Umschlag Gedichte, Hardcover von Dickinson, Emily; Bervin, Jen (EDT); Werner, Mar...

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ISBN
9780811225823
Kategorie

Über dieses Produkt

Product Identifiers

Publisher
New Directions Publishing Corporation
ISBN-10
0811225828
ISBN-13
9780811225823
eBay Product ID (ePID)
220304807

Product Key Features

Book Title
Envelope Poems
Number of Pages
96 Pages
Language
English
Publication Year
2016
Topic
Individual Artists / General, Poetry, American / General, Books & Reading
Illustrator
Yes
Genre
Literary Criticism, Art, Poetry
Author
Emily Dickinson
Format
Hardcover

Dimensions

Item Height
0.6 in
Item Weight
7.4 Oz
Item Length
7.3 in
Item Width
5.3 in

Additional Product Features

Intended Audience
Trade
LCCN
2015-047826
Reviews
We see from The Gorgeous Nothings the way [Dickinson's] art and life were not separate endeavors. Dickinson wrote poetry every time she addressed or received an envelope. Whenever there was paper around, she put quill or pencil right to it. Dickinson, master of paradox. started these un-conversations with nobody, and so many years after her death, now--in curled script, with their sweet, perfect Ms and half-formed Ys, unpublished and unseen until now--they speak to us. And they have so much yet to say., An insightful new volume, The Gorgeous Nothings, edited by Jen Bervin and Marta Werner, also provides a fascinating glimpse of Dickinson by assembling images documenting the poetry she scrawled on repurposed envelopes -- envelopes that have themselves been elevated to a new sort of art., The first and immediate shocks are in the words, with other, lingering, aftershocks following in the visual details of their settings. The great thing about [The Gorgeous Nothings] is, of course, that it gives us all of this, complete., For years, Dickinson critics have been looking for some kind of order among the manuscripts - some way to describe or theorize the 'filing system' that the poet left and we found. In The Gorgeous Nothings, instead, what's restored to these traces of the work is a sense of occasioned disorder. What's been preserved through time in her handwriting is the decision to occupy the page. The page becomes just as important as the writing., We see from The Gorgeous Nothings the way [Dickinson's] art and life were not separate endeavors. Dickinson wrote poetry every time she addressed or received an envelope. Whenever there was paper around, she put quill or pencil right to it. Dickinson, master of paradox. started these un-conversations with nobody, and so many years after her death, now -- in curled script, with their sweet, perfect Ms and half-formed Ys, unpublished and unseen until now -- they speak to us. And they have so much yet to say., [The Gorgeous Nothings] opens up an aspect of her craft that suggests she was, in the so-called late ecstatic period of her career, experimenting with creating texts in relation to the visual, spatial, and technological possibilities of her medium--composing in response to the confines of her writing world rather than despite it., The first and immediate shocks are in the words, with other, lingering, aftershocks following in the visual details of their settings. The great thing about [The Gorgeous Nothings] is, of course, that it gives us all of this, complete. , The first and immediate shocks are in the words, with other, lingering, aftershocks following in the visual details of their settings. The great thing about [The Gorgeous Nothings] is, of course, that it gives us all of this, complete. , For years, Dickinson critics have been looking for some kind of order among the manuscripts - some way to describe or theorize the ''filing system'' that the poet left and we found. In The Gorgeous Nothings, instead, what''s restored to these traces of the work is a sense of occasioned disorder. What''s been preserved through time in her handwriting is the decision to occupy the page. The page becomes just as important as the writing., The Gorgeous Nothings is one of the most ambitious, important literary feats of the year. It's stunning, revelatory, and it functions as a key text to Dickinson's oeuvre: seeing it demands a tectonic shift in the way we read her, brings her back to us even more extremely idiosyncratic than we could have guessed., The Gorgeous Nothings is proof that one of our most important poets can still amaze and teach us new thing about the practice of poetry., This exquisitely produced book The Gorgeous Nothings--lovingly curated by Bervin and Werner--allows you to encounter Emily Dickinson's 'envelope poems' in full-color facsimile for the first time. It's an experience suspended between reading and looking, of toggling between those two modes of perception, and it thoroughly refreshes both. , This exquisitely produced book The Gorgeous Nothings--lovingly curated by Bervin and Werner--allows you to encounter Emily Dickinson's 'envelope poems' in full-color facsimile for the first time. It's an experience suspended between reading and looking, of toggling between those two modes of perception, and it thoroughly refreshes both. , Dickinson's incandescent thinking is everywhere on display, and the makeshift nature of the scraps gives us a vivid idea of what composition must have felt like for a woman whose thoughts raced far ahead of her ability to capture them., We see from The Gorgeous Nothings the way [Dickinson''s] art and life were not separate endeavors. Dickinson wrote poetry every time she addressed or received an envelope. Whenever there was paper around, she put quill or pencil right to it. Dickinson, master of paradox. started these un-conversations with nobody, and so many years after her death, now -- in curled script, with their sweet, perfect Ms and half-formed Ys, unpublished and unseen until now -- they speak to us. And they have so much yet to say., An insightful new volume, The Gorgeous Nothings, edited by Jen Bervin and Marta Werner, also provides a fascinating glimpse of Dickinson by assembling images documenting the poetry she scrawled on repurposed envelopes--envelopes that have themselves been elevated to a new sort of art., For years, Dickinson critics have been looking for some kind of order among the manuscripts--some way to describe or theorize the ''filing system'' that the poet left and we found. In The Gorgeous Nothings, instead, what''s restored to these traces of the work is a sense of occasioned disorder. What''s been preserved through time in her handwriting is the decision to occupy the page. The page becomes just as important as the writing., The beautiful reproduction, on the pages of The Gorgeous Nothings, of what might seem only negligible scraps of waste paper brings us closer to the restlessness of the constantly thinking poet who, in her later years, repeatedly seized her pencil and a fragment of an envelope to write about the lowliest and the most exalted states of being.
Dewey Edition
23
Dewey Decimal
811/.4
Synopsis
Although a very prolific poet--and arguably America's greatest--Emily Dickinson (1830-1886) published fewer than a dozen of her eighteen hundred poems. Instead, she created at home small handmade books. When, in her later years, she stopped producing these, she was still writing a great deal, and at her death she left behind many poems, drafts, and letters. It is among the makeshift and fragile manuscripts of Dickinson's later writings that we find the envelope poems gathered here. These manuscripts on envelopes (recycled by the poet with marked New England thrift) were written with the full powers of her late, most radical period. Intensely alive, these envelope poems are charged with a special poignancy--addressed to no one and everyone at once. Full-color facsimiles are accompanied by Marta L. Werner and Jen Bervin's pioneering transcriptions of Dickinson's handwriting. Their transcriptions allow us to read the texts, while the facsimiles let us see exactly what Dickinson wrote (the variant words, crossings-out, dashes, directional fields, spaces, columns, and overlapping planes)., Full-color facsimiles are accompanied by Marta L. Werner and Jen Bervin's pioneering transcriptions of Dickinson's handwriting. Their transcriptions allow us to read the texts, while the facsimiles let us see exactly what Dickinson wrote (the variant words, crossings-out, dashes, directional fields, spaces, columns, and overlapping planes)., Another gorgeous copublication with the Christine Burgin Gallery, Emily Dickinson's Envelope Poems is a compact clothbound gift book, a full-color selection from The Gorgeous Nothings.
LC Classification Number
PS1541.A6 2016

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