The Gardens of Emily Dickinson 1st Edition by Judith Farr ,Louise Carter ISBN 067401829X ‎978-0674018297

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ISBN 10: 067401829X ‎

ISBN 13:‎978-0674018297

Auth:Judith Farr ,Louise Carter

In this first substantial study of Emily Dickinson’s devotion to flowers and gardening, Judith Farr seeks to join both poet and gardener in one creative personality. She casts new light on Dickinson’s temperament, her aesthetic sensibility, and her vision of the relationship between art and nature, revealing that the successful gardener’s intimate understanding of horticulture helped shape the poet’s choice of metaphors for every experience: love and hate, wickedness and virtue, death and immortality.
Gardening, Farr demonstrates, was Dickinson’s other vocation, more public than the making of poems but analogous and closely related to it. Over a third of Dickinson’s poems and nearly half of her letters allude with passionate intensity to her favorite wildflowers, to traditional blooms like the daisy or gentian, and to the exotic gardenias and jasmines of her conservatory. Each flower was assigned specific connotations by the nineteenth century floral dictionaries she knew; thus, Dickinson’s association of various flowers with friends, family, and lovers, like the tropes and scenarios presented in her poems, establishes her participation in the literary and painterly culture of her day. A chapter, “Gardening with Emily Dickinson” by Louise Carter, cites family letters and memoirs to conjecture the kinds of flowers contained in the poet’s indoor and outdoor gardens. Carter hypothesizes Dickinson’s methods of gardening, explaining how one might grow her flowers today.
Beautifully illustrated and written with verve, The Gardens of Emily Dickinson will provide pleasure and insight to a wide audience of scholars, admirers of Dickinson’s poetry, and garden lovers everywhere.

Table of contents:

1. Introduction

   This book is about the several gardens of the great American poet Emily Dickinson, who lived from 1830 to 1886 in Amherst, Massachusetts, during that period in American history when nature was most enjoyed and celebrated. It explores her sensibility, art, and vision of life in relation to her knowledge and practices as a gardener. The phrase “several gardens” alludes to the actual spaces where Dickinson cultivated her plants and flowers, the imaginative realm of her poems and letters wherein flowers were often emblems of actions and emotions, and the ideal Garden of Paradise, which—in earnest, incandescent language—she…

   As a young girl, Emily Dickinson described Heaven to one of her friends as the “garden we have not seen” (l 119). As a mature poet, in a striking group of love poems, she chose “Eden,” the lost garden of pure natural delight, as a symbol for romantic ecstasy. Her own home and two-acre garden were “a little bit of Eden” where she herself was “Eve” (l 59, 9). When she died, her neighbors in Amherst mourned the passing of a “rare and strange” woman who seemed like “a flower herself,”¹ an aristocratic recluse who was known to them as…

   Posterity has been permitted only one photograph of Emily Dickinson: a solemn yet revealing daguerreotype, probably taken of her in Amherst in 1847 when she was seventeen [Fig. 12]. Now thought to be the work of an itinerant “Daguerrian Artist” named William C. North,¹ it was immediately disliked by the Dickinson family. Consequently, Emily’s severe expression was softened and her prim dress embellished by a romantic white ruff when her niece Martha Dickinson Bianchi included the image in The Life and Letters (1924). Emily herself, apparently asked by Thomas Wentworth Higginson at the beginning of their correspondence to send him…

   A remarable review in the Amherst Record (December 1891) of the second volume of Emily Dickinson’s poems edited by Todd and Higginson warned people “who understand the word poetry to mean lines smoothly written” to look elsewhere; for the Amherst poet’s lyrics were unconventional, more concerned with “spirit” than form.

   Calling his townswoman the genteel “answer” to the rough if capacious muse of Walt Whitman, the reviewer declared her “close in touch with the unwritten harmony in forest and glen” and praised both Dickinson’s poems and the poet herself in floral images: After one has visited some grand conservatory and…

    

   Exceptional among Amherst residents by virtue of her genius, distinctive in her quest for privacy, Emily Dickinson was perhaps most fully a member of the community by her disciplined commitment to gardening. Lithographs of Main Street, Amherst, in the 1840s with the Dickinson Homestead in the background make the village seem bleak except for a few gracefully arching trees 

   The townspeople’s gardens brought the landscape color and gave it a decorative dimension. Writing of Amherst later, in the 1870s, the grown-up MacGregor Jenkins, who liked to recall “Miss Emily” gardening, wrote, “Every one in the town had flowers…

    

   What follows is an account, at times speculative, of the plants and flowers grown by Emily Dickinson in both her garden and her conservatory, together with advice about how to grow them in today’s United States. A student of botany and a knowledgeable horticulturalist, Emily apparently experimented with a wealth of native and newly available exotic plants with remarkable success. Except for fragrance—one of the most notable features of her conservatory and garden—it is possible to reproduce her floral world in some of its attributes. (Unfortunately, fragrance is one of the first attributes of flowers to disappear when…

   2.Epilogue: The Gardener in Her Seasons

   In early 1862, those she called the “Hosts,” the angels of imagination, visited Emily Dickinson so continually that she seems to have written constantly, despite the demands of her “Puritan garden” (l 685). During that winter, this “Recordless Company” of angelic muses gave her the perfect poem about death (f 303). She had already composed “Because I could not stop for Death –,” a bitter yet exultant dream vision of death as a suitor who cheats her when she agrees to ride in his carriage, leaving her somewhere in empty space but unafraid (f 479). In 1862, when the mounting.

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