The document summarizes and imagines possible desks that Emily Dickinson used for her writing over the years from 1870 to 1886. It begins by describing the small 18-inch writing desk mentioned by Dickinson's niece, though notes this could not have accommodated Dickinson's vast body of work. The document explores other possible writing surfaces for Dickinson, including a crude lap desk recently discovered. It speculates on the transformation and dispersal of Dickinson's manuscripts after her death. The summary imagines the possibilities rather than asserting facts, reflecting the document's speculative and imaginative tone.
This document summarizes and critiques Thomas H. Johnson's 1958 edition of Emily Dickinson's letters. It analyzes four specific cases where Johnson editorially reconstructed letters by splicing together multiple manuscript fragments in questionable ways. In each case, the document argues that Johnson obscured textual details and relationships between fragments, at times reordering them in non-viable ways. The overall critique is that Johnson's editorial decisions were influenced by the cultural and scholarly norms of his time, and his reconstruction replaced Dickinson's original textual forms with a standardized narrative that domesticated her works.
Emily Dickinson was a renowned American poet known for her unconventional use of form and syntax in her poems. She lived a reclusive life in Amherst, Massachusetts and published few poems during her lifetime. Her poetry explores themes of love, nature, faith, death and the human condition through vivid imagery and metaphor. She had a fascination with nature and sought to express the uniqueness of her personal experiences through her innovative poetic style.
Here are the answers to your questions:
a. QWERTYUIOP is the top line of letters on a typewriter keyboard.
b. She must be careful because making repeated mistakes on her first day would make people think she was mad or not capable of doing the job.
c. After making the repeated mistakes, she decided to start fresh with a new sheet of paper and focus on her typing without looking at the keys.
d. I don't think I would make such repeated mistakes because I am used to typing on computers and am a fairly experienced typist. Lucy was just starting out and still learning, so it would be easier for mistakes to happen for her.
Thank you for the passage
Emily Dickinson was one of America's greatest poets, known for her unusual life of self-imposed social seclusion despite writing poetry of great power questioning immortality and death. The document provides biographical details of Dickinson's life and upbringing, discusses her unconventional poetic style and themes of religion and mortality. It also analyzes one of her poems, "A Book", which expresses the importance she gave to books and literature as a means of transporting the reader anywhere without cost.
Here, my presentation on John Keats compare with Gujrati Poet Kalapi.Keats write this ode while travelling and Kalapi also wrote this poem on traveling. Imagination shows throughout the poem. To signifies both writers there is one proved in my mind: "You kill a singer not a song."
The document describes Katya Oicherman's art installations "Renderings of Writings" (2004) and "Descriptions of Wanderings" (2005). The installations were inspired by Yuhannah Mirza Ben-David Dawud, a 19th century British collector of Persian manuscripts who obsessively cut up and reassembled manuscripts in his old age. Oicherman's installations used materials like discarded vinyl, wallpaper, and construction waste to reconstruct fragments of Dawud's life and collections. They included cutouts, maps, and a reconstruction of a medieval Turkish tent to suggest Dawud's travels and the fragments of memory he left behind.
Analysis of Two of Emily Dickinson’s “Bird” Poemstweedledum
This document provides an analysis of two poems by Emily Dickinson - "Hope is the thing with feathers" (poem 254) and "A bird came down the walk" (poem 328). It discusses Dickinson's use of birds as a motif and explores interpretations that the birds could represent hopes for love or religious salvation. The document analyzes similarities in rhyme scheme, meter, and figures of speech between the two poems and considers whether Dickinson maintained the same conception of birds over time. It provides context about Dickinson's life and upbringing to support a religious interpretation of the poems' symbolism.
Reframing the perceptions of young adults with learning differences. CIP’s Reframe Art & Literary Magazine represents the combined efforts of the students at our six centers across the United States. This work encompasses the creativity, enthusiasm and vision of our amazing students with Autism, ADHD and other Learning Differences. Their stories, poems, art and photography evolve from their hearts and the unique way they experience the world.
This document summarizes and critiques Thomas H. Johnson's 1958 edition of Emily Dickinson's letters. It analyzes four specific cases where Johnson editorially reconstructed letters by splicing together multiple manuscript fragments in questionable ways. In each case, the document argues that Johnson obscured textual details and relationships between fragments, at times reordering them in non-viable ways. The overall critique is that Johnson's editorial decisions were influenced by the cultural and scholarly norms of his time, and his reconstruction replaced Dickinson's original textual forms with a standardized narrative that domesticated her works.
Emily Dickinson was a renowned American poet known for her unconventional use of form and syntax in her poems. She lived a reclusive life in Amherst, Massachusetts and published few poems during her lifetime. Her poetry explores themes of love, nature, faith, death and the human condition through vivid imagery and metaphor. She had a fascination with nature and sought to express the uniqueness of her personal experiences through her innovative poetic style.
Here are the answers to your questions:
a. QWERTYUIOP is the top line of letters on a typewriter keyboard.
b. She must be careful because making repeated mistakes on her first day would make people think she was mad or not capable of doing the job.
c. After making the repeated mistakes, she decided to start fresh with a new sheet of paper and focus on her typing without looking at the keys.
d. I don't think I would make such repeated mistakes because I am used to typing on computers and am a fairly experienced typist. Lucy was just starting out and still learning, so it would be easier for mistakes to happen for her.
Thank you for the passage
Emily Dickinson was one of America's greatest poets, known for her unusual life of self-imposed social seclusion despite writing poetry of great power questioning immortality and death. The document provides biographical details of Dickinson's life and upbringing, discusses her unconventional poetic style and themes of religion and mortality. It also analyzes one of her poems, "A Book", which expresses the importance she gave to books and literature as a means of transporting the reader anywhere without cost.
Here, my presentation on John Keats compare with Gujrati Poet Kalapi.Keats write this ode while travelling and Kalapi also wrote this poem on traveling. Imagination shows throughout the poem. To signifies both writers there is one proved in my mind: "You kill a singer not a song."
The document describes Katya Oicherman's art installations "Renderings of Writings" (2004) and "Descriptions of Wanderings" (2005). The installations were inspired by Yuhannah Mirza Ben-David Dawud, a 19th century British collector of Persian manuscripts who obsessively cut up and reassembled manuscripts in his old age. Oicherman's installations used materials like discarded vinyl, wallpaper, and construction waste to reconstruct fragments of Dawud's life and collections. They included cutouts, maps, and a reconstruction of a medieval Turkish tent to suggest Dawud's travels and the fragments of memory he left behind.
Analysis of Two of Emily Dickinson’s “Bird” Poemstweedledum
This document provides an analysis of two poems by Emily Dickinson - "Hope is the thing with feathers" (poem 254) and "A bird came down the walk" (poem 328). It discusses Dickinson's use of birds as a motif and explores interpretations that the birds could represent hopes for love or religious salvation. The document analyzes similarities in rhyme scheme, meter, and figures of speech between the two poems and considers whether Dickinson maintained the same conception of birds over time. It provides context about Dickinson's life and upbringing to support a religious interpretation of the poems' symbolism.
Reframing the perceptions of young adults with learning differences. CIP’s Reframe Art & Literary Magazine represents the combined efforts of the students at our six centers across the United States. This work encompasses the creativity, enthusiasm and vision of our amazing students with Autism, ADHD and other Learning Differences. Their stories, poems, art and photography evolve from their hearts and the unique way they experience the world.
This document provides an overview of John Keats' poetic works and career. It discusses his early poems including "Sleep and Poetry" and his first major works "Endymion" and "Isabella". It describes his unfinished epic poem "Hyperion" and narrative poems "Lamia" and "The Eve of St. Agnes". The document highlights that Keats produced all his major works in just three years between 1817-1820 before his early death at age 25. It notes his odes are considered his best works and demonstrate his philosophical views of finding meaning and beauty in nature.
This document provides a summary of Jose Rizal's literary works, including novels, poems, essays, notes, speeches and other writings. It discusses the bibliographies that were used to compile the list of Rizal's works and arrange them chronologically and thematically. The list then describes over 100 of Rizal's individual literary works, providing details on format, publication information, content summaries and notes on each.
Pablo Neruda was a Chilean poet born in 1904. He began writing at age 13 and went on to win many prestigious awards for his poetry, including the Nobel Prize for Literature. Neruda was also politically active as a diplomat and senator, joining the Communist party in 1945. This led to him fleeing Chile in 1948 due to rising anti-communist sentiment. Neruda's poetry shifted to address political and social injustices later in his career. He died in 1973, though some allege his death was caused by poisoning by the Chilean government rather than cancer.
The document provides an analysis of the poem "Two Photographs" by Dylan Thomas. It examines the structure, rhyme scheme, descriptions of the two grandmothers, and themes across the five stanzas. Key points analyzed include the irregular structure representing distorted memories, descriptions showing the women as opposites, and themes of time passing and how memories are imperfect. The document also discusses similarities between this poem and works by Philip Larkin that also explore memory, aging, and how little may remain of people over time.
Keats' poem "Ode to Autumn" describes the season of autumn through imagery of ripening fruits, apple trees, and hazel shells. It addresses autumn as a figure and depicts the season's passing of time and unique music. Each stanza conveys a sense of finality, with the first describing autumn's rich powers and the second a gradual fading. The poem uses personification and concrete images to capture the essence of autumn and convey that it is part of the natural cycle, like old age is to life.
The poem laments the felling of great plane trees at the end of the garden. The narrator expresses a deep connection to the trees, feeling their lives were intertwined through changing seasons and weather. As the trees are cut down amid the noisy work and laughter of men, the narrator is filled with sadness, comparing the loss of the trees to half the spring being gone. The poem references Revelation and an angel's cry of "Hurt not the trees," emphasizing the sacredness of nature.
The concept of Home in Elizabeth Bishop’s “North & South”paperpublications3
Abstract:This paper is an attempt to study Bishop’s concept of home with the help of a few poetic oeuvre from her first book of poetry “North & South” published in the year 1946. This paper explores the complex concept of home in the autobiographical light. There is an attempt to unfold the deeper recesses of Bishop’s mind attempting to create enclosures resembling home in her poetry. Home, for Bishop, is a peaceful place filled with love and security but unaware she tends to create places which are no better than prisons which essentially are due to the pressure of loss of home in her life and the stress to achieve it in her poetry. While creating such enclosures, Bishop’s poetry transcends from the world of reality to the world of unknown, the mystic, the surrealistic world.
Dear Little Twist of Fate - Exhibition Catalogmjbole
This document provides an in-depth analysis of artist Mary Jo Bole and her work. It summarizes her process of creating memorial sculptures and books that juxtapose images related to life and death. Some key points:
1) Bole creates pictorial books and sculptures that bring together seemingly unrelated images to explore themes of permanence and impermanence.
2) Her sculptures often use mosaic techniques to depict grief or incorporate realistic portraits to memorialize deceased ancestors.
3) Bole draws inspiration from cemeteries and funerary traditions, seeking to confront human emotions around death through her intimate yet detached perspective.
From Miniature to Modern : Traditions in Transition IIewilkinson
Presented by E W Art - Los Angeles, Pundole Art Gallery - Mumbai, Rob Dean Art - London,
This exhibition highlights the changing styles of painting that existed in India over a period of more than three hundred years focusing on works on paper. The paintings reveal a constant evolution of styles and formats that depended on both the whims of patrons and the personal genius of the individual artist.
Preview EW Art Los Angeles: 21st September, 2010 6pm - 9 pm
View: 22nd September - 15th October, 2010
Gallery Hours: Mon – Sat 10am – 6 pm, or by appointment.
EW Art Gallery, 1 West California Blvd, Pasadena, CA 91105, USA
Pablo Neruda was a Chilean poet and diplomat who was born in 1904 in Parral, Chile. He began publishing poems in the 1910s under various pseudonyms before adopting the name Pablo Neruda in the 1920s. Neruda held several diplomatic posts in Asia in the 1920s-1930s before being appointed Consul to Spain in the 1930s. During his time in Spain, he witnessed the Spanish Civil War and was influenced by other Spanish poets. Neruda went on to publish several major poetry collections and received the Nobel Prize for Literature in 1971. He died in 1973 shortly after a military coup in Chile led by Augusto Pinochet.
Elizabeth Barrett Browning was a prominent English poet of the Romantic era. She was born in 1806 in Durham, England to a wealthy family. Her poetry was popular in both England and the United States during her lifetime. She was largely self-educated and deeply immersed herself in classical literature from a young age. Her first published work was An Essay on Mind in 1826, though it did not display her true talents as a poet. She developed an important friendship with Hugh Stuart Boyd that rekindled her passion for Greek studies. Financial difficulties later forced her family to relocate multiple times before settling in London in 1835.
The document provides an agenda for a poetry workshop that includes a discussion of sestinas and villanelles, defining poetic terms 24 through 30, a lecture on free verse poetry, and a guided writing exercise on free verse. It defines the terms sestina, villanelle, tercet, elision, personification, and free verse. It also provides examples of free verse poems by Ezra Pound, Wallace Stevens, and T.S. Eliot to illustrate poetic techniques and conventions used in free verse. The document concludes with tips for writing free verse poetry, including the use of rhythm, imagery, formatting, and avoiding grammatical errors and clichés.
This document provides an introduction and summary of Virginia Woolf's 1927 novel "To the Lighthouse". It outlines the author's background and discusses key characters, plot points, themes, and Woolf's use of stream of consciousness as a narrative device in the novel. The summary focuses on Woolf's exploration of themes like the transience of life, the subjective nature of reality, and the use of art to preserve moments from life.
This document provides analysis of Robert Frost's poem "Mending Wall" through several sections:
1) It examines the wall as a symbol that both unites and separates the speaker and his neighbor.
2) It analyzes how nature and tradition are additional silent subjects in the poem.
3) It describes the poem's form as blank verse with some lines having 11 syllables for emphasis.
4) It envisions the rural New England setting of the poem through the senses.
5) It discusses Frost's signature style of focusing on rural landscapes and themes of absence.
This document provides the course syllabus for a poetry class at Paravathy Arts and Science College in Dindigul, India. It lists 5 units that will be covered in the class from June to November 2019. Each unit focuses on different poems and poets, including works by Robert Burns, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, John Keats, Alfred Tennyson, Robert Browning, and others. Brief analyses are provided for some of the poems. The document also lists the head of the English department and class instructor.
Emily Dickinson is introduced as one of America's greatest poets. She experimented with poetic form and challenged conventions. The document then provides details about Dickinson's life, her reclusive nature, themes in her poetry including nature, love, death, and faith, and her popularity growing after her death. It notes she was influential but her poems were unpublished until after she died.
The document provides a biography of Emily Dickinson and analyzes her poem "I Cannot Live With You" using imagery theory. It summarizes the poem, which explores the impossibility of the speaker living with her lover in life, death, resurrection, or judgment. Through metaphors of being locked away and separated by oceans, the poem expresses how the only option is to live apart with just a partially open door between them, sustained only by despair. The document analyzes Dickinson's use of imagery in the poem to convey these meanings and emotions.
Emily Dickinson was a renowned American poet who lived from 1830 to 1886 in Amherst, Massachusetts. She was well-educated but ultimately chose to withdraw from society and live as a recluse, focusing her energy on her prolific poetry writing. Though few of her poems were published during her lifetime, she left behind around 1,800 poems that have since been celebrated for their unique style, themes of life, death, nature, and the human condition. Her seclusion allowed her to experiment freely with poetic form and expression.
Emily Dickinson's poem 260 explores themes of anonymity and individuality. The speaker declares "I'm Nobody!" and asks if the reader is "Nobody" too, suggesting a shared sense of not fitting in or being understood. The speaker tells the reader "Don't tell! They'd advertise - you know!", indicating a desire to keep their outsider status private for fear of unwanted attention or judgment from others for being different. The short, four line poem packs meaningful exploration of finding identity and kinship outside of societal expectations.
Emily Dickinson was born in 1830 in Amherst, Massachusetts to a prominent family. She was well-educated but became increasingly reclusive over her life. Dickinson wrote over 1800 poems but very few were published during her lifetime. Her poems addressed themes of death, religion, and isolation. After her death, thousands of her poems were discovered and cemented her legacy as one of America's greatest poets.
This document provides an overview of John Keats' poetic works and career. It discusses his early poems including "Sleep and Poetry" and his first major works "Endymion" and "Isabella". It describes his unfinished epic poem "Hyperion" and narrative poems "Lamia" and "The Eve of St. Agnes". The document highlights that Keats produced all his major works in just three years between 1817-1820 before his early death at age 25. It notes his odes are considered his best works and demonstrate his philosophical views of finding meaning and beauty in nature.
This document provides a summary of Jose Rizal's literary works, including novels, poems, essays, notes, speeches and other writings. It discusses the bibliographies that were used to compile the list of Rizal's works and arrange them chronologically and thematically. The list then describes over 100 of Rizal's individual literary works, providing details on format, publication information, content summaries and notes on each.
Pablo Neruda was a Chilean poet born in 1904. He began writing at age 13 and went on to win many prestigious awards for his poetry, including the Nobel Prize for Literature. Neruda was also politically active as a diplomat and senator, joining the Communist party in 1945. This led to him fleeing Chile in 1948 due to rising anti-communist sentiment. Neruda's poetry shifted to address political and social injustices later in his career. He died in 1973, though some allege his death was caused by poisoning by the Chilean government rather than cancer.
The document provides an analysis of the poem "Two Photographs" by Dylan Thomas. It examines the structure, rhyme scheme, descriptions of the two grandmothers, and themes across the five stanzas. Key points analyzed include the irregular structure representing distorted memories, descriptions showing the women as opposites, and themes of time passing and how memories are imperfect. The document also discusses similarities between this poem and works by Philip Larkin that also explore memory, aging, and how little may remain of people over time.
Keats' poem "Ode to Autumn" describes the season of autumn through imagery of ripening fruits, apple trees, and hazel shells. It addresses autumn as a figure and depicts the season's passing of time and unique music. Each stanza conveys a sense of finality, with the first describing autumn's rich powers and the second a gradual fading. The poem uses personification and concrete images to capture the essence of autumn and convey that it is part of the natural cycle, like old age is to life.
The poem laments the felling of great plane trees at the end of the garden. The narrator expresses a deep connection to the trees, feeling their lives were intertwined through changing seasons and weather. As the trees are cut down amid the noisy work and laughter of men, the narrator is filled with sadness, comparing the loss of the trees to half the spring being gone. The poem references Revelation and an angel's cry of "Hurt not the trees," emphasizing the sacredness of nature.
The concept of Home in Elizabeth Bishop’s “North & South”paperpublications3
Abstract:This paper is an attempt to study Bishop’s concept of home with the help of a few poetic oeuvre from her first book of poetry “North & South” published in the year 1946. This paper explores the complex concept of home in the autobiographical light. There is an attempt to unfold the deeper recesses of Bishop’s mind attempting to create enclosures resembling home in her poetry. Home, for Bishop, is a peaceful place filled with love and security but unaware she tends to create places which are no better than prisons which essentially are due to the pressure of loss of home in her life and the stress to achieve it in her poetry. While creating such enclosures, Bishop’s poetry transcends from the world of reality to the world of unknown, the mystic, the surrealistic world.
Dear Little Twist of Fate - Exhibition Catalogmjbole
This document provides an in-depth analysis of artist Mary Jo Bole and her work. It summarizes her process of creating memorial sculptures and books that juxtapose images related to life and death. Some key points:
1) Bole creates pictorial books and sculptures that bring together seemingly unrelated images to explore themes of permanence and impermanence.
2) Her sculptures often use mosaic techniques to depict grief or incorporate realistic portraits to memorialize deceased ancestors.
3) Bole draws inspiration from cemeteries and funerary traditions, seeking to confront human emotions around death through her intimate yet detached perspective.
From Miniature to Modern : Traditions in Transition IIewilkinson
Presented by E W Art - Los Angeles, Pundole Art Gallery - Mumbai, Rob Dean Art - London,
This exhibition highlights the changing styles of painting that existed in India over a period of more than three hundred years focusing on works on paper. The paintings reveal a constant evolution of styles and formats that depended on both the whims of patrons and the personal genius of the individual artist.
Preview EW Art Los Angeles: 21st September, 2010 6pm - 9 pm
View: 22nd September - 15th October, 2010
Gallery Hours: Mon – Sat 10am – 6 pm, or by appointment.
EW Art Gallery, 1 West California Blvd, Pasadena, CA 91105, USA
Pablo Neruda was a Chilean poet and diplomat who was born in 1904 in Parral, Chile. He began publishing poems in the 1910s under various pseudonyms before adopting the name Pablo Neruda in the 1920s. Neruda held several diplomatic posts in Asia in the 1920s-1930s before being appointed Consul to Spain in the 1930s. During his time in Spain, he witnessed the Spanish Civil War and was influenced by other Spanish poets. Neruda went on to publish several major poetry collections and received the Nobel Prize for Literature in 1971. He died in 1973 shortly after a military coup in Chile led by Augusto Pinochet.
Elizabeth Barrett Browning was a prominent English poet of the Romantic era. She was born in 1806 in Durham, England to a wealthy family. Her poetry was popular in both England and the United States during her lifetime. She was largely self-educated and deeply immersed herself in classical literature from a young age. Her first published work was An Essay on Mind in 1826, though it did not display her true talents as a poet. She developed an important friendship with Hugh Stuart Boyd that rekindled her passion for Greek studies. Financial difficulties later forced her family to relocate multiple times before settling in London in 1835.
The document provides an agenda for a poetry workshop that includes a discussion of sestinas and villanelles, defining poetic terms 24 through 30, a lecture on free verse poetry, and a guided writing exercise on free verse. It defines the terms sestina, villanelle, tercet, elision, personification, and free verse. It also provides examples of free verse poems by Ezra Pound, Wallace Stevens, and T.S. Eliot to illustrate poetic techniques and conventions used in free verse. The document concludes with tips for writing free verse poetry, including the use of rhythm, imagery, formatting, and avoiding grammatical errors and clichés.
This document provides an introduction and summary of Virginia Woolf's 1927 novel "To the Lighthouse". It outlines the author's background and discusses key characters, plot points, themes, and Woolf's use of stream of consciousness as a narrative device in the novel. The summary focuses on Woolf's exploration of themes like the transience of life, the subjective nature of reality, and the use of art to preserve moments from life.
This document provides analysis of Robert Frost's poem "Mending Wall" through several sections:
1) It examines the wall as a symbol that both unites and separates the speaker and his neighbor.
2) It analyzes how nature and tradition are additional silent subjects in the poem.
3) It describes the poem's form as blank verse with some lines having 11 syllables for emphasis.
4) It envisions the rural New England setting of the poem through the senses.
5) It discusses Frost's signature style of focusing on rural landscapes and themes of absence.
This document provides the course syllabus for a poetry class at Paravathy Arts and Science College in Dindigul, India. It lists 5 units that will be covered in the class from June to November 2019. Each unit focuses on different poems and poets, including works by Robert Burns, William Wordsworth, Samuel Taylor Coleridge, Lord Byron, Percy Bysshe Shelley, John Keats, Alfred Tennyson, Robert Browning, and others. Brief analyses are provided for some of the poems. The document also lists the head of the English department and class instructor.
Emily Dickinson is introduced as one of America's greatest poets. She experimented with poetic form and challenged conventions. The document then provides details about Dickinson's life, her reclusive nature, themes in her poetry including nature, love, death, and faith, and her popularity growing after her death. It notes she was influential but her poems were unpublished until after she died.
The document provides a biography of Emily Dickinson and analyzes her poem "I Cannot Live With You" using imagery theory. It summarizes the poem, which explores the impossibility of the speaker living with her lover in life, death, resurrection, or judgment. Through metaphors of being locked away and separated by oceans, the poem expresses how the only option is to live apart with just a partially open door between them, sustained only by despair. The document analyzes Dickinson's use of imagery in the poem to convey these meanings and emotions.
Emily Dickinson was a renowned American poet who lived from 1830 to 1886 in Amherst, Massachusetts. She was well-educated but ultimately chose to withdraw from society and live as a recluse, focusing her energy on her prolific poetry writing. Though few of her poems were published during her lifetime, she left behind around 1,800 poems that have since been celebrated for their unique style, themes of life, death, nature, and the human condition. Her seclusion allowed her to experiment freely with poetic form and expression.
Emily Dickinson's poem 260 explores themes of anonymity and individuality. The speaker declares "I'm Nobody!" and asks if the reader is "Nobody" too, suggesting a shared sense of not fitting in or being understood. The speaker tells the reader "Don't tell! They'd advertise - you know!", indicating a desire to keep their outsider status private for fear of unwanted attention or judgment from others for being different. The short, four line poem packs meaningful exploration of finding identity and kinship outside of societal expectations.
Emily Dickinson was born in 1830 in Amherst, Massachusetts to a prominent family. She was well-educated but became increasingly reclusive over her life. Dickinson wrote over 1800 poems but very few were published during her lifetime. Her poems addressed themes of death, religion, and isolation. After her death, thousands of her poems were discovered and cemented her legacy as one of America's greatest poets.
My life closed twice & prayers of steel (eng. & american lit.)Ysa Garcera
- Emily Dickinson was a renowned American poet born in 1830 in Massachusetts. She published few poems during her lifetime but left behind around 1,800 poems after her death. Her poems dealt with themes of love, nature, God and eternity in a simple yet profound style.
- Carl Sandburg was a Swedish American poet born in 1878. He worked various jobs as a young man before becoming a journalist. He wrote poetry collections that celebrated American industrial life and the common worker. His works brought him fame and he became known as the "Poet of the Common Man."
- The poems discussed reflect on themes of life, death, love and the human experience. Dickinson's "My Life Closed Twice
Literary technique used by woolf in to the lighthouseNiyati Pathak
This presentation is a part of my academic activity i...
I'm dying my masters in English literature in India ..
Where I have american literature paper were i presented library technique used by Virginia Woolf in to the lighthouse ............
Altarwise by Owl-Light is probably Dylan Thomas' most obscure poem and can therefore be all too readily dismissed as a bewildering and incoherent work. On closer inspection this judgment does not prove valid for resons adduced in this study.
Emily Dickinson was one of America's greatest poets. Her poems powerfully indicated her perception of the values and limitations of her society. In poems like "It was not Death" and "Because I could not stop for Death", she demonstrates how restricting society can be and questions its values around religion and conformity. Dickinson analyzed her world through her unique poetry, seeing society as a restrictive and hellish place. Her works touched on themes of death, religion, and loneliness.
This summary provides an overview of the document in 3 sentences:
The document discusses several books and exhibits related to authors Emily Dickinson and Lena Horne. It describes some of the key themes and insights from novels about Dickinson's life and love interests as well as an exhibit about her gardens. The document also honors the life and career of singer and actress Lena Horne, from her early days in Hollywood facing racism to her fight for civil rights. It encourages exploring art museums through their online collections when travel is not possible.
How to Setup Default Value for a Field in Odoo 17Celine George
In Odoo, we can set a default value for a field during the creation of a record for a model. We have many methods in odoo for setting a default value to the field.
Elevate Your Nonprofit's Online Presence_ A Guide to Effective SEO Strategies...TechSoup
Whether you're new to SEO or looking to refine your existing strategies, this webinar will provide you with actionable insights and practical tips to elevate your nonprofit's online presence.
A Visual Guide to 1 Samuel | A Tale of Two HeartsSteve Thomason
These slides walk through the story of 1 Samuel. Samuel is the last judge of Israel. The people reject God and want a king. Saul is anointed as the first king, but he is not a good king. David, the shepherd boy is anointed and Saul is envious of him. David shows honor while Saul continues to self destruct.
Andreas Schleicher presents PISA 2022 Volume III - Creative Thinking - 18 Jun...EduSkills OECD
Andreas Schleicher, Director of Education and Skills at the OECD presents at the launch of PISA 2022 Volume III - Creative Minds, Creative Schools on 18 June 2024.
How to Manage Reception Report in Odoo 17Celine George
A business may deal with both sales and purchases occasionally. They buy things from vendors and then sell them to their customers. Such dealings can be confusing at times. Because multiple clients may inquire about the same product at the same time, after purchasing those products, customers must be assigned to them. Odoo has a tool called Reception Report that can be used to complete this assignment. By enabling this, a reception report comes automatically after confirming a receipt, from which we can assign products to orders.
2. According to the writer‘s niece,
Martha Dickinson Bianchi, .
Dickinson‘s ―only writing desk [was]...
a table, 18-inches square, with a
drawer deep enough to take in her ink
bottle, paper and pen…[and] placed in
the corner by the window facing
west."
View of Emily Dickinson‘s room,
Emily Dickinson Museum, Amherst, Mass.
3. Although the cherry and pine writing desk to which Bianchi refers is a unique
piece currently housed in the Dickinson Room at the Houghton
Library, reproductions of the desk—in wood and in pixels—abound. A simple
Google search for images of Dickinson‘s desk on the World Wide Web yields
numerous shots of it—or of its doppelgängers—at varying distances and camera
angles. Often, it is bathed in lamplight or sunlight, with a single fascicle on an
otherwise pristine and vacant surface…
4. This image of Dickinson‘s desk is so familiar to her readers, so imprinted on
our imaginations, that we think of it not as an image at all, but as a memory,
justly ours.
The desk, however, is a supreme fiction.
The instant we begin to picture it, we realize it could not have been
Dickinson‘s writing desk—at least not her only desk. How could the delicate
table have withstood the weight of her books? How could it have tolerated
the pressure of her hand in the ―white heat‖ of writing every day across the
days of more than thirty years? And how could it have accommodated the
thousands of leaves of blank paper Dickinson turned into manuscripts?
5. Just past the image of the pristine writing
desk another, more unruly image is
forming. I see the desk laden with
volumes, open and closed—the family
Bible; the novels of the Brontës, George
Eliot, Charles Dickens; Ruskin‘s Modern
Painters…
Dickinson‘s copy of The Holy Bible, containing the Old and New
Testaments: translated out of the original tongues. Philadelphia: J. P. Several titles Dickinson was known to have had in
Lippincott & Co., MDCCCXLIII. Houghton Library. her personal library.
6. I s e e i t c o ve r e d w i t h r o w s o f b o t a n i c a l s p e c i m e n s : Ja s m i n u s, C a l e n d u l a
O f f i c i n a l i s, D i g i t a l i s, S a l v i a … .
Random facsimile pages from Emily Dickinson‘s herbarium, c. 1839-1846. Houghton Library,
Harvard University, MS Am. 1118.11.
7. And beyond it, I see the room that gives the desk space, filling with papers…
MSS drawn at random from the Amherst College Archives & Special Collections: A 889, A 193-94, A 867a,
A 750, A 332, A 842.
8. There are stacks of them on the table,
on the floor, on the bed…
She moves them.
Others living in the household and
coming from outside of it move
them.
The wind moves them.
Time moves them.
My imagination moves them until
there is a whirling and whirring of
marks in the air… Jen Bervin, The Composite Marks of Fascicle 28. Cotton and silk thread on
cotton batting. 6‘ x 8‘.
9. I see, of course, only what I see in the mind‘s eye.
For like Bianchi, like everyone, I have arrived too late: I do not catch Dickinson in the
act of writing.
I do not see how she arranges and stab-binds the gatherings of poems we call
fascicles, or how she archives them, whether with other bound gatherings only, or
intermixed with loose sheets and fragments.
I do not see how, or even if, she distinguishes among poems, prose, and passages of
indeterminate genre…
I do not see her search for a poem written years earlier to revise or only to re-read it.
10. There is so much more I ―cannot see to see -‖ (JP 371; FP 340)
The cupola Edward Dickinson added atop the Homestead. Courtesy of
the Dickinson Museum. Photographer: Frank Ward.
11. Just as I do not see the room as it appeared while Dickinson lived within it, I
do not see it in the days and months following her death when her papers
were discovered, sorted, destroyed, and disseminated.
I do not see the clearing away of her effects, nor do I know if this process
was carried out systematically or at chance‘s hands.
I do not know if those entrusted to the task worked patiently or were
overwhelmed by what they found.
12. Was there, as the story And if there was only
goes, only a single locked one box, containing the
box containing thousands poems, where were the
of poem manuscripts? letter drafts and
Where has this fragments? Where were
(Pandora‘s) box and its the manuscripts
key gone? featured here
discovered?
Joseph Cornell, ―Toward the Blue Peninsula‖ (For Emily Dickinson, c. 1953)
13. In A Revelation, Bingham repeats Mabel Loomis Todd‘s claim that the ―Lord letters‖
were given to her mother by Austin Dickinson, though how they came to be in his
possession was not recorded: ―One packet brought by Mr. Dickinson was different
from all the others. In a used brown envelope, addressed in an unknown hand to ‗Miss
E. C. Dickinson, Amherst, Mass.,‘ the canceled stamps an issue of the early 1880s, it is
labeled in my mother‘s writing, ‗Rough drafts of Emily's letters.‘ She told me that when
Mr. Dickinson gave her this envelope he indicated that it was something very special
and personal. A glance was enough to show her that the drafts it contained were
indeed different. Obviously love letters, my mother did not ask Mr. Dickinson how
they came to be in his possession, wondering though she did how they could have
escaped destruction.‖
14. A 761: The envelope allegedly containing the ―Lord Letters.‖ Amherst College Library,
Archives & Special Collections.
15. Was one box actually many boxes?
After all the manuscripts have been
carried away from Dickinson‘s
room, questions whirl in their place
and do not settle.
I see her desk, and I do not see it.
Emily Dickinson‘s desk. Dickinson Room, Houghton Library,
Harvard University.
16. Or rather, what I see is always a facsimile.
The desk is a facsimile.
And the manuscripts upon it, though they are written in Dickinson‘s hand, are
facsimiles, too. Their transformation from original documents to altered
artifacts began as soon as Dickinson died and left them behind. Since then, they
have become ever and ever more ―unbound from the aura of the original[s].‖
We have never seen them except as uncanny doubles, estranged from their first
orders and contexts. The aura that arises from them is nothing more, and
nothing less, than our longing to have been present in the scene of her
writing, in a moment always foreclosed to us.
17. FORECLOSE
Forms: ME–15 forclose, 15 Sc. foirclois, 15– foreclose.
Etymology: < forclos-, stem of forclore , < for- , for- prefix 3 + clore to close v. Some of the senses may have originated from
or have been influenced by the identification of the prefix with for- prefix 1 (compare Old English forclýsan to close, stop up),
or with for- prefix 2, fore- prefix (compare preclude)....
1.
trans. To bar, exclude, shut out completely.
†b. To bar or stop up (one's) passage. Obs.
†2. To close fast, close or stop up, block up (an opening, way, etc.) Obs.
a. To preclude, hinder, or prohibit (a person) from (an action) or to do something; to hinder the action, working, or
activity of.
b. To debar from the enjoyment of.
c. To preclude or prevent (an action or event).
5. To close beforehand; to answer or settle by anticipation.
6. To establish an exclusive claim to.
J. R. Lowell Poet. Wks. (1879) 470 Are we..Foreclosed of Beauty by our modern date?
18. Perhaps our imagination of the desk cleared of its contents is
the right one after all.
There is nothing there. And there is everything to imagine.
On a recent trip I took to Amherst College, an archivist who has
worked in close proximity to Dickinson‘s manuscripts for many
years, told me the story of another desk also believed to have
been the poet‘s but which has so far been absent from re-
imaginations of the scene of her writing. The desk, which she
displayed, is in fact a crude writing board, 16 x 19‖, painted
white on one side, curved, with rollers that appear to fit over the
knees.
According to the story, the lap-desk was found, among other
family effects, in the attic of the Dickinson Homestead by the
Parke family, who had bought the property from Martha Bianchi
in the 1916 and occupied it until 1965. Although associated with
Emily Dickinson, the desk did not appeal to Mrs. Parke, and she
donated it to the Grace Church‘s Saint Nicholas Bazaar around
1956. There it was purchased by Margaret Roberta Grahame,
mother of Roberta M. Grahame, a former tour guide at the
Homestead, and Great Aunt to the archivist who is the present
source for this information.
19. Emily Dickinson‘s (?) writing board, 16 x 19‖, painted white on one side, curved, with rollers that
appear to fit over the knees. The lap-desk is housed in the Amherst College Library, Archives & Special Collections.
20. The stark simplicity of the object—its obvious uses for writing late at night or
when ill in bed—along with the uncertainty of its provenance appeal to me.
Like the sudden texts of Dickinson‘s late drafts and fragments, the board
seems related to a practice of writing in the moment. Splashed with white
paint, it may have offered a bright surface for writing in the dark. Under the
painted surface, traces of lost texts may still be recovered…
At once tabla rasa and mystic writing pad, the mysterious lap-desk embodies
the greater mystery of writing‘s ―reportlessness,‖ a condition Dickinson
associated with joy.
21. Emily Dickinson‘s writing board? MS A 251, c. 1876,
Amherst College Archives & Special Collections ―In many and reportless|
places‖
22. In many and reportless places
Nature Deity Joy –
Dissolves abates Exhales
Sumptuous Destitution
Without Name
We inhaled it – waylaid it
Blissful thereafter roam
Scattered words and phrases from Dickinson‘s late draft, ―In many and
reportless | places‖ (A 251), superimposed on the image of the writing
board.
23. NOTES
SLIDE 1: The images on the opening slide include a reproduction of Dickinson‘s writing desk (left)
now housed at the Dickinson Museum; a facsimile of a late fragment (A 821) beginning ―Clogged only
with Music‖ (right); a lap-desk (center) that may have been Emily Dickinson‘s and is now in the Amherst
College Library Archives & Special Collections; a facsimile (MS Am. 1118.5 [B 44]) of Dickinson‘s
signature (on lap-desk, left); a facsimile page (MS Am. 1118.11) from Dickinson‘s herbarium, c. 1839-
1846 (on lap-desk, right); and a facsimile of a draft of a letter (A 757) from Dickinson to Otis Lord
beginning ―Tuesday is a deeply depressed day‖ (lap-desk, partially covered).
MSS A 821, A 757, and the image of the lap-desk are reproduced with permission of the Amherst
College Library, Archives & Special Collections.
The image of the reproduction of Dickinson‘s desk is reproduced with permission of the Dickinson
Museum.
MS Am 1118.5 (B 44) and MS Am. 1118.11 are reproduced with permission of the Houghton Library,
Harvard University & the Harvard University Press. A digital scan of Dickinson‘s herbarium is
available on the Houghton Library‘s webpage: see
http://hcl.harvard.edu/libraries/houghton/collections/modern/dickinson.cfm#web
24. NOTES, CONTINUED
Slide 2:
Left: The passage from Martha Dickinson Bianchi‘s Face to Face: Unpublished Letters with Notes and
Reminiscences by Her Niece (Boston: Houghton Mifflin Company, 1932) is quoted on the Amherst
College Library‘s website:
https://www.amherst.edu/aboutamherst/magazine/officespace/emilydickinson.
Right: One of the many reproductions of Dickinson‘s writing table. The original desk is made from
cherry and pine (secondary wood), with brass finishings; it was made by an unknown carpenter, c.
1830. This reproduction currently stands in the Dickinson Homestead. It is reproduced here with
permission of the Emily Dickinson Museum, Amherst, MA.
Slide 3:
Andy Warhol meets Emily Dickinson: repeated images of the reproduction copy of Emily
Dickinson‘s writing desk currently housed in the Dickinson Museum.
25. NOTES, CONTINUED
Slide 5:
Left: A digital scan of Emily Dickinson‘s bible: The Holy Bible, containing the Old and New
Testaments: translated out of the original tongues. Philadelphia: J. P. Lippincott &
Co., MDCCCXLIII. The bible was presented to Dickinson by her father, Edward Dickinson, in
1844. The original volume is currently housed at the Houghton Library, Harvard University. The
image, which appears on a blog associated with the Houghton‘s website
http://blogs.law.harvard.edu/houghtonmodern/2011/06/13/emily-dickinsons-not-so-sacred-
book/, is reproduced by permission of the Houghton Library, Harvard University.
Right (on writing desk): Images (superimposed) of random 19th-century books piled on Dickinson‘s
desk.
Right (on floor): An image (superimposed) of several titles Dickinson was known to have had in her
personal library. The image appears on the Emily Dickinson Museum
website, http://www.emilydickinsonmuseum.org/reading, and is reproduced with the Museum‘s
permission.
26. NOTES, CONTINUED
Slide 6:
Random facsimile pages from Emily Dickinson‘s herbarium, c. 1839-1846 (MS Am. 1118.11).
Reproduced by permission of the Houghton College Library, Harvard University. For a complete
digital surrogate of the herbarium, see
http://hcl.harvard.edu/libraries/houghton/collections/modern/dickinson.cfm#web, the portal to
many digital images from the Houghton‘s extensive Emily Dickinson Collection.
Slide 7:
The digital facsimiles reproduced here are drawn from the Amherst College Library, Archives &
Special Collections, and reproduced with the Library‘s permission: top center: a recipe, in Dickinson‘s
hand, for doughnuts (A 889); right (inner): A Western Union Telegraph blank inscribed with poem-
drafts beginning ―Glass was the Street‖ and ―It came his turn‖ (A 193 / A194); right (outer): a
fragment of writing from a draft beginning, ―a similar Mirage of thought‖ (A 867a); bottom (center:) a
fragment of a fair-copy draft beginning, ―The withdrawal of the Fuel of Rapture‖ (A 750); left (inner),
a postal wrapper inscribed with a rough-copy draft beginning, ―Pompless no Life ‖ (A 332); and left
(outer): a fragment of a rough-copy draft beginning, ―As there are Apartments‖ (A 842).
27. NOTES, CONTINUED
Slide 8:
Right: The image is from Jen Bervin‘s The Composite Marks of Fascicle 28. Cotton and silk thread on
cotton batting, 6 ft h x 8 ft w. Reproduced by permission of the artist.
Slide 10:
Center: The cupola Edward Dickinson added atop the Homestead. Courtesy of the Dickinson
Museum. Photographer: Frank Ward.
Slide 12:
Center: Joseph Cornell‘s ―Toward the Blue Peninsula‖ (For Emily Dickinson, c. 1953). The image
appears in numerous places on the web. This digital image was copied from the following source:
http://www.mdmfineart.co.uk/?p=1187, December 2012.
28. NOTES, CONTINUED
Slide 13:
The quoted passage is from Millicent Todd Bingham, Emily Dickinson: A Revelation (New York:
Harper & Bros., 1954), page 1.
Slide 14:
A 761: This envelope is housed in the Amherst College Library, Archives & Special Collections, and
is reproduced with the Library‘s permission. Mabel Loomis Todd labeled the envelope ―Rough
drafts of Emily‘s letters.‖ Additional faint notes in pencil appear to read: ―[Mother?] [Millicent?] says
she loved various [men?].‖ The words in brackets are largely illegible. If the initial word is indeed
―Mother,‖ it would appear to be Millicent Todd Bingham‘s note about information she received
about the documents from Mabel Loomis Todd; if it is ―Millicent,‖ it is almost certainly Jay Leyda's
note.
29. NOTES, CONTINUED
Slide 15:
Right: An image of the original writing table used by Emily Dickinson. Cherry, pine (secondary
wood), brass; maker unknown, ca. 1830. The desk is currently housed in the Dickinson Room of the
Houghton Library, Harvard University. This image is reproduced on the Houghton Library‘s website:
http://hcl.harvard.edu/libraries/houghton/collections/modern/dickinson.cfm
Slide 16:
The quoted passage is from Meg Roland, ―Facsimile Editions: Gesture and Projection,‖ Textual
Cultures: Texts, Contexts, Interpretation 6.2 (2011): 49.
Slide 17:
The definition of ―foreclose‖ is from the online Oxford English Dictionary.
30. NOTES, CONTINUED
Slide 19:
Center: A digital surrogate of a writing board, 16 x 19‖, painted white on one side, curved, with
rollers that appear to fit over the knees. According to Margaret Dakin, Amherst College
Library, Archives & Special Collections, the board was found, among other family effects, in the attic
of the Dickinson Homestead, by the Parke family, who bought the property from Martha Bianchi.
Mrs. Parke donated the board to the Grace Church‘s Saint Nicholas Bazaar in the 1950s (possibly in
1956), where it was purchased by Margaret Roberta Grahame, mother of Roberta M. Grahame, a
former tour guide at the Homestead. Although questions regarding provenance cannot be answered
definitively, Mrs. Parke told Margaret Grahame that is was Emily Dickinson‘s writing board. The
writing on the back of the board, Dakin notes, is Roberta‘s: she liked, writes Dakin, ―to document
things in a hands-on sort of way‖ (private email correspondence, November 26, 2012).
Slide 22:
Superimposed on the writing board: Scattered words and phrases from Dickinson‘s late draft, ―In many
and reportless | places‖ (A 251).
The images on this page include a reproduction of Dickinson’s writing desk (left) now housed at the Dickinson Museum; a facsimile of a late fragment (A 821) beginning “Clogged only with Music, like the Wheels of | Birds -” (right); a lap-desk (center) that may have been Emily Dickinson’s and is now in the Amherst College Library Archives & Special Collections; a facsimile (MS Am. 1118.5 [B 44]) of Dickinson’s signature (on lap-desk, left); a facsimile page (MS Am. 1118.11) from Dickinson’s herbarium, c. 1839-1846 (on lap-desk, right); and a facsimile of a draft of a letter (A 757) from Dickinson to Otis Lord beginning ”Tuesday is a deeply depressed day” (lap-desk, partially covered). A digital scan of Dickinson’s herbarium is available on the Houghton Library’s webpage: see http://hcl.harvard.edu/libraries/houghton/collections/modern/dickinson.cfm#web.MSS A 821, A 757, and the image of the lap-desk are reproduced with permission of the Amherst College Library, Archives & Special Collections; the image of the reproduction of Dickinson’s desk is reproduced with permission of the Dickinson Museum; and MS Am 1118.5 (B 44) and MS Am. 1118.11 are reproduced with permission of the Houghton Library, Harvard University & the Harvard University Press.
Left: This passage from Martha Dickinson Bianchi’s Face to Face: Unpublished Letters with Notes and Reminiscences by Her Niece(Boston: Houghton Mifflin Company, 1932) is quoted on the Amherst College Library’s website: https://www.amherst.edu/aboutamherst/magazine/officespace/emilydickinson.Right: One of the many reproductions of Dickinson’s writing table. The original desk is made from cherry and pine (secondary wood), with brass finishings; it was made by an unknown carpenter, c. 1830. This reproduction currently stands in the Dickinson Homestead. It is reproduced here with permission of the Emily Dickinson Museum, Amherst, MA.
Andy Warhol meets Emily Dickinson: repeated images of the reproduction copy of Emily Dickinson’s writing desk currently housed in the Dickinson Museum.
Left: A digital scan of Emily Dickinson’s bible: The Holy Bible, containing the Old and New Testaments: translated out of the original tongues. Philadelphia: J. P. Lippincott & Co., MDCCCXLIII. The bible was presented to Dickinson by her father, Edward Dickinson, in 1844. The original volume is currently housed at the Houghton Library, Harvard University. The image, which appears on a blog associated with the Houghton’s website, http://blogs.law.harvard.edu/houghtonmodern/2011/06/13/emily-dickinsons-not-so-sacred-book/, is reproduced by permission of the Houghton Library. Right (on writing desk): Images (superimposed) of random 19th-century books piled on Dickinson’s desk.Right (on floor): An image (superimposed) of several titles Dickinson was known to have has in her personal library. The image appears on the Emily Dickinson Museum website, http://www.emilydickinsonmuseum.org/reading, and is reproduced with the Museum’s permission.
Random facsimile pages from Emily Dickinson’s herbarium, c. 1839-1846 (MS Am. 1118.11). Reproduced by permission of the Houghton College Library, Harvard University. For a complete digital surrogate of the herbarium, see http://hcl.harvard.edu/libraries/houghton/collections/modern/dickinson.cfm#web, the portal to many digital images from the Houghton’s extensive Emily Dickinson Collection.
The digital facsimiles reproduced here are drawn from the Amherst College Library, Archives & Special Collections, and reproduced with the Library’s permission: top center: a recipe, in Dickinson’s hand, for doughnuts (A 889); right (inner): A Western Union Telegraph blank inscribed with poem-drafts (A 193-194); right (outer): a fragment of writing from a draft beginning, “a similar Mirage of thought” (A 867a); bottom center: a fragment of a fair-copy draft beginning, “The withdrawal of the Fuel of Rapture” (A 750); left (inner), a postal wrapper inscribed with a rough-copy draft beginning, “Pompless no Life can pass away” (A 332); and left (outer): a fragment of a rough-copy draft beginning, “As there are Apartments in our own Minds” (A 842).
The image is from Jen Bervin’sThe Composite Marks of Fascicle 28. Cotton and silk thread on cotton batting, 6 ft h x 8 ft w. Reproduced by permission of the artist.
Center: The cupola Edward Dickinson added atop the Homestead. Courtesy of the Dickinson Museum. Photographer: Frank Ward.
Center:Joseph Cornell’s “Toward the Blue Peninsula” (For Emily Dickinson, c. 1953). The image appears in numerous places on the web. This digital image was copied from the following source: http://www.mdmfineart.co.uk/?p=1187, December 2012.
Millicent Todd Bingham, Emily Dickinson: A Revelation. New York: Harper & Bros., 1954. Page 1.
A 761: This envelope is housed in the Amherst College Library, Archives & Special Collections and is reproduced with the Library’s permission. Mabel Loomis Todd labeled the envelope “Rough drafts of Emily’s letters.” Additional faint notes in pencil appear to read: “[Mother?] [Millicent?] says she loved various [men].” The words in brackets are illegible. If the initial word is indeed “Mother,” it would appear to be Millicent Todd Bingham’s note about information she received from Mabel Loomis Todd; if it is “Millicent,” it is almost certainly Jay Leyda's note.
Right: An image of the original writing table used by Emily Dickinson. Cherry, pine (secondary wood), brass; maker unknown, ca. 1830. The desk is currently housed in the Dickinson Room of the Houghton Library, Harvard University. This image is reproduced on the Houghton Library’s website: http://hcl.harvard.edu/libraries/houghton/collections/modern/dickinson.cfm.
See Meg Roland, “Facsimile Editions: Gesture and Projection,” Textual Cultures: Texts, Contexts, Interpretation 6.2 (2011): 49.
This entry is from the OED.
Center: A digital surrogate of a writing board, 16 x 19”, painted white on one side, curved, with rollers that appear to fit over the knees. According to Margaret Dakin, Amherst College Library, Archives & Special Collections, the board was found, among other family effects, in the attic of the Dickinson Homestead, by the Parke family, who bought the property from Martha Bianchi. Mrs. Parke donated the board to the Grace Church’s Saint Nicholas Bazaar in the 1950s (possibly in 1956), where it was purchased by Margaret Roberta Grahame, mother of Roberta M. Grahame, a former tour guide at the Homestead. Although questions regarding provenance cannot be answered definitively, Mrs. Parke told Margaret Grahame that is was Emily Dickinson’s writing board. The writing on the back of the board, Dakin notes, is Roberta’s: she liked, writes Dakin, “to document things in a hands-on sort of way” (private email correspondence, November 26, 2012).
Scattered words and phrases from Dickinson’s late draft, “In many and reportless | places” (A 251), superimposed on the image of the writing board.