Daneen Wardrop - Emily Dickinsons Gothic: Goblin with a Gauge

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title	:	Emily Dickinson's Gothic : Goblin With a Gauge
author	:	Wardrop, Daneen.
publisher	:	University of Iowa Press
isbn10 | asin	:	087745549X
print isbn13	:	9780877455493
ebook isbn13	:	9781587292460
language	:	English
subject	Dickinson, Emily,--1830-1886--Criticism and interpretation, Gothic revival (Literature)--United States--History--19th century, Women and literature--United States--History--19th century, Supernatural in literature.
publication date	:	1996
lcc	:	PS1541.Z5W32 1996eb
ddc	:	811/.4
subject	:	Dickinson, Emily,--1830-1886--Criticism and interpretation, Gothic revival (Literature)--United States--History--19th century, Women and literature--United States--History--19th century, Supernatural in literature.

Page iii Emily Dickinson's Gothic Goblin with a Gauge By Daneen Wardrop UNIVERSITY OF IOWA PRESS Iowa City

Page iv University of Iowa Press, Iowa City 52242 Copyright (c) 1996 by the University of Iowa Press All rights reserved Printed in the United States of America No part of this book may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying and recording, without permission in writing from the publisher. Printed on acid-free paper Library of Congress Cataloging-in-Publication Data Wardrop, Daneen Emily Dickinson's gothic: goblin with a gauge / by Daneen Wardrop. p. cm. Includes bibliographical references and index. ISBN 0-87745-549-x (cloth) 1. Dickinson, Emily, 1830-1886Criticism and interpretation. 2. Gothic revival (Literature)United StatesHistory19th century. 3. Women and literatureUnited StatesHistory19th century. 4. Supernatural in literature. I. Title. PS1541.Z5W32 1996 811'.4dc20 96-10287 CIP 01 00 99 98 97 96 C 5 4 3 2 1

Page v For my parents, NOREEN DICKINSON WARDROP and DANIEL WARDROP

Page vii Contents Acknowledgments ix Preface xi 1. Introduction 1 2. The Haunted House 19 3. The Wedding 51 4. The Terms of Rape 70 5. Seeing Double 96 6. Seeing Nothing 126 7. Language and the Reader 152 Notes 177 Bibliography 205 Index 215

Page ix Acknowledgments I am indebted to a network of friends, family, and colleagues who supported the work on this book. First of all, I thank Shirley Clay Scott for her years of inspiration. Shirley thinks more elegantly, gives more generously, and believes more fervently in poetry than anyone I know. For reading the manuscript I thank Raymond Nelson, Alison Booth, Shirley Clay Scott, Paula Bennett, Harold Bloom, Suzanne Juhasz, and Jerome McGann. Their painstaking comments at different stages of the writing provided guidance, renewed energy, and resolve. I also wish to thank Kakie Gibson, Jorgette Mauzerall, Mike Barrett, Jil Larson, Jaimy Gordon, Mark Richardson, and Allen Carey-Webb for reading parts of the manuscript and discussing it with me at crucial times. The project took on what form and grace it can claim with the suggestions of all these readers. I sign my name to this work though the best parts of it were produced by many. I am grateful beyond the possible expression of it to my friends and family: Lesley Amolsch, Ayuko Yotsukura, Nancy Eimers, Bill Olsen, Peter Ryan, Kim Dysinger, Sherry Opalka, Chuck Wardrop and his family, and Karee Wardrop and her family. I am especially grateful to my parents for their love and their love of words. I thank my friends and family for their immeasurable understanding and encouragement. I wish to thank Western Michigan University for the faculty research support grant that allowed me time to devote to this project. Portions of this book have appeared elsewhere in slightly revised form. Material from chapter 7 appeared as "Goblin with a Gauge: Dickinson's Readerly Gothic," in the Emily Dickinson Journal 1, no. 1 (1992),

Page x and material from chapter 3 appeared as part of "Emily Dickinson's Gothic Wedding: Dowered Bride and Absent Groom," in ATQ: 19th C. American Literature and Culture 10, no. 2 (1996). I give grateful acknowledgment to these journals.

Page xi Preface Emily Dickinson sings because she is afraid (L261).1 The raison d'etre[d'tre] for many of her most memorable and difficult poems is precisely the fear that makes her sing. Not only does she write from a stance of fear, she instills fear in her readers, causing their physical reactions of horror, the chill hands and raised hair. An understanding of this kind of spur to writing illumines large areas of Dickinson's oeuvre as it suggests also an ars poetica. Her fear is gothicthe fear of a secret hidden at the core of something. Gothicism accounts for a major influence in the work of Emily Dickinson; no reading that omits her gothic images can convey the full range of her expression. The gothic impulse locates poetic inspiration again and again in Dickinson's hundreds of poems and letters.

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