By contrast, lyrics falling under the second or third category — either described as songs by the narrator or performed in the narrative — might not exhibit any graphic experimentation.
If attempting to recreate a time and place neither author nor reader can visit to verify smacks of foolhardy hubris, then fictionalized autobiography might be something worse.
However, after reading The Secret Life of Emily Dickinson, the reader is glad author Jerome Charyn risked something worse to achieve something better: Emily Dickinson does not seem like the most fertile ground for novelization.
Aside from the words of poetry she left us, she is best known for hiding out in her bedroom for decades, communicating with others only by notes or from behind a partially-opened door. To facilitate those adventures, Charyn freely mixes his own created characters in among the real historical persons who surrounded Miss Dickinson.
Zilpah is every bit as intelligent and witty as Emily, but her lower class origins drag her down a different, more ignominious path. Even still, Emily finds herself often envious of her less fortunate rival.
We are introduced to Zilpah as she and Emily battle over Tom, the school handyman, who oozes both raw sexuality and pure romance.
Though Emily seems to appreciate Tom more, it is Zilpah who ends up living with him. His ability to be both intimately close and coldly distant is a painful enigma for Emily. He is a driven man, well-aware of his position as the most prominent citizen of Amherst.
A painful and shocking sampling of this tough love occurs fairly early in the novel. Denial of intimacy with those from whom she most desires it drives her to the world she can create on slips of paper with the pencil stub always tied by a string to her dress.
When she discovers that her father actually had read some of her poetry she had left out for him to find, she asks why he never told her. They nearly tore my head off.
She seeks a replacement for that embrace in a succession of men she courts from afar, but that kind of fulfillment is not to be hers. The author succeeds in creating a voice for Emily that rings true.
We can never know, of course, if this is really how she felt and thought, but if somehow it turned out to be close to the truth, we would not be surprised. I dance on a precipice, knowing I will fall.
Historical fiction and biography at their best offer us an alternate world of the past. That The Secret Life of Emily Dickinson succeeds in doing this with one of the more obscure personages of modern literary history is a credit to the skill of the author.Glossary of Poetic Terms Emily Dickinson.
Gibbering, jabbering. See discussion of Dickinson's "Crumbling is not an instant's Act." Tone. The implied attitude of a writer toward the subject and characters of a work, as, for example, Flannery O'Connor's ironic . Jul 08, · Analysis of "Crumbling is not an instant's Act" by Emily Dickinson "Crumbling is not an instant's Act" is a lyric by Emily Dickinson.
It tells how crumbling does not happen instantaneously; it is a gradual process occurring slowly and cumulatively over time.
Organized thematically to put meaning first, Literature & Composition offers a wide variety of classic and current literature, plus all of the support students need to analyze and write about it—for assignments and on the AP® Literature Exam. Mar 04, · Emily Dickinson Emily Dickinson was a poet in the mid-eighteen hundreds.
She mostly lived as a homebody, but was not an introvert. She had friends and liked to talk to people, so she was usually lonely, because she liked to stay at home. Emily Dickinson’s poetry is in some ways Gothic. Although she is not a “Gothic” writer, her poetry does fit some of the elements of Gothic.
For example, her poetry deals with many themes related to the Gothic style such as death, loss, and loneliness. On pp. 27–28, , and –33 there are also fragments of lyrical poems (Emily Dickinson’s “Because I Could Not Stop for Death” and “Crumbling Is Not an Instant’s Act”) and of invented lyrical poems.