..., especially the 40 sewn-together collections that an early 70 Whitman and Dickinson editor called “fascicles.” In Dickinson’s Fascicles: A Spectrum of Possibilities (Ohio State) Paul Crumbley and Eleanor Elson Heginbotham assemble statements from critics of the problem...

... volume of Whitman’s journalism, an original new reading of Whitman’s position in American literary and political history by Jay Grossman; and two new monographs on Dickin- son: a study of the fascicles by Eleanor Elson Heginbotham and a study of Dickinson and music by Carolyn Lindley Cooley...

...: Dickinson’s Writing, Copying, and Binding Practices” (EDJ 15, ii: 69–94) Socarides challenges the common critical practice of viewing Dickinson’s fascicles as books, proposing instead that “how Dickinson made the fascicles reveals that she was working with a particular unit of construction...

... perpetually unnameable woman, Whitman’s concept of the oat’’ out of which creation arises (all of his best poems seem to take place by the sea, the river, the pond, the swamp), and Dickinson’s awareness of miscar- riage and abortion (treated here in a stimulating account of Fascicle 28). Kristeva also...

... manner in which the poems were written out and either bound together or left as random sheets. Of greatest interest in Socarides’s study is her reconstruction of the moments at which Dickinson put her extant poems on paper in her fascicles and loose sheets and scraps. Taking her cue not only from...

... presence prompted Dickinson to feel confident enough to be able to bind the fascicles; Maher owned the trunk in which Dickinson stored her fascicles; and Maher made the decision not to honor Dickinson’s apparent deathbed request to burn the poems. In fact, Dickinson had come to relinquish her...

... Dickinson’s letters from biography and from ‘‘poetocentric’ ’ criticism that treats the correspondence as mere back- ground to the poems and gives priority to the fascicles, which Messmer sees as ‘‘scrapbooks’ ’ of draft poems never intended for readers other than the poet herself...

... as seeking to establish the sequence of “papers that were sewn into fascicles, in order to determine where each poem was placed in the drawer” where Dickinson’s sister discovered them. She argues that Franklin does this because “he believed this placement determined the date each poem was written...

... of paper in half or quartos, because then the student could more easily fill the page and feel that he or she was making progress. Scheurer ties this practice to Dickinson’s manuscript performance and construction of fascicles. She also reads Dickinson’s conflation of poetry and letter-writing...

... strata, the poem can still be read in different contexts of reception, especially since evidence indicates that Dickinson sent poems to individuals and collected them in fascicles, which were never shown and which appear to have been designed with a wider readership in mind.” William Pannapacker...

... concerning the constitution of the Dickinson text. Many such contemporary inquiries began with or were intensified by Franklin s The Manuscript Books of Emily Dickinson (1991), which provided for the first time facsimiles of the holograph versions of Dickinson s poems contained in fascicles and sets. Though...

... at the level of the individual poem—failures of closure leaving serial coherence uncertain—and at the level of sequence, the fascicles creating problems of interrelation. Sielke’s primary interest, 68 Whitman and Dickinson however, is not in poems but in “how we ‘cognize...

... and meaning. At the same time, Arsić notes the deconstructed nature of the envelopes (which are not made like the fascicles but rather are unmade) as well as the “migratory” 60 Whitman and Dickinson movement of many of the envelopes’ poetic fragments to various other...

... Sato’s Emily Dickinson’s Poems: Bulletins from Immortality (Morioka: Shinzan-sha), in English, is a modest but welcome addition to Dickinson scholarship. The strength of Sato’s work is her adept use of Ralph Franklin’s edition of Dickinson fascicles; she examines how the poems interact with each...

... music composed by Ivan Olsen. Kjaer also calls attention to a visual arts installation based on Dickinson’s fascicle manuscripts by the Danish ceramic artist Karin Sauer as part of her Lines for Poems II exhibition in Denmark in 2010. Further insight into ways in which visual arts enhance...