This post is the fourth and final in a series about my experiences at the NEH summer program, Emily Dickinson: Person, Poetry, and Place. If you haven’t read the first three, you can find them here, here and here. My experiences on the fourth day may differ slightly from those of other participants as we divided into groups. Because the fifth day was a short day, this post will include my reflections for both the fourth and fifth day of the workshop.

As was the case on the previous days, we began with Bruce Penniman’s “Writing into the Day” reflections. On Thursday, we wrote in response to “What is ‘Paradise'” (Franklin 241) and our inferences about Emily Dickinson’s Amherst as she lived it. On Friday, we wrote reflections for the week in response to our choice of two poems, Franklin 930 or 1597.

After writing, my group headed to the Jones Library, Amherst’s public library, to work with artifacts in the special collection. My curriculum mentor Wendy Kohler was one of our guides for this activity. I chose to examine artifacts connected to Amherst’s history of education, as I was intrigued the previous day by Emily Dickinson’s writing instruction. My group examined an 1822 autograph book belonging to a girl, and we were struck that her classmates wrote so frequently on weighty issues such as death and often wrote poetry. It’s a long way from “have a great summer.” There was a great deal of material connected to Mt. Pleasant Classical Institution, which no longer exists. I couldn’t find any evidence any of the Dickinsons attended the school, but Henry Ward Beecher and one of the Roosevelts, James Roosevelt, attended the school. I didn’t find a lot of answers, and I am still curious about the kind of writing instruction students were given. If you read Dickinson’s letters, you can see improvement in her expression and clarity of thought in the letters she writes during her adolescence.  Clearly, Amherst citizens valued education and took great pains to make sure good schools were available to their children. I would also have had the option to explore science and religion, the Civil War,  or gender/women. There was one other option that I have forgotten—my fault for not writing it down. I wish in some ways I had chosen to explore the artifacts connected to either the Civil War or gender, but we only had so much time. I might be able to go back and see these artifacts in more detail some other time. The library also has an exhibit on Robert Frost and Emily Dickinson, including several interesting Dickinson family artifacts.

Emily Dickinson didn’t sign her first letter to Thomas Wentworth Higginson but slipped one of her calling cards inside. I like to think it was from the same batch of cards as the one above.

If you look closely at this notebook, you’ll see Emily Dickinson’s birth recorded on December 10 under her father’s name.

Next, my group joined Christanne Miller for a discussion of Emily Dickinson’s Civil War poetry. Miller encouraged us to select the poems we wanted to discuss. The Civil War was Dickinson’s most prolific period, and it was also during this time that Dickinson spent almost a year in Cambridge recovering from a problem with her eyes. We discussed how the death of Amherst native Frazar Stearns at the Battle of New Bern affected Dickinson and her family. Of course, Thomas Wentworth Higginson was in command of the 1st Carolina Volunteers, the first black regiment. Dickinson’s brother Austin was drafted in 1864, but he paid for a substitute to go in his stead. There is a family story my grandmother used to tell me about having an uncle (probably a great- or even great-great-uncle) who went to war as a paid substitute several times. I need to do a little research and find out if such an individual existed. She did have at least one great-grandfather who fought in the Civil War but not as a paid substitute.

Basically, there were three reasons why someone might not serve in the war after being drafted: 1) they had enough money not to (Austin Dickinson), 2) they were the sole financial support of an extended family, or 3) they offered crucial community support (one could argue this also applied to Austin Dickinson). We can’t say for sure why Austin didn’t go, but we did discuss there was less support in general as the war dragged on. Miller pointed out the Civil War was the first war with a quick communication of the events of the war and with a highly literate, informed population. She remarked that one can find Civil War letters all over the country because so many people were writing during the war.

Near the end of our discussion, I shared the following passage from The Catcher in the Rye with my group. It’s a passage I often like to discuss when I teach the novel.

I remember Allie once asked [D. B.] wasn’t it sort of good that he was in the war because he was a writer and it gave him a lot to write about and all. He made Allie go get his baseball mitt [with Allie’s favorite poems written in green ink] and then he asked him who was the best war poet, Rupert Brooke or Emily Dickinson. Allie said Emily Dickinson.

That passage always struck me, but the experience I had this week has convinced me that Salinger was thinking on a very deep level about personal experience and writing. We don’t think of Emily Dickinson as a war poet, but she really was, and she wrote quite a number of poems that are definitely about the war and more that might be about the war, depending on interpretation. It was such a pleasure to be able to discuss poems with Miller, and if you don’t own a copy of her edition of Dickinson’s poems, definitely get it.

After lunch, we spent some time working in our curriculum groups, as our lessons or units were due by 6:00 PM. Our group was in favor of working quietly. I had about an hour before the next agenda item on our schedule, so I headed to the Frost Library on Amherst College campus to work on my lesson. I needed to consult a copy of the Variorum Edition, as my lesson deals with word choice, tone, and mood, and I wanted to compile a list of poems with variant word choices. I didn’t finish the work. In fact, I only made it through the first volume (there are three volumes in the Variorum Edition). None of my nearby Worcester libraries, including the college ones, seems to have the Variorum Edition, and I was ready to consider a pretty hefty purchase (the Variorium costs over $130), when I checked to see if I could get it through our library system, which offers free inter-library loan among all the system libraries. I was lucky. Some of the other libraries in my public library’s system have the Variorum, so I have placed a hold on it, and last I checked, it was in transit to my public library. I always forget about this great service offered by my library system. If I were a Dickinson scholar and likely to consult the Variorum regularly, I would definitely purchase it, but it’s a bit steep for creating a single unit.

The Emily Dickinson Museum typically does not allow photography as it’s too hard to control people making a profit from the photographs they take. We were offered the opportunity as NEH scholars to take photographs in the museum as long as we didn’t intend to profit from them. We were given permission to post the pictures on social media or blogs. I was really looking forward to taking photos as Emily Dickinson’s bedroom, in particular, is a really magical place, especially since the recent restoration. I have been sharing a few of the photographs from the museum in previous posts, but here a few of my favorites that I haven’t shared yet.

I spent some time reflecting on the incredible week over a cup of coffee downtown. One worry I expressed in my reflection is that the future of the NEH is precarious, and it’s possible that other educators will not experience the wonderful close study of Emily Dickinson in Amherst like I was able to do. Do what you can to make your feelings about programs like this clear to your representatives in Congress, especially if this series of posts has made you want to go, but even if it hasn’t because we should be helping teachers have these experiences. Trust me my NEH stipend didn’t cover all my expenses, but it made it possible for me to go, for sure.

Thursday evening, some of us attended an optional program called Dickinsons in Love in which we were able to participate in readings from Dickinson family letters, including those of her parents Edward Dickinson and Emily Norcross when they were courting, Austin’s letters to Susan Gilbert before their marriage as well as letters to his mistress Mabel Loomis Todd, and Dickinson’s own letters to Judge Otis Phillips Lord. I hope the Dickinson Museum will revive this program for regular guests, as it was most entertaining, and I learned a great deal.

Our final day was a shorter day, and the main event was visiting Emily Dickinson’s grave and reading our favorite poems. I shared the poem I read at my grandmother’s funeral. I was much more moved than I expected to be when one of my fellow workshop participants led us in singing one of Dickinson’s poems to “Amazing Grace.” Because Dickinson wrote in ballad meter, many of her poems can be sung to songs written in that common meter, and “Amazing Grace” is one of them.

We concluded our workshop with a picnic on the lawn at the Dickinson Homestead, complete with gingerbread, for which Emily Dickinson was famous. I bought a small Dickinson recipe book in the museum gift shop and tried out Emily Dickinson’s gingerbread recipe this morning.

It’s pretty good.

I would do this week all over again. It was an amazing experience, and should the NEH be spared and willing to offer this program again, I highly encourage you to apply. Thanks to Emily Dickinson Museum, Amherst College, and all the visiting faculty from whom I learned so much.

A note about the images in this post: The Emily Dickinson Museum gave me express permission to take photographs in the Museum for distribution on my website and social media with the caveat that I do not use the images for material gain. I cannot control what happens to these images if you use them, so you do not have permission to duplicate them on your website, social media, or any other place.

This post is the third in a series about my experiences at the NEH summer program, Emily Dickinson: Person, Poetry, and Place. If you haven’t read the first two, you can find them here and here. My experiences on the third day may differ slightly from those of other participants as we divided into groups.

Once again, we started by “writing into the day,” considering “The Brain—is wider than the Sky” (Franklin 598) and the elements of Dickinson’s craft.

Next, we a heard a lecture from Dickinson scholar Christanne Miller from the University at Buffalo. As I mentioned in my previous post, there have been three major editions of Dickinson’s poems since the 1950’s. Thomas H. Johnson’s was the first to make an attempt to date the poems chronologically and restore some of Dickinson’s intentions. Ralph W. Franklin’s Variorum edition has been widely influential in Dickinson scholarship. Christanne Miller has a new edition called Emily Dickinson’s Poems: As She Preserved Them. The organization of Miller’s book differs from Johnson’s and Franklin’s precisely as the subtitle describes. The first section of Miller’s book includes Dickinson’s fascicles; the second, Dickinson’s poems saved on unbound sheets joined together with a fastener (Dickinson may or may not have fastened the manuscripts); the third, loose manuscripts in Dickinson’s possession; the fourth, others’ transcriptions of her poems with no extant manuscripts; the fifth, poems given away to others. The concept is really interesting, and I really wish I had brought my copy of this book for Christanne Miller to sign. I considered packing it and decided not to in order to save space. I hope I run into her again so I might get it signed. It’s a beautiful book with images of manuscripts.

Miller’s lecture was on “Editing Dickinson.” From everything I’ve learned in this workshop, editing Dickinson is difficult because of all the variants in her manuscripts, but we also have a large body of well-preserved work, and we can’t say that of every poet. One big takeaway from Miller’s lecture is that there is always more than one way to edit an author, and editors make decisions largely based on the tastes of the eras in which they are working. She said that no edition is neutral; each edition is a lens into the times in which it was created. As such, while our modern audience might see Mabel Loomis Todd and Thomas Wentworth Higginson as heavy-handed editors, changing slant rhymes and word choices, a case can be made that they knew their audience well and were editing the poems to suit their audience. Dickinson was ahead of her time. I can’t remember if Miller said it or if someone else did, but someone remarked that Amy Lowell believed Dickinson to be a “precursor of the Imagists.” In any case, Todd and Higginson’s editions of the poems were wildly popular, and we have much for which to thank them.

Miller also argues that Dickinson may not have distinguished much between poetry and letters. Most tantalizing for me as a teacher was the fact that there is evidence Dickinson was instructed to select alternative word choices in her school compositions. I love to think of Emily Dickinson’s writing instruction in school. Another issue that Miller acknowledged is that Dickinson made many typographical errors, often over and over. For instance, I had noticed she almost always uses the contraction “it’s” when she clearly means the possessive “its.” In the manuscripts, the mistake is clear, and it’s not a word choice variant. Franklin retains these typographical and spelling errors in his edition of her poems. While Miller points out that spelling and punctuation were not rigidly fixed or standard in Dickinson’s time, I have always found the kinds of errors she makes interesting. Most interesting regarding punctuation was Miller’s comment about the ubiquitous dashes in Dickinson’s poetry. While Dickinson does use a lot of dashes, some of them may be commas and periods. If you examine the manuscripts, it is hard to tell whether or not the marks are dashes. We all do such things when we are writing, especially in our drafts. Here is an example of a manuscript I saw in which it’s hard to tell if we’re seeing dashes or something else.

One last comment about Miller’s lecture and I’ll move on (we’re already at nearly 700 words!). Miller believes that Dickinson composed at least the beginnings of her poems largely in her head. The last stanzas often include more variant word choices (not that the beginning stanzas never do, but you see a lot in the last stanzas). Also, the last stanzas are sometimes the most problematic. I know as a reader, I have more difficulty understanding the last stanzas of her poems. Also important for teachers: Dickinson tries out a number of speakers and perspectives. We are usually so good about asking students to think of the speaker as separate from the poet, but I think we might be guilty of forgetting to do that with Dickinson’s poetry. One way to help students with her poetry is to ask them to read it aloud and to look for natural “sentences.” Don’t worry about the dashes and enjambment.

Next, my group joined Martha Ackmann for a discussion of Dickinson’s poetry. She is delightful—funny, knowledgeable. She quoted Dickinson’s letters and poetry frequently, and without consulting notes. Ackmann suggests that we can look at many of Dickinson’s poems as Dickinson’s philosophy of poetry—ars poetica. We did a close reading of “I reckon—When I count at all—” (Franklin 533). Ackmann reminded us as teachers to slow down when we are reading and teaching Dickinson. She also reminded us that Dickinson’s schooling largely consisted of declaiming lessons and memorizing, and she had an encyclopedic knowledge of many texts, including the Bible. When Dickinson is ambiguous, she intends to be. Ackmann also said we must acknowledge the “primacy” of Dickinson’s imagination. We tend not to give her credit for being able to imagine experiences she never had or places she never went. My favorite quote from our discussion was Ackmann’s argument that “She lived in her own mind, and what a place to live.” Ackmann also argues that Dickinson didn’t care about publication, but she did want her poems to live on. She wanted to do more than publish; she wanted to be immortal, a subject discussed in many of her poems.

After lunch, we took a self-guided landscape tour, which is something you can do yourself if you visit the Emily Dickinson Museum. You can even use your cell phone and either call into a number to follow the tour or use the QR code provided. They also have wands you can use to listen to the tour if you don’t have a cell phone or don’t want to use one. The tour was narrated mostly by poet Richard Wilbur. After the tour, we met with our curriculum groups to discuss how the essential questions and key understandings for our lessons or units were shaping up.

We ended the day with a reading from Martha Ackmann, “Mary Lyon, Emily Dickinson, and Women’s Education.” Mary Lyon founded the Mount Holyoke Female Seminary, where Dickinson went to school at the age of 16. Ackmann is writing a book tentatively titled Vesuvius at Home about ten monumental days in Dickinson’s life. Ackmann is a narrative nonfiction writer, which means her books are all factual but use the techniques of storytelling. She fictionalizes nothing. She described how she writes each chapter, and the amount of work she puts in is incredible. She mentions enjoying Truman Capote’s In Cold Blood, especially praising the way he begins the book, but she dislikes the fact that he invented dialog. She will not read narrative nonfiction that doesn’t have footnotes. Her book should be out in 2018, and I will be getting it for sure after the chapter I heard, which was about Emily Dickinson’s decision to continue to question her religious beliefs. You can see this questioning over and over in the poems. Ackmann is a Senior Lecturer in Gender Studies at Mount Holyoke College, the institution that grew out of Mary Lyon’s school. I understand the Emily Dickinson Museum has plans to host an author event when Ackmann’s book is published, so keep your eyes on the news, and I will see you there.