, by the snow.

Hope is the thing with feathers,’ the lovely Miss Emily Dickinson once wrote. Well, if that’s the case, then a wish is the thing with black feathers.

You left me - Sire - two Legacies A Legacy of Love A Heavenly Father Had He the offer of - You left me Boundaries of Pain - Capacious as the Sea - Between Eternity and Time - Your Consciousness - and Me -

Unable are the Loved to die / For Love is Immortality, / Nay, it is Deity — / Unable they that love — to die / For Love reforms Vitality / Into Divinity

Books become my refuge. Reading keeps me hopeful. I fall in love with small poems, the shorter the better- haiku from Japan, and tiny rhymes by Emily Dickinson.

That Love is all there is, Is all we know of Love

You left me, sweet, two legacies, A legacy of love A Heavenly Father would content, Had He the offer of; You left me boundaries of pain Capacious as the sea, Between eternity and time, Your consciousness and me.

BEQUEST. You left me, sweet, two legacies, — A legacy of love A Heavenly Father would content, Had He the offer of; You left me boundaries of pain Capacious as the sea, Between eternity and time, Your consciousness and me.

I had no time to hate, because The grave would hinder me, And life was not so ample I Could finish enmity. Nor had I time to love ; but since Some industry must be, The little toil of love, I thought, Was large enough for me.

Love not me for comely grace, For my pleasing eye or face; Nor for any outward part, No, nor for my constant heart: For those may fail or turn to ill, So thou and I shall sever. Keep therefore a true woman's eye, And love me still, but know not why; So hast thou the same reason still To doat upon me ever.

I only know that when you shall come back again, the Earth will seem more beautiful, and bigger than it does now, and the blue sky from the window will be all dotted with gold -- though it may not be evening, or time for the stars to come.

She (Emily Dickinson) loved simplicity, and perhaps withdrrew into seclusion because it was the simplest way of doing what she wanted to do; express her ideas and thoughts in poetry which no one whom she knew would understand. This was as natural to her as breathing, but the pretense of the people around her seemed unnatural.

MY worthiness is all my doubt, His merit all my fear, Contrasting which, my qualities Do lowlier appear; Lest I should insufficient prove 5 For his beloved need, The chiefest apprehension Within my loving creed. So I, the undivine abode Of his elect content, 10 Conform my soul as ’t were a church Unto her sacrament.

Come with me this morning to the church within our hearts, where the bells are always ringing, and the preacher whose name is love — shall intercede for us!

And I, could I stand by And see you freeze, Without my right of frost, Death's privilege?

To own a Susan of my own Is of itself a Bliss — Whatever realm I forfeit, Lord, Continue me in this!

Sometimes you can make yourself do things that are good for you when you believe you’re doing them for someone you love. The benefit comes without selfishness then.

Like art, sex is fraught with symbols. Family romance (Freud) means that adult sex is always representation, ritualistic acting out of vanished realities.

Love's stricken "why" Is all that love can speak— Built of but just a syllable, The hugest hearts that break.

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.

At some level, all love is combat, a wrestling with ghosts. We are only for something by being against something else. People who believe they are having pleasant, casual, uncomplex sexual encounters, whether with friend, spouse, or stranger are blocking from consciousness the tangle of psychodynamics at work, just as they block the hostile clashings of their dream life.

How glad I am that spring has come, and how it calms my mind when wearied with study to walk out in the green fields and beside the pleasant streams in which South Hadley is rich! ... The older I grow, the more do I love spring and spring flowers. Is it not so with you? (May 16, 1848 to Abiah Root)

Dich hab ich nicht erreicht- Doch nähert Tag für Tag Sich dir mein Fuß Drei Flüsse noch und ein Berg Ich überqueren muss. Noch Eine Wüste, noch ein Meer, Die Reise aber zähl ich nicht, Wenn ich dann vor Dir steh. Wir schreiten leicht, wie Schnee wir stehen, die Wasser murmeln leis. Flüsse, Wüsten, Berg und Meer sind von uns durchlaufen. Doch Tod entreißt mir meinen Preis, Dich schauend, er gewinnt.

Why Do I Love You. Sir? 'Why do I love'You. Sir? Because- The Wind does not require the Grass To answer-Wherefore when He pass She cannot keep Her place. Because He knows-and Do not You- And We know not- Enough for Us The wisdom it be so- The Lightning-never asked an Eye Wherefore it struck-when He was by Because He knows it cannot speak- And reason not contained- -Of Talk- There he preferred by Daintier Folk- The Sunrise-Sir-compelleth Me- Because He's Sunrise-and I see- Therefore-Then- I love Thee-

To fight aloud, is very brave- But gallanter, I know Who charge within the bosom The Cavalry of Woe- Who win, and nations do not see- Who fall- and none observe- Whose dying eyes, no Country Regards with patriot love- We trust, in plumed procession For such, the Angels go- Rank after rank, with even feet- And Uniforms of snow.

I had no time to Hate— Because The Grave would hinder Me— And Life was not so Ample I Could finish—Enmity— Nor had I time to Love— But since Some Industry must be— The little Toil of Love— I thought Be large enough for Me—

This is my letter to the World That never wrote to Me - That simple News that Nature told - With tender Majesty - Her Message is committed To Hands I cannot see - For love of Her - Sweet - countrymen - Judge tenderly - of Me

The unifying theme is resilience and faith. The unifying theme is being a warrior and a motherfucker. It is not fragility. It’s strength. It’s nerve. And “if your Nerve, deny you—,” as Emily Dickinson wrote, “go above your Nerve.

I did not reach thee, But my feet slip nearer every day; Three Rivers and a Hill to cross, One Desert and a Sea— I shall not count the journey one When I am telling thee. Two deserts—but the year is cold So that will help the sand— One desert crossed, the second one Will feel as cool as land. Sahara is too little price To pay for thy Right hand! The sea comes last. Step merry, feet! So short have we to go To play together we are prone, But we must labor now, The last shall be the lightest load That we have had to draw. The Sun goes crooked—that is night— Before he makes the bend We must have passed the middle sea, Almost we wish the end Were further off—too great it seems So near the Whole to stand. We step like plush, we stand like snow— The waters murmur now, Three rivers and the hill are passed, Two deserts and the sea! Now Death usurps my premium And gets the look at Thee.

Hope is the thing with feathers,” Arthur whispered. Linus surprised him, then, and Arthur loved him more than he could put into words. “‘That perches in the soul and sings the tune without the words, and never stops—at all.’ Emily Dickinson.

Will you let me come dear Susie - looking just as I do, my dress soiled and worn, my grand old apron, and my hair - Oh Susie, time would fail me to enumerate my appearance, yet I love you just as dearly as if I was e'er so fine, so you wont care, will you?

My worthiness is all my doubt, His merit all my fear, Contrasting which, my qualities Do lowlier appear ; Lest I should insufficient prove For his beloved need, The chiefest apprehension Within my loving creed. So I, the undivine abode Of his elect content, Conform my soul as 't were a church Unto her sacrament.

Herman Melville is not comforting. Emily Dickinson isn’t either. Maybe their work is too hungry for comfort, or just too vivid for comfort. But Henry James is – profoundly so. Because he is tender. The tenderness is there in the structure of the sentence. He knows the way the poor and the dead are forgotten by the living, and he cannot allow that to happen. So he keeps on writing for them, for the dead, as if they were children to be sheltered and loved, never abandoned.

LOVE'S BAPTISM. I'm ceded, I've stopped being theirs; The name they dropped upon my face With water, in the country church, Is finished using now, And they can put it with my dolls, My childhood, and the string of spools I've finished threading too. Baptized before without the choice, But this time consciously, of grace Unto supremest name, Called to my full, the crescent dropped, Existence's whole arc filled up With one small diadem. My second rank, too small the first, Crowned, crowing on my father's breast, A half unconscious queen; But this time, adequate, erect, With will to choose or to reject. And I choose — just a throne.

Then she whispered Emily Dickinson’s words: The sweeping up the heart, And putting Love away We shall not want to use again Until Eternity.

And whose 'I'll meet you' hesitates If love inquire, 'Where?

Unable are the Loved to die, for Love is Immortality,” the boy said. When he saw the way Jet was looking at him he laughed. “I didn’t come up with that, Emily Dickinson

The Sunrise—Sire—compelleth Me— Because He's Sunrise—and I see— Therefore—Then— I love Thee—

Hope is the thing with feathers,’ the lovely Miss Emily Dickinson once wrote. Well, if that’s the case, then a wish is a thing with black feathers.

stillborn love notes provide small satisfaction

The shore is safer, Abiah, but I love to buffet the sea - I can count the bitter wrecks here in these pleasant waters, and hear the murmuring winds, but oh, I love the danger!

We outgrow love like other things And put it in the drawer,

A face devoid of love or grace, A hateful, hard, successful face, A face with which a stone Would feel as thoroughly at ease As were they old acquaintances, —

I have no Life but this— To lead it here— Nor any Death—but lest Dispelled from there— Nor tie to Earths to come— Nor Action new— Except through this extent— The Realm of you—

Who counts the wampum of the night to see that none is due?

That Love is all there is, Is all we know of Love; It is enough, the freight should be Proportioned to the groove.

I wept a tear here, Susie - on purpose for you - because this "sweet silver moon" smiles in on me and Vinnie, and then it goes so far before it gets to you...

Never mind the letter, Susie; you have so much to do; just write me every week one line, and let it be, "Emily, I love you," and I will be satisfied!

A breathless Death is not so cold as a Death that breathes.

Love can do all but raise the Dead—returned to me from English studies, as did the name of the poet, Emily Dickinson.

That Love is all there is, Is all we know of Love; It is enough, the freight should be Proportioned to the groove.

I see thee better - in the Dark — I do not need a Light The Love of Thee — a Prism be — Excelling Violet —

The Bustle in a House The Morning after Death Is solemnest of industries Enacted upon Earth — The Sweeping up the Heart And putting Love away We shall not want to use again Until Eternity —

Safe Despair it is that raves Agony is frugal. Puts itself severe away For its own perusal. Garrisoned no Soul can be In the Front of Trouble Love is one, not aggregate Nor is Dying double -

Proud of my broken heart, since thou didst break it, Proud of the pain I did not feel till thee, Proud of my night, since thou with moons dost slake it, Not to partake thy passion, my humility.

Most of my life, I've romanticized death. I used to love the idea of something being so tremendous that is was worth dying for. But I was wrong. I think the most magnificent things are worth living for.

Her breast is fit for pearls, But I was not a “Diver” – Her brow is fit for thrones But I have not a crest. Her heart is fit for home – I – a Sparrow- build there Sweet of twigs and twine My perennial nest

dont you go Susie, not to their meeting, but come with me this morning to the church within our hearts, where the bells are always ringing, and the preacher whose name is Love – shall intercede there for us!

You left me, sweet, two legacies, -- A legacy of love A Heavenly Father would content, Had He the offer of; You left me boundaries of pain Capacious as the sea, Between eternity and time, Your consciousness and me.

This is my letter to the World That never wrote to Me — The simple News that Nature told — With tender Majesty Her Message is committed To Hands I cannot see For love of Her — Sweet — countrymen — Judge tenderly — of Me

If I dismiss the ordinary — waiting for the special, the extreme, the extraordinary to happen — I may just miss my life… To allow ourselves to spend afternoons watching dancers rehearse, or sit on a stone wall and watch the sunset, or spend the whole weekend rereading Chekhov stories—to know that we are doing what we’re supposed to be doing — is the deepest form of permission in our creative lives. The British author and psychologist Adam Phillips has noted, 'When we are inspired, rather like when we are in love, we can feel both unintelligible to ourselves and most truly ourselves.' This is the feeling I think we all yearn for, a kind of hyperreal dream state. We read Emily Dickinson. We watch the dancers. We research a little known piece of history obsessively. We fall in love. We don’t know why, and yet these moments form the source from which all our words will spring.

You left me - Sire -two Legacies - A Legacy of Love A Heavenly Father would suffice Had He the offer of - You left me Boundaries of Pain - Capacious as the Sea - Between Etemity and Time - Your Consciousness - and Me - 644

 You left me, sweet, two legacies,— A legacy of love A Heavenly Father would content, Had he the offer of; You left me boundaries of pain Capacious as the sea, Between eternity and time, Your consciousness and me. —Emily Dickinson

To pile like Thunder to its close, Then crumble grand away, While everything created hid — This would be Poetry: Or Love, — the two coeval came — We both and neither prove, Experience either, and consume — For none see God and live.

Part Three: Love V DOUBT me, my dim companion! Why, God would be content With but a fraction of the love Poured thee without a stint. The whole of me, forever, 5 What more the woman can,— Say quick, that I may dower thee With last delight I own! It cannot be my spirit, For that was thine before; 10 I ceded all of dust I knew,— What opulence the more Had I, a humble maiden, Whose farthest of degree Was that she might 15 Some distant heaven, Dwell timidly with thee!

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.

Love is immortality Che sempre amai questo ti sia di prova: che per quanto abbia amato Non ho vissuto abbastanza. Che amerò sempre te lo assicuro, l’amore è vita - e la vita è immortale. Dubiti ancora, Amore? Ecco, allora non ho altro da mostrare che il mio Calvario.

A single Screw of Flesh Is all that pins the Soul That stands for Deity, to Mine, Upon my side the Veil – Once witnessed of the Gauze – Its name is put away As far from mine, as if no plight Had printed yesterday, In tender – solemn Alphabet, My eyes just turned to see, When it was smuggled by my sight Into Eternity – More Hands – to hold – These are but Two – One more new-mailed Nerve Just granted, for the Peril's sake – Some striding – Giant – Love – So greater than the Gods can show, They slink before the Clay, That not for all their Heaven can boast Will let its Keepsake – go

They call each other ‘E.’ Elvis picks wildflowers near the river and brings them to Emily. She explains half-rhymes to him. In heaven Emily wears her hair long, sports Levis and western blouses with rhinestones. Elvis is lean again, wears baggy trousers and T-shirts, a letterman’s jacket from Tupelo High. They take long walks and often hold hands. She prefers they remain just friends. Forever. Emily’s poems now contain naugahyde, Cadillacs, Electricity, jets, TV, Little Richard and Richard Nixon. The rock-a-billy rhythm makes her smile. Elvis likes himself with style. This afternoon he will play guitar and sing “I Taste A Liquor Never Brewed” to the tune of “Love Me Tender.” Emily will clap and harmonize. Alone in their cabins later, they’ll listen to the river and nap. They will not think of Amherst or Las Vegas. They know why God made them roommates. It’s because America was their hometown. It’s because God is a thing without feathers. It’s because God wears blue suede shoes.

I love art almost as much as I love books. It’s hard to explain the way I feel when I see a beautiful painting. It’s a combination of scared, happy, excited, and sad all at once, like a soft light that glows in my chest and stomach for a few seconds. Sometimes it takes my breath away, which I didn’t know was a real thing until I stood in front of this painting. I used to think it was just some saying in pop songs about stupid people in love. I had a similar feeling when I read an Emily Dickinson poem. I was too excited and threw my book across the room. It was so good that it made me angry. People would think I'm nuts if I try to explain it to them, so I don't.

Dream Song 187 Them lady poets must not marry, pal. Miss Dickinson—fancy in Amherst bedding hér. Fancy a lark with Sappho, a tumble in the bushes with Miss Moore, a spoon with Emily, while Charlotte glare. Miss Bishop’s too noble-O. That was the lot. And two of them are here as yet, and—and: Sylvia Plath is not. She—she her credentials has handed in, leaving alone two tots and widower to what he makes of it— surviving guy, & when Tolstoy’s pathetic widow doing her whung (after them decades of marriage) & kids, she decided he was queer & loving his agent. Wherefore he rush off, leaving two journals, & die. It is a true error to marry with poets or to be by them.

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.

She knew he would, and Jacob had said she could use the phone to call him. But she had not. How would she say the words: Please come; I’m in jail, charged with murder. Carefully, she put the paper back into the bag and lifted out the World War I compass Tate had given her. She let the needle swing north and watched it settle true. She held it against her heart. Where else would one need a compass more than in this place? Then she whispered Emily Dickinson’s words: The sweeping up the heart, And putting Love away We shall not want to use again Until Eternity. 46. King of the World 1969 The September sea and sky glistened pale blue from a soft sun as Kya churned in her little boat toward Jumpin’s to get the bus schedule

Answering Emily This traverse may the poorest take Without oppress of toll; How Frugal is the chariot That bears a human soul! ~Emily Dickinson Is it really so hard to love this man Which to your siren's calls been lured? Cannot his kiss traverse the oceans depths Piggy-backed upon his word? Neither frigate, freighter nor chariot, Hitched to Hermes’s heels, Can convey the breadth of purest love That this heart truly feels.

The unifying theme is resilience and faith. The unifying theme is being a warrior and a motherfucker. It is not fragility. It’s strength. It’s nerve. And “if your Nerve, deny you—,” as Emily Dickinson wrote, “go above your Nerve.” Writing is hard for every last one of us—straight white men included. Coal mining is harder. Do you think miners stand around all day talking about how hard it is to mine for coal? They do not. They simply dig.

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.

Because that you are going And never coming back And I, however absolute, May overlook your Track - Because that Death is final, However first it be, This instant be suspended Above Mortality - Significance that each has lived The other to detect Discovery not God himself Could now annihilate Eternity, Presumption The instant I perceive That you, who were Existence Yourself forgot to live - The “Life that is” will then have been A thing I never knewAs Paradise fictitious Until the Realm of you- The “Life that is to be,” to me, A Residence too plain Unless m my Redeemer’s Face I recognize your own - Of Immortality who doubts He may exchange with me Curtailed by your obscuring Face Of everything but He - Of Heaven and Hell I also yield The Right to reprehend To whoso would commute this Face For his less priceless Friend. If “God is Love” as he admits We think that he must be Because he is a “jealous God” He tells us certainly If “All is possible widi” him As he besides concedes He will refund us finally Our confiscated Gods -

Because that you are going 1260 Because that you are going And never coming back And I, however absolute, May overlook your Track— Because that Death is final, However first it be, This instant be suspended Above Mortality— Significance that each has lived The other to detect Discovery not God himself Could now annihilate Eternity, Presumption The instant I perceive That you, who were Existence Yourself forgot to live— The “Life that is” will then have been A thing I never knew— As Paradise fictitious Until the Realm of you— The “Life that is to be,” to me, A Residence too plain Unless in my Redeemer’s Face I recognize your own— Of Immortality who doubts He may exchange with me Curtailed by your obscuring Face Of everything but He— Of Heaven and Hell I also yield The Right to reprehend To whoso would commute this Face For his less priceless Friend. If “God is Love” as he admits We think that me must be Because he is a “jealous God” He tells us certainly If “All is possible with” him As he besides concedes He will refund us finally Our confiscated Gods—

It’s hard to explain the way I feel when I see a beautiful painting. It’s a combination of scared, happy, excited, and sad all at once, like a soft light that glows in my chest and stomach for a few seconds. Sometimes it takes my breath away, which I didn’t know was a real thing until I stood in front of this painting. I used to think it was just some saying in pop songs about stupid people in love. I had a similar feeling when I read an Emily Dickinson poem. I was too excited and threw my book across the room. It was so good that it made me angry. People would think I’m nuts if I try to explain it to them, so I don’t.

My love of publishing goes back to my first job on the hometown newspaper when I was a 16-year-old cub reporter, but I caught a novel version of the word and the idea at a 1980 poetry reading by Allan Ginsberg. That night he exhorted all in the audience to remember the original sense of the word when he said that every public reading of a poem was a bona fide form of publishing, taking the good word to the people. For the last word on getting published let’s turn to one of the least recognized, in her own time, of all great writers, Emily Dickinson, who said, “Publication—is the auction of the Mind of Man.” Of her 1775 poems, only seven were published in her lifetime, which flies in the face of the academic exhortation to “publish or perish.” Dickinson rarely published, but her poetry is imperishable.

But since we’re on the topic of identity and narrative voice - here’s an interesting conundrum. You may know that The Correspondence Artist won a Lambda Award. I love the Lambda Literary Foundation, and I was thrilled to win a Lammy. My book won in the category of “Bisexual Fiction.” The Awards (or nearly all of them) are categorized according to the sexual identity of the dominant character in a work of fiction, not the author. I’m not sure if “dominant” is the word they use, but you get the idea. The foregrounded character. In The Correspondence Artist, the narrator is a woman, but you’re never sure about the gender of her lover. You’re also never sure about the lover’s age or ethnicity - these things change too, and pretty dramatically. Also, sometimes when the narrator corresponds with her lover by email, she (the narrator) makes reference to her “hard on.” That is, part of her erotic play with her lover has to do with destabilizing the ways she refers to her own sex (by which I mean both gender and naughty bits). So really, the narrator and her lover are only verifiably “bisexual” in the Freudian sense of the term - that is, it’s unclear if they have sex with people of the same sex, but they each have a complex gender identity that shifts over time. Looking at the various possible categorizations for that book, I think “Bisexual Fiction” was the most appropriate, but better, of course, would have been “Queer Fiction.” Maybe even trans, though surely that would have raised some hackles. So, I just submitted I’m Trying to Reach You for this year’s Lambda Awards and I had to choose a category. Well. As I said, the narrator identifies as a gay man. I guess you’d say the primary erotic relationship is with his boyfriend, Sven. But he has an obsession with a weird middle-aged white lady dancer on YouTube who happens to be me, and ultimately you come to understand that she is involved in an erotic relationship with a lesbian electric guitarist. And this romance isn’t just a titillating spectacle for a voyeuristic narrator: it turns out to be the founding myth of our national poetics! They are Emily Dickinson and Walt Whitman! Sorry for all the spoilers. I never mind spoilers because I never read for plot. Maybe the editor (hello Emily) will want to head plot-sensitive readers off at the pass if you publish this paragraph. Anyway, the question then is: does authorial self-referentiality matter? Does the national mythos matter? Is this a work of Bisexual or Lesbian Fiction? Is Walt trans? I ended up submitting the book as Gay (Male) Fiction. The administrator of the prizes also thought this was appropriate, since Gray is the narrator. And Gray is not me, but also not not me, just as Emily Dickinson is not me but also not not me, and Walt Whitman is not my lover but also not not my lover. Again, it’s a really queer book, but the point is kind of to trip you up about what you thought you knew about gender anyway.

From Walt: The Grapes of Wrath, Les Misérables, To Kill a Mockingbird, Moby-Dick, The Ox-Bow Incident, A Tale of Two Cities, The Adventures of Huckleberry Finn, The Three Musketeers, Don Quixote (where your nickname came from), The Complete Works of William Shakespeare, and anything by Anton Chekhov. From Henry: Bury My Heart at Wounded Knee, Cheyenne Autumn, War and Peace, The Things They Carried, Catch-22, The Sun Also Rises, The Blessing Way, Beyond Good and Evil, The Teachings of Don Juan, Heart of Darkness, The Human Comedy, The Art of War. From Vic: Justine, Concrete Charlie: The Story of Philadelphia Football Legend Chuck Bednarik, Medea (you’ll love it; it’s got a great ending), The Kama Sutra, Henry and June, The Onion Field, Fear and Loathing in Las Vegas, Zorba the Greek, Madame Bovary, Richie Ashburn’s Phillies Trivia (fuck you, it’s a great book). From Ruby: The Holy Bible (New Testament), The Pilgrim’s Progress, Inferno, Paradise Lost, My Ántonia, The Scarlet Letter, Walden, Poems of Emily Dickinson, My Friend Flicka, Our Town. From Dorothy: The Gastronomical Me, The French Chef Cookbook (you don’t eat, you don’t read), Last Suppers: Famous Final Meals From Death Row, The Bonfire of the Vanities, The Scarlet Pimpernel, Something Fresh, The Sound and the Fury, The Maltese Falcon, Pride and Prejudice, Brides-head Revisited. From Lucian: Thirty Seconds over Tokyo, Band of Brothers, All Quiet on the Western Front, The Virginian, The Basque History of the World (so you can learn about your heritage you illiterate bastard), Hondo, Sackett, The Man Who Shot Liberty Valance, Bobby Fischer: My 60 Memorable Games, The Rise and Fall of the Third Reich, Quartered Safe Out Here. From Ferg: Riders of the Purple Sage, Kiss Me Deadly, Lonesome Dove, White Fang, A River Runs Through It (I saw the movie, but I heard the book was good, too), Kip Carey’s Official Wyoming Fishing Guide (sorry, kid, I couldn’t come up with ten but this ought to do).

If we consider the possibility that all women–from the infant suckling her mother’s breast, to the grown woman experiencing orgasmic sensations while suckling her own child, perhaps recalling her mother’s milk-smell in her own; to two women, like Virginia Woolf’s Chloe and Olivia, who share a laboratory; to the woman dying at ninety, touched and handled by women–exist on a lesbian continuum, we can see ourselves as moving in and out of this continuum, whether we identify ourselves as lesbian or not. It allows us to connect aspects of woman-identification as diverse as the impudent, intimate girl-friendships of eight- or nine-year-olds and the banding together of those women of the twelfth and fifteenth centuries known as Beguines who “shared houses, rented to one another, bequeathed houses to their room-mates … in cheap subdivided houses in the artisans’ area of town,” who “practiced Christian virtue on their own, dressing and living simply and not associating with men,” who earned their livings as spinners, bakers, nurses, or ran schools for young girls, and who managed–until the Church forced them to disperse–to live independent both of marriage and of conventual restrictions. It allows us to connect these women with the more celebrated “Lesbians” of the women’s school around Sappho of the seventh century B.C.; with the secret sororities and economic networks reported among African women; and with the Chinese marriage resistance sisterhoods–communities of women who refused marriage, or who if married often refused to consummate their marriages and soon left their husbands–the only women in China who were not footbound and who, Agnes Smedley tells us, welcomed the births of daughters and organized successful women’s strikes in the silk mills. It allows us to connect and compare disparate individual instances of marriage resistance: for example, the type of autonomy claimed by Emily Dickinson, a nineteenth-century white woman genius, with the strategies available to Zora Neale Hurston, a twentieth-century black woman genius. Dickinson never married, had tenuous intellectual friendships with men, lived self-convented in her genteel father’s house, and wrote a lifetime of passionate letters to her sister-in-law Sue Gilbert and a smaller group of such letters to her friend Kate Scott Anthon. Hurston married twice but soon left each husband, scrambled her way from Florida to Harlem to Columbia University to Haiti and finally back to Florida, moved in and out of white patronage and poverty, professional success and failure; her survival relationships were all with women, beginning with her mother. Both of these women in their vastly different circumstances were marriage resisters, committed to their own work and selfhood, and were later characterized as “apolitical ”. Both were drawn to men of intellectual quality; for both of them women provided the ongoing fascination and sustenance of life.

There are similar mutilations of many letters, especially Emily’s early letters to Austin, written when he was in love with Sue, and letters to Sue filled with Emily’s parallel, more entrancing ardour. All the mutilations are designed to obliterate the poet’s attachment to ‘Sister’.

This blend of truth and evasion was to characterise future legend. Todd did encounter words like blades but, as mouthpiece for the family, never mentions this, any more than Jane Austen’s family saw fit to mention her sarcasms. Nineteenth-century families project an image of an authoress as retiring lady whose gift shades into an uneventful life. Nothing could be said of sickness, love, adultery or the rising fire of the feud.

Her impatience with detail and what she termed ‘mere fact’ grew upon her, in her search for truth. It was the principle beyond the truth that she was after, the source of light beyond the pine trees; and not only the principle, but its ultimate significance. As death took from her one after another of those she had most loved, she apparently became more preoccupied with Eternity, not as an abstraction, but a further phase of life and love.

Emily Dickinson, the “Belle of Amherst,” wrote hundreds of poems during her lifetime that are striking in their originality of thought and their intensity of feeling. Most were not even published until after her death, and her works only very slowly gained the widespread critical acclaim and appreciation that they enjoy today. When did the act of creation occur? When she was actually writing the poems? Or only after they were discovered, published, and admired by society? Vincent van Gogh produced hundreds of paintings throughout his life. Yet no one, except a few friends, purchased any of his paintings, and he died an apparent failure. Only later did critical acclaim make his work widely sought after, and now his paintings sell for millions of dollars when auctioned at Sotheby’s or Christie’s. Most of John Donne’s songs and sonnets, satires, and religious and secular love poems circulated in a handwritten underground form during much of his life. For three centuries they remained largely underground and appeared infrequently in anthologies until the early twentieth century, when T. S. Eliot rediscovered the metaphysical poets and held them up as ideal models of what poetry should be like.

That it will never come again Is what makes life so sweet. ~Emily Dickinson (1830-1886)

Write me of hope and love, and hearts that endured.—EMILY DICKINSON

POEMS “Song of the Open Road”—Walt Whitman “The Tyger”—William Blake “I Thought of You”—Sara Teasdale “Sonnet 140”—William Shakespeare “A Clear Midnight”—Walt Whitman “Something Left Undone”—Henry Wadsworth Longfellow “A Prayer for My Daughter”—William Butler Yeats “My Little March Girl”—Paul Laurence Dunbar “The Mountain Sat Upon the Plain”—Emily Dickinson “The Song of Wandering Aengus”—William Butler Yeats “Jabberwocky”—Lewis Carroll “Stopping by Woods on a Snowy Evening”—Robert Frost “Continent’s End”—Robinson Jeffers “Forgiveness”—George MacDonald “O Me! O Life!”—Walt Whitman “To the Virgins, to Make Much of Time”—Robert Herrick “In Memoriam A.H.H.”—Alfred Lord Tennyson “i like my body when it is with your”—E. E. Cummings “A Psalm of Life”—Henry Wadsworth Longfellow “The Lake Isle of Innisfree”—William Butler Yeats “Three Marching Songs”—William Butler Yeats “Song of Myself”—Walt Whitman “in the rain”—E. E. Cummings “When All Is Done”—Paul Laurence Dunbar “The Wanderings of Oisin”—William Butler Yeats “The Cloud-Islands”—Clark Ashton Smith “love is more thicker than forget”—E. E. Cummings “Hymn to the North Star”—William Cullen Bryant “Give Me the Splendid Silent Sun”—Walt Whitman “The Young Man’s Song”—William Butler Yeats “If”—Rudyard Kipling “Character of the Happy Warrior”—William Wordsworth

Unable are the Loved to die, for love is immortality, the Reverend quoted at the end of the marriage service, a blessing not only for the happy couple exchanging vows, but also in remembrance of Jet, whose favorite poet was Emily Dickinson, and of Franny, who had sacrificed so much for those she loved.

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.

I love you," I told the library, staring at the mezzanine level with its intricate gold railings, marble columns, and marble busts of famous authors and poets—I spotted Elizabeth Barrett Browning, Shakespeare, Jane Austen, Rudyard Kipling, and Emily Dickinson.

Unable are the loved to die, for love is immortality. —Emily Dickinson

Sometimes you can make yourself do things that are good for you when you believe you’re doing them for someone you love. The benefit comes without selfishness then. The best part of having a pet is having someone to think of other than yourself, having someone who depends on you.

If humanity’s central existential difficulty comes from the fact that we have humanness—consciousness, hopes, dreams, loneliness, shame, plans, memory, a sense of fairness, love—and the universe does not, that means that we are constantly trying to wrangle our needs out of a universe that does not tend in such directions.

•    Be an intentional blessing to someone. Devote yourself to caring for others. Even when your own needs begin to dominate your attention, set aside time daily to tune in to others. Pray for their specific needs and speak blessings to those you encounter each day. Make them glad they met you.     •    Seek joy. Each morning ask yourself, “Where will the joy be today?” and then look for it. Look high and low—in misty sunbeams, your favorite poem, the kind eyes of your caretaker, dew-touched spiderwebs, fluffy white clouds scuttling by, even extra butterflies summoned by heaven just to make you smile.     •    Prepare love notes. When energy permits, write, videotape, or audiotape little messages of encouragement to children, grandchildren, and friends for special occasions in their future. Reminders of your love when you won’t be there to tell them yourself. Enlist the help of a friend or family member to present your messages at the right time, labeled, “For my granddaughter on her wedding day,” “For my beloved friend’s sixty-fifth birthday,” or “For my dear son and daughter-in-law on their golden anniversary.”     •    Pass on your faith. Purchase a supply of Bibles and in the front flap of each one, write a personal dedication to the child or grandchild, friend, or neighbor you intend to give it to. Choose a specific book of the Bible (the Gospels are a great place to start) and read several chapters daily, writing comments in the margin of how this verse impacted your life or what that verse means to you. Include personal notes or prayers for the recipient related to highlighted scriptures. Your words will become a precious keepsake of faith for generations to come. (*Helpful hint: A Bible with this idea in mind might make a thoughtful gift for a loved one standing at the threshold of eternity. Not only will it immerse the person in the comforting balm of scripture, but it will give him or her a very worthwhile project that will long benefit those he or she loves.)     •    Make love your legacy. Emily Dickinson said, “Unable are the loved to die. For love is immortality.” Ask yourself, “What will people remember most about me?” Meditate on John 15:12: “Love each other as I have loved you” (NIV). Tape it beside your bed so it’s the last thing you see at night and the first thing you see in the morning.     •    “Remember that God loves you and will see you through it.

Emily Dickinson’s words filled the chapel. “ ‘Hope is the thing with feathers

I forget things too. It makes me sad. Or it makes me the saddest. The sadness is not really about George W. or our American optimism; the sadness lives in the recognition that a life can not matter. Or, as there are billions of lives, my sadness is alive alongside the recognition that billions of lives never mattered. I write this without breaking my heart, without bursting into anything. Perhaps this is the real source of my sadness. Or, perhaps, Emily Dickinson, my love, hope was never a thing with feathers. I don't know, I just find when the news comes on I switch the channel. This new tendency might be indicative of a deepening personality flaw: IMH, The Inability to Maintain Hope, which translates into no innate trust in the supreme laws that govern us. Cornel West says this is what is wrong with black people today--too nihilistic. Too scarred by hope to hope, too experienced to experience, too close to dead is what I think.

It was mindless, it was mechanical, it was Emily Dickinson's poetry, where the secrets of the universe were encapsulated in body and motion, sweat and breath, physicality and physics,

The world calls on us to listen. Listen, says my daughter, who is writing a paper on Emily Dickinson. Listen, says my son, tucking an earbud in my ear so I can hear the angry rap song that he loves. Listen, says a friend, I have to tell somebody what just happened. . . .

The vulnerable image encouraged the pathos woven into her popularity. How the public loves wounded genius! How it loves her all the more if she be unmated, seething with love denied, an all-time poet unrecognised in her lifetime. But the Emily Dickinson who speaks through her letters makes no concession to helplessness.

I brought you this book. I figured you’d remember it.” He lifted up an old worn green book I’d carried with me from ages eleven to fifteen almost without fail. “Emily Dickinson. You were a fanatic for Emily Dickinson. You remember that?” “Of course,” I said, holding the weight of the book. Inside he’d written Just to let you know some things are always here. Love, Daddy. He always tried so hard to love me, I know he did, but even with that…

Unable are the loved to die, for love is immortality.” Emily Dickinson

Unable are the Loved to die, for love is immortality, the Reverend quoted at the end of the marriage service, a blessing not only for the happy couple exchanging vows, but also in remembrance of Jet, whose favorite poet was Emily Dickinson,

[Ebenezer Snell] never got over the idea that although people who loved each other might be apart, they could gaze up at the sky and see the same stars and the same moon. The scientist in him understood the phenomenon, but the poet in him appreciated the wonder.

A final point on this poem, & RH as a poet. 1 of the great conflation made in criticism of poetry is the terms great & important. They are 2 different things. There are great poets who are not particularly important. In this camp would be an Edgar Allan Poe, Pablo Neruda, Emily Dickinson, Rudyard Kipling, Ezra Pound, Robinson Jeffers, & Countee Cullen, among some others. These are poets for whom there is no doubt that great poetry sprang from. BUT, their work did not have a profound effect on the advancement of the art form of poetry. They were either technically superb craftsmen who were the best at their craft but wrote on things, & in ways, similar to others. They were simply better. Here would be Poe, Kipling, & Cullen. Or they were inventive & unique, but while inspiring devotees, never gave rise to poetic heirs. Here is Dickinson. Or they were hit & miss poets who often set back the art. Here are Neruda- whose great personal, lyric, & love poems in a traditional vein were counterbalanced by his atrociously puerile political & ‘experimental’ poems. Also in this category- despite his High Modernist credentials, is Ezra Pound. Most of his great poems are in ancient forms, in mock fashion. An envelope-pusher he was not- although he spurred TSE to greater heights than he was capable of by himself. Then there is a Jeffers- a poet who was superb; yet mystifyingly left little impact- most likely due to his reclusive personae & political prophesying. Yet all these poets touched the ineffable at least a few times in their careers. A 2nd camp are those poets who are important but not really great poets. Their poems had significant impact on the art, but the poets’ work, overall, rarely touched greatness. In this camp would reside a T.S. Eliot- whose whole career consists of 5 or 6 near-great to great poems & a passel of shit, William Carlos Williams- whose prosaic approach to poetry overshadowed the fact that he only had 10 or 12 good 10 line or less poems in his arsenal, Arthur Rimbaud- whose impact was more on the ‘cult of the poet’ than on the art form, Anna Akhmatova- whose import was more as ‘functional state treasure’ than persuasive writer, Allen Ginsberg- who has 12 or so great poems that showed new boundaries & subject matter could work in poetry, but also wrote a passel of utter doggerel, & Derek Walcott- who, despite early promise, has a body of banal poetry, yet opened the way for several generations of non-European poets’ poetry to find a Western audience. None of these poets will stand too tall in the coming centuries for their work, but- their impact on varied aspects of the art is undeniable. This is the difference between the 2. Greatness is about how much the art succeeds & stands alone, Import is on the non-artistic aspects of the work & poet. Of course, a 3rd category exists for those poets that were great & important. Whose excellence & import is undeniable. In this camp would reside John Donne- the 1st English language poet with a Modern mindset, if not vocabulary, Walt Whitman- whose work revolutionized subject matter, & led to the war against formalism, Charles Baudelaire- who did the same as Whitman in French, Stephane Mallarmé- whose fragmenting of form led directly to Eliot, but whose work has held up far better despite being older, Hart Crane- who created lyric epopee, & whose verse reached in new directions in new ways- cracking the ekstasis of poetry open & truly inventing the REAL Language poetry of the 20th Century, Marina Tsvetaeva & Sylvia Plath- the 2 women who became iconic Feminist heroines with legions of acolytes worldwide, yet wove together brilliant poetry despite mental illnesses, & Wallace Stevens- whose great poetry has given heart to legions of poetry lovers who appreciate games played with beauty & philosophy.

She had tried society and the world, and found them lacking. She was not an invalid, and she lived in seclusion from no love-disappointment. Her life was the normal blossoming of a nature introspective to a high degree, whose best thought could not exist in pretence.

This is my letter to the world,    That never wrote to me, — The simple news that Nature told,    With tender majesty. Her message is committed    To hands I cannot see; For love of her, sweet countrymen,    Judge tenderly of me!

To know just how he suffered would be dear; To know if any human eyes were near To whom he could intrust his wavering gaze, Until it settled firm on Paradise. To know if he was patient, part content, Was dying as he thought, or different; Was it a pleasant day to die, And did the sunshine face his way? What was his furthest mind, of home, or God, Or what the distant say At news that he ceased human nature On such a day? And wishes, had he any? Just his sigh, accented, Had been legible to me. And was he confident until Ill fluttered out in everlasting well? And if he spoke, what name was best, What first, What one broke off with At the drowsiest? Was he afraid, or tranquil? Might he know How conscious consciousness could grow, Till love that was, and love too blest to be, Meet — and the junction be Eternity?

The bustle in a house The morning after death Is solemnest of industries Enacted upon earth, — The sweeping up the heart, And putting love away We shall not want to use again Until eternity.

Delayed till she had ceased to know, Delayed till in its vest of snow    Her loving bosom lay. An hour behind the fleeting breath, Later by just an hour than death, —    Oh, lagging yesterday! Could she have guessed that it would be; Could but a crier of the glee    Have climbed the distant hill; Had not the bliss so slow a pace, — Who knows but this surrendered face    Were undefeated still? Oh, if there may departing be Any forgot by victory    In her imperial round, Show them this meek apparelled thing, That could not stop to be a king,    Doubtful if it be crowned!

I have not told my garden yet, Lest that should conquer me; I have not quite the strength now To break it to the bee. I will not name it in the street, For shops would stare, that I, So shy, so very ignorant, Should have the face to die. The hillsides must not know it, Where I have rambled so, Nor tell the loving forests The day that I shall go, Nor lisp it at the table, Nor heedless by the way Hint that within the riddle One will walk to-day!

I gave myself to him, And took himself for pay. The solemn contract of a life Was ratified this way. The wealth might disappoint, Myself a poorer prove Than this great purchaser suspect, The daily own of Love Depreciate the vision; But, till the merchant buy, Still fable, in the isles of spice, The subtle cargoes lie. At least, 't is mutual risk, — Some found it mutual gain; Sweet debt of Life, — each night to owe, Insolvent, every noon.