Robert Weisbuch

Martin Orzeck

An obsessively private writer, Emily Dickinson almost never submitted poems for publication, which she deemed "the Auction / Of the Mind". Yet over a century of criticism has established what readers of various sensibilities describe as a shockingly intimate relation between text and audience, making the question of whom the poems address a crucial element in interpreting them. This volume of essays is the first book exclusively focused on Dickinson's relation to audience - from the relatively few persons who received many of the poems to that vast, unseen, yet somehow specific "other" that any literary work addresses. Dickinson's writings were influenced by her ambivalent attitude toward the conventions of the nineteenth-century literary marketplace and her desire to shape more intimate relations with chosen contemporaries. Still, her poems and letters engage modern readers and speak to the social and gendered politics of our own day. The essays in Dickinson and Audience treat both the importance of Dickinson's personal friendships and the ways in which contemporary poetics continue to sustain the vitality of her writings. With contributions from Willis J. Buckingham, Karen Dandurand, Betsy Erkkila, Virginia Jackson, Charlotte Nekola, Martin Orzeck, David Porter, Robert Regan, Richard B. Sewall, R. McClure Smith, Stephanie A. Tingley, and Robert Weisbuch, the collection boasts a wide variety of critical approaches to the poet and her works - from traditional biographical and historical analyses to deconstructionist, feminist, and reader-response interpretations. It will interest not only scholars in these areas but also anyone who wants to gain insight into Dickinson's creative genius.

Dickinson and Audience

Emily Dickinson's Poetry

Leonard Cassuto

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In this ambitious study of the intense and often adversarial relationship between English and American literature in the nineteenth century, Robert Weisbuch portrays the rise of American literary nationalism as a self-conscious effort to resist and, finally, to transcend the contemporary British influence. Describing the transatlantic "double-cross" of literary influence, Weisbuch documents both the American desire to create a literature distinctly different from English models and the English insistence that any such attempt could only fail. The American response, as he demonstrates, was to make strengths out of national disadvantages by rethinking history, time, and traditional concepts of the self, and by reinterpreting and ridiculing major British texts in mocking allusions and scornful parodies. Weisbuch approaches a precise characterization of this "double-cross" by focusing on paired sets of English and American texts. Investigations of the causes, motives, and literary results of the struggle alternate with detailed analyses of several test cases. Weisbuch considers Melville's challenge to Dickens, Thoreau's response to Coleridge and Wordsworth, Hawthorne's adaptation of Keats and influence on Eliot, Whitman's competition with Arnold, and Poe's reshaping of Shelley. Adding a new dimension to the exploration of an emerging aesthetic consciousness, Atlantic Double-Cross provides important insights into the creation of the American literary canon.

Robert Weisbuch

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