Category Archives: Emily Every Day

St. Valentine, 1852

This morning Emily offers another Valentine poem, dated 1852.  She’s in a more playful mood, pitting herself and the mysteries of the moon and the stars against the “Hill of Science.”  My favorite lines: “It was brave Columbus/ A sailing o’er the tide/ Who notified the nation/ Of where I would reside!”

I can’t help but experience her tone as a little snotty here.  Suggesting that the men who think they “discover” the planet are deluded.  It was there all the time!  The “notified”, the italicized was, the cute exclamation point at the end.  I hear it again in the line:  “Three cheers, sir,  for the gentleman/ Who first observed the moon!”

She is having sport with crusty old Columbus and all that he represents.  The folly of men who think they know the score, who think they’re in charge of the planet and everyone on it.

She concludes with a vision of her own body reduced to ashes.  Trust Em to start cute and end deadly.  In this same stanza she bids farewell to some unnamed “Sir”, a friend.

The moon is still here.  Emily and Columbus are long gone.  That was her point, I guess. The ridiculousness of thinking our lives or our “discoveries” have any impact at all on this great chunk of rock we cling to for our little bit of time.  

This was her idea of a Valentine poem.  I worry about Emily sometimes. Is she happy, I wonder?  Does she have friends?  Or even go out?  Why the morbid thoughts?

I am rearranging the furniture in my head around this project:  The Emily Every Day Project.  Now, I’m thinking I’ll not take these in chronological order, but skip to the meat of the book.  Her most productive year was 1862, a hundred years before my birth.  Maybe I’ll go straight there and skip the juvenilia.  I like it, but I know the juicy stuff comes later, much later.  It will take me years to get to it at this rate.

I am impatient.  Come to think of it, my impatience is the whole reason I wanted to create a meditation practice for myself in the first place.  See, now I am already disrupting the process, changing it to suit my accelerated metabolism. 

Then again this is my project.

I can do whatever I want.  I’m a grown-up.

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Dark Sunshine

Today Emily writes to her brother, Austin. #2, c. 1851

There is another sky,
Ever serene and fair,
And there is another sunshine,
Though it be darkness there;
Never mind faded forests, Austin,
Never mind silent fields —
Here is a little forest,
Whose leaf is ever green;
Here is a brighter garden,
Where not a frost has been;
In its unfading flowers
I hear the bright bee hum;
Prithee, my brother,
Into my garden come!

She invites her brother into her garden where all is ever green. Nothing fades or dies.

Emily tells us what a spectacular world exists inside her head.  She’d like to share it with someone she loves, her brother, someone who not only appreciates it, but needs a glimpse of this garden.

I get the sense that Em is comforting her brother with this poem.  Also giving herself something.  The pleasure for Emily is to share the wonders of her imagination.

Yeah yeah, the deal with her is that she wrote in solitude.  But not really.  She wanted someone to read what she wrote.  She wanted someone to know the glories that she could “see” with her mind’s eye.  Otherwise why commit any of it paper at all?  And why send that batch of poems to Thomas Wentworth Higginson, asking for his opinion on whether her poems “breathed”?

Why?  Because Emily Dickinson, infamous recluse and dog lover (these often go together), skinny, flat-chested, dour, long-nose Yankee bluestocking yadda, yadda, yadda—you’ve heard all the usual de-sexualizing stuff about our sweet Em—asked to be seen and heard through her words.  She was an artist and yearned to be felt in the world.  To have an impact.  To exist.  To move people with her words, make them think and react.  She wanted to make something happen.

Now, I am savoring the paradox of “another sunshine/Though it be darkness there.”  I want to hold that sunlight in the darkness behind my eyes.  I am sitting on my porch.  That damn bird has stopped singing finally.  Lance has propped his chin on the lower porch rail.  He’s keeping an eye on the squirrel in the crape myrtle because you never know what a squirrel might do.  Now there is someone, Lance, who is happy not to be famous.  If we ignore Lance forever, he won’t care.  As long as someone puts food in his bowl at the right time, he’s content.

Another bird joins the song.  More modulated.  she moves up and down the scale with more grace and style than her predecessor.  The more complex answer to his blunt announcement.

The darkness behind my eyes is illuminated by a light invisible to anyone else.  This morning, I woke from a dream, brightly lit, even though it moved from day to night.  The strongest image I took from the dream is a cluster of giant, ancient pine trees in a park at night.  The wind moves their branches as I walk up the hill toward them.  Although it is summer, the air is cool.  The trees are lovely and mysterious.  They stand near each other, as if in close counsel, holding their wisdom.  They present themselves and defy understanding.  They are alive with their own nature but give nothing away.

I recognize these trees.  They grow in rocky soil in New England.  They are strong, impervious to winter.  Emily could have walked beneath these trees.

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Emily Every Day

Good morning.  This should keep me busy for a while.  I am reading The Complete Poems of Emily Dickinson, edited by Thomas H. Johnson.  The latest copyright printed on the inside flap of my copy is 1960.  The price: $6.95.  The introduction tells me this edition relies heavily on the 1955 variorum text of The Poems of Emily Dickinson published by Belknap Press of Harvard University Press (in three volumes!!).  That consisted of 1775 poems.  Emily’s capricious Capitalizations and highly intentional dashes are therein preserved.  

I relay all this information as a form of throat clearing.  You  may ignore it if you like.  The important information follows:  This edition has been gathering dust on my shelf for many years, probably since my undergraduate days at Smith.  Now I read one of Emily’s poems each morning as a meditative and creative practice.  I read the poem aloud, close my eyes and let it dissolve on my tongue like a lozenge.  Then I write whatever comes.

The first poem in this edition is a “valentine” dated 1850.  She was young, a teenager.  It is a conventional verse, exploring conventional sentiments of love.  “Oh, the Earth was made for lovers . . .” she says.  Then she goes on to explain how many things come in pairs.  Heaven and Earth, Wave and Shore.  Each needs the other to exist.  Only God is single.  Interesting thought that.  The force that creates and governs all is the only undivided substance.  All the rest, not only us humans, but everything according to Em is split into two parts that yearn for each other.  That all things on the physical and psychic plane reflect our desire for a mate.

Then she ends with an exhortation to some unnamed person, presumably male, to give up his cold solitude.  Emily instructs him to climb a tree where six girls—she names them—sit waiting to be plucked like ripe fruit.  He is to take the one he loves (what of the other five I ask!) and bring her to the “greenwood, and build for her a bower”.  He is also supposed to give her whatever she wants whether, “jewel, or bird, or flower—”.  She also instructs him to “beat upon the drum—”

Then it appears he is to honor and cherish her until she faints from exhaustion.

Emily, you minx.

As I read this, some loud-mouth bird sits on the wire overhead and sings his chest out, calling to his mate, berating her for failing to notice his magnificence.  What a racket.  He sings ever stronger and louder so she will come to him.

It’s quiet now.  The poem done.  The singing too.

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