Collected Poems of Emily Dickinson, Emily Dickinson, edited by Mabel Loomis Todd and Thomas Wentworth Higginson. Gramercy Books (ISBN: 0517362422) 1982 (originally published 1890, 1891, 1896).

Summary: A republication of Dickinson’s poems as first published in three series shortly after her death.

Thomas Wentworth Higginson, a literary scholar, received four poems from a women in Amherst in 1862. He returned them but kept in touch with Emily Dickinson. She continued to correspond and write poetry but never published during her lifetime. After her death in 1886, Dickinson’s sister found a box containing hundreds of her poems and thought them worthy of publication. She sought out Mabel Loomis Todd, the wife of a local professor who sought the help of Higginson. He edited her work, dealing with issues of rhyme, metre, line arrangements, and dialect. The two published a first series in 1890 and a second in 1891. Mabel Loomis Todd published a third series on her own in 1896.

This collection is based on those works but is not exhaustive. It follows four categories from the original editions: Life, Love, Nature, and Time and Eternity. It includes prefaces from each of the three series and a facsimile of “Renunciation” in Dickinson’s script from the first series. And it also includes artwork from the original publications. However it does not give indications of which poems were included in each series.

I don’t feel adept enough in poetry to offer a critical review of someone of Dickinson’s stature. So I will highlight poems from each section I particularly noticed. Under “Life,” the poems are focused on Dickinson’s observations of life, which are broad despite her secluded existence. Poem VI could be a motto with its lines “If I can stop one heart from breaking,/I shall not live in vain;.” “Hope, 1” has the memorable image of “Hope is the thing with feathers.” Finally, in an age where faith was highly prized, her “Lost Faith” observes that “To lose one’s faith surpasses/The loss of an estate.”

The poems on “Love” cover the various forms of love. “Proof” speaks of the love of God proven on Calvary. “The Lovers” captures her observations of “rosey” cheeks of two young people and staggering speech as they notice each other. Meanwhile, “The Wife” reflects the gendered expectations of the day of dropping life’s “playthings” for the “honorable work/of woman and of wife. There are poems of longing and contentment, and those attesting the loyalty of a loving friend.

“Nature” reveals her keen attention to the world about her. She writes of summer showers, sunsets, bees and bobolinks, butterflies and purple clover. Dickenson captures the deception of “Indian Summer”: “These are the days when skies put on/The old, old sophistries of June–/A blue and gold mistake.” She notices bats, rats, spiders, and their webs.

Finally, “Time and Eternity” deals with ultimate issues of death and the life ever after. Dickinson writes extensively about death, yet rarely is this morbid or maudlin. Much is informed by her own faith, that in the opening words of the first poem in this section believes “This world is not conclusion…” She observes the signs of the death of someone across the street–of neighbors in and out, of ministers and milliners and mattresses thrown out. The poet describes observing “the dying eye” “In search of something.”

She speaks of the remembrances of the dead when alive, so real, yet irrevocably confined to the sepulchre. Dickinson faces death honestly. She recourses to her heavenly hope. And in her final poem, “Farewell,” she accepts her own death. It begins, “tie the strings to my life, my Lord,/Then I’m ready to go.” A few verses later, she concludes: “Good-by to the life I used to live,/And the world I used to know;/And kiss the hills for me, just once;/now I am ready to go!”

I think part of the fascination of Dickinson’s poetry is how deeply she sees into all that really matters in life, while rarely leaving her home. She pays attention to both her human and creaturely neighbors. The poet names both the movements of her heart and the contours of her faith. and often she does all this in just a few lines. I’ll leave you with this example, number “VIII” in the section on “Time and Eternity.”

Each that we lose takes part of us ;
   A crescent still abides,
Which like the moon, some turbid night,
   Is summoned by the tides.