One of America's most celebrated poets, Emily Dickinson was
virtually unpublished in her lifetime. When a slim volume of her
poems emerged on the American scene in 1890, her work created
shockwaves that have not subsided yet. Famously precise and sparse,
Emily Dickinson's poetry is often described as philosophical, both
because her poetry grapples with philosophical topics like death,
spirituality, and the darkening operations of the mind, and because
she approaches those topics in a characteristically philosophical
manner: analyzing and extrapolating from close observation,
exploring alternatives, and connecting thoughts into cumulative
demonstrations. But unlike Lucretius or Pope, she cannot be accused
of producing versified treatises. Many of her poems are unsettling
in their lack of conclusion; their disparate insights often stand
in conflict; and her logic turns crucially on imagery,
juxtaposition, assonance, slant rhyme, and punctuation. The six
chapters of this volume collectively argue that Dickinson is an
epistemically ambitious poet, who explores fundamental questions by
advancing arguments that are designed to convince. Dickinson
exemplifies abstract ideas in tangible form and habituates readers
into productive trains of thought-she doesn't just make
philosophical claims, but demonstrates how poetry can make a
distinct contribution to philosophy. All essays in this volume,
drawn from both philosophers and literary theorists, serve as a
counterpoint to recent critical work, which has emphasized
Dickinson's anguished uncertainty, her nonconventional style, and
the unsettled status of her manuscripts. On the view that emerges
here, knowing is like cleaning, mending, and lacemakingL a form of
hard, ongoing work, but one for which poetry is a powerful, perhaps
indispensable, tool.
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