Staging Emily Dickinson

With a writer who had never written a play, an actress who had never taken the stage alone, and a director who had never headed a live performance, The Belle of Amherst managed to become an American theater classic. Despite being savaged by critics attending its opening night in April 1976, the play, which details the life of Emily Dickinson, survived its baptism by fire and went on to appear in theaters across the world. This is the remarkable untold story of "the little play that could." Covering the play's humble beginnings as well as its pioneers--like writer William Luce, director Charles Nelson Reilly and actress Julie Harris--this work also documents the modern efforts to keep the play alive. Exploring the show's enduring dramatic power, this book ultimately pays respect to the one-woman show that has triumphed for decades.

Examining chameleonic identities as seen in theatrical performances and literary texts during the Romantic period, this study explores cultural attitudes toward imposture and how it reveals important and much-debated issues about this time period. Brewer shows chameleonism evoked anxieties about both social instability and British selfhood.

"The book gives detailed attention to the principal trends in Dickinson scholarship during the past half-century: rhetorical and stylistic analysis of the poems and letters; biographical studies informed by theories of gender, sexuality, and by medical history; feminist studies of the poet's life and work; textual studies of the bound and unbound fascicles and the so-called worksheet drafts (or "scraps"); new assessments of the poet's social and cultural milieu, including influences on her spiritual sensibility; and of her theories of poetry, including lyricism."--BOOK JACKET.

Dickinson knew the Bible well. She was profoundly aware of Christian theology and she was writing at a time when comparative religion was extremely popular. This book is the first to consider Dickinson's religious imagery outside the dynamic of her personal faith and doubt. It argues that religious myths and symbols, from the sun-god to the open tomb, are essential to understanding the similetic movement of Dickinson's poetry - the reach for a comparable, though not identical, experience in the struggles and wrongs of Abraham, Jacob and Moses, and the life, death and resurrection of Christ. Linda Freedman situates the poet within the context of American typology, interprets her alongside contemporary and modern theology and makes important connections to Shakespeare and the British Romantics. Dickinson emerges as a deeply troubled thinker who needs to be understood within both religious and Romantic traditions.

Between his 1962 debut A Knife in the Water and the 1968 blockbuster Rosemary’s Baby, Roman Polanski directed three movies—Repulsion, Cul-de-Sac, and Dance of the Vampires (a.k.a. The Fearless Vampire Killers)—that remain a crucial but too often overlooked piece of his filmography. In this remarkable behind-the-scenes look at the director's early output, Jordan Young gives us a revealing look at Polanski at work in the years before his rise to global renown. Drawing on new research and interviews with principals on both sides of the camera—including direct access to the director—Young shares eye-opening, freshly unearthed details. We witness Polanski making movies under some of the worst possible conditions, contending with financing nightmares (both Repulsion and Cul-de-Sac were underwritten by exploitation-film peddlers), poisonous enmities amongst cast and crew, and collaborators who, in the director's words, "did their best to make me feel like a monster." Polanski the provocateur is in full view here, placing actors in physical peril and deploying such unusual methods as slaughtering chickens to provide real blood for a death scene. While never shying away from unflattering or shocking details, Young still provides a nuanced and measured portrait of his subject—a rare look at a controversial artist in the act of creation.

Writing Pain in the Nineteenth-Century United States examines how pain is represented in a range of literary texts and genres from the nineteenth-century US. It considers the aesthetic, philosophical, and ethical implications of pain across the works of Ralph Waldo Emerson, Harriet Jacobs, Emily Dickinson, Henry James, Elizabeth Stuart Phelps, and Alice James, as the national culture of pain progressively transformed in the wake of the invention of anesthesia. Through examining the work of nineteenth-century writers, Constantinesco argues that pain, while undeniably destructive, also generates language and identities, and demonstrates how literature participates in theorizing the problems of mind and body that undergird the deep chasms of selfhood, sociality, gender, and race of a formative period in American history. Writing Pain in the Nineteenth-Century United States considers first Emerson's philosophy of compensation, which promises to convert pain into gain. It also explores the limitations of this model, showing how Jacobs contests the division of body and mind that underwrites it and how Dickinson challenges its alleged universalism by foregrounding the unshareability of pain as a paradoxical measure of togetherness. It then investigates the concurrent economies of affects in which pain was implicated during and after the Civil War and argues, through the example of James and Phelps, for queer sociality as a response to the heteronormative violence of sentimentalism. The last chapter on Alice James extends the critique of sentimental sympathy while returning to the book's premise that pain is generative and the site of thought. By linking literary formalism with individual and social formation, Writing Pain in the Nineteenth-Century United States eventually claims close reading as a method to recover the theoretical work of literature.

Emily Dickinson's poetry is known and read worldwide but to date there have been no studies of her reception and influence outside America. This collection of essays brings together international research on her reception abroad including translations, circulation and the responses of private and professional readers to her poetry in different countries. The contributors address key translations of individual poems and lyric sequences; Dickinson's influence on other writers, poets and culture more broadly; biographical constructions of Dickinson as a poet; the political cultural and linguistic contexts of translations; and adaptations into other media. It will appeal to all those interested in the international reception of Dickinson and nineteenth-century American literature more widely.

This companion to America?s greatest woman poet showcases thediversity and excellence that characterize the thriving field ofDickinson studies. Covers biographical approaches of Dickinson, the historical,political and cultural contexts of her work, and its criticalreception over the years Considers issues relating to the different formats in whichDickinson?s lyrics have been published ? manuscript, print,halftone and digital facsimile Provides incisive interventions into current criticaldiscussions, as well as opening up fresh areas of criticalinquiry Features new work being done in the critique ofnineteenth-century American poetry generally, as well as new workbeing done in Dickinson studies Designed to be used alongside the Dickinson ElectronicArchives, an online resource developed over the past ten years