From Library Journal
McNeil attempts an understanding of Dickinson by casting a diverse net of critical theories. Specifically, Derrida's theory of "difference," de Man's on "the artist," and Freud's on primary words; "dualism" philosophy; "the Orphic" poetic tradition; poets from Poe to Eliot to Ginsbergall are used as hooks to snag the ever elusive Emily. But just as she eluded her mentor, Higginson, over a century ago, Dickinson eludes contemporary critics. Though McNeil's modern anatomized reading of the poems is the exact opposite of Higginson's Victorianly obtuse rendering, it is as ineffective in capturing the truth of Dickinson's poetic genius. Dickinson is ultimately contorted by the pressure to say something different about her oft-cited themesthemes previously and more distinctly interpreted by others. Domenica Paterno, Lehman Coll., CUNY, Bronx, N.Y.Copyright 1986 Reed Business Information, Inc.


From the Publisher
Founded in 1906 by J.M. Dent, the Everyman Library has always tried to make the best books ever written available to the greatest number of people at the lowest possible price. Unique editorial features that help Everyman Paperback Classics stand out from the crowd include: a leading scholar or literary critic's introduction to the text, a biography of the author, a chronology of her or his life and times, a historical selection of criticism, and a concise plot summary. All books published since 1993 have also been completely restyled: all type has been reset, to offer a clarity and ease of reading unique among editions of the classics; a vibrant, full-color cover design now complements these great texts with beautiful contemporary works of art. But the best feature must be Everyman's uniquely low price. Each Everyman title offers these extensive materials at a price that competes with the most inexpensive editions on the market-but Everyman Paperbacks have durable binding, quality paper, and the highest editorial and scholarly standards.


From the Back Cover
EVERYMAN'S POETRY LIBRARY: This new series of the world's greatest poetry features the hallmarks of Everyman Classics: top-quality production and reader-friendly design along with helpful notes and critiques. Each edition is also a great value, especially for those readers beginning to explore the work of these remarkable poets.

FROM THE PUBLISHER

Emily Dickinson's Open Folios is a scholarly edition and aesthetic exploration of a group of forty late drafts and fragments hitherto known as the "Lord letters." The drafts are presented in facsimile form alongside typed transcriptions that reproduce as fully as possible the shock of script and startling array of visual details inscribed on the surfaces of the manuscripts. Marta L. Werner argues that a redefinition of the editorial enterprise is needed to approach the revelations of these writings - the details that have been all but erased by editorial interventions and print conventions in the twentieth century. Paradoxically, "un-editing" them allows a better understanding of the relationship between medium and messages. Werner's commentary forsakes the claims to comprehensiveness generally associated with scholarly narrative in favor of a series of speculative and fragmentary "close-ups" - a portrait in pieces. Finally, she proposes the acts of both reading and writing as visual poems. A crucial reference for Dickinson scholars, this book is also of primary importance to textual scholars, editorial theorists, and students of gender and cultural studies interested in the production, dissemination, and interpretation of works by women writers.

FROM THE CRITICS

Publishers Weekly

The Poetry for Young People series attempts to straddle the school and trade markets with these two volumes about America's best-known New England poets, but the results are uneven. Frost is superb, the poems introduced in a tone that is informative but not pedantic. Robert Frost's best work is organized into seasonal categories; an italicized gloss for each poem unobtrusively explains references and highlights themes. Sorensen's sketchy watercolors ground each poem in Frost's world of pastures, rose pogonias and yellow woods. Bolin's biographical interpretation of Emily Dickinson, on the other hand, is both coy and condescending. The reader is told, for example, that ``Emily may have seemed to some like a real `nobody' [but] inside she knew she was somebody special.'' Chung's illustrations combine Holly Hobbie-style children with trite ornamentation; a rainbow springs from the center of a lily to accompany ``A word is dead'' while a pea pod containing heart-shaped peas illustrates other verse. Each book includes a brief biography of the poet and a short index. Ages 10-up. (Dec.)

Library Journal

McNeil attempts an understanding of Dickinson by casting a diverse net of critical theories. Specifically, Derrida's theory of ``difference,'' de Man's on ``the artist,'' and Freud's on primary words; ``dualism'' philosophy; ``the Orphic'' poetic tradition; poets from Poe to Eliot to Ginsbergall are used as hooks to snag the ever elusive Emily. But just as she eluded her mentor, Higginson, over a century ago, Dickinson eludes contemporary critics. Though McNeil's modern anatomized reading of the poems is the exact opposite of Higginson's Victorianly obtuse rendering, it is as ineffective in capturing the truth of Dickinson's poetic genius. Dickinson is ultimately contorted by the pressure to say something different about her oft-cited themesthemes previously and more distinctly interpreted by others. Domenica Paterno, Lehman Coll., CUNY, Bronx, N.Y.

School Library Journal

Gr 3 UpFrost satisfies in every way; Dickinson does not. Bolin's four-page introduction describes and explains Emily Dickinson's odd life style and creative productivity. This is followed by 36 poems loosely arranged by the topics of hope, death, and poetry. This organization, however, is not readily apparent; nor is the reasoning behind defining some words (gale, bog, shanties, etc.) and not others (dimity, helmsman, countenance). An index of first lines and little else will help readers searching for poems by subject. The prettily colored watercolors are flat and stylized, and seem better suited to nursery rhymes than Dickinson's insightful and witty glimpses of an entire universe in a blade of grass or of ``paradise'' gathered by ``narrow hands.'' Frost contains a three-page overview of the poet's life, 29 poems selected and arranged around the seasons of the year, brief and apt commentaries on each, and a useful index of titles and subject matter. The realistic watercolor illustrations capture the delicate beauty of a New England spring and the glory of fall while still suggesting the around-the-corner chill of winter, a disquiet echoing throughout much of Frost's poetry.Meg Stackpole, Rye Free Reading Room, NY

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