Editing Emily Dickinson (section)

=== Reception ===
[[File:Emily Dickinson´s (1830-1886) manuscript of "A route of evanescence" (1880).jpg|thumb|left|Dickinson wrote and sent this poem ("A Route of Evanescence") to Thomas Higginson in 1880.]]
The surge of posthumous publication gave Dickinson's poetry its first public exposure. Backed by Higginson and with a favorable notice from [[William Dean Howells]], an editor of ''[[Harper's Magazine]]'', the poetry received mixed reviews after it was first published in 1890. Higginson himself stated in his preface to the first edition of Dickinson's published work that the poetry's quality "is that of extraordinary grasp and insight",<ref>Blake (1964), 12.</ref> albeit "without the proper control and chastening" that the experience of publishing during her lifetime might have conferred.<ref>Wolff (1986), 175.</ref> His judgment that her opus was "incomplete and unsatisfactory" would be echoed in the essays of the [[New Criticism|New Critics]] in the 1930s.

[[Maurice Thompson]], who was literary editor of ''The Independent'' for twelve years, noted in 1891 that her poetry had "a strange mixture of rare individuality and originality".<ref>Blake (1964), 28.</ref> Some critics hailed Dickinson's effort but disapproved of her unusual non-traditional style. [[Andrew Lang]], a British writer, dismissed Dickinson's work, stating that "if poetry is to exist at all, it really must have form and grammar, and must rhyme when it professes to rhyme. The wisdom of the ages and the nature of man insist on so much".<ref>Blake (1964), 37.</ref> [[Thomas Bailey Aldrich]], a poet and novelist, equally dismissed Dickinson's poetic technique in ''[[The Atlantic Monthly]]'' in January 1892: "It is plain that Miss Dickinson possessed an extremely unconventional and [[grotesque]] fancy. She was deeply tinged by the mysticism of [[William Blake|Blake]], and strongly influenced by the mannerism of [[Ralph Waldo Emerson|Emerson]]&nbsp;... But the incoherence and formlessness of her—versicles are fatal&nbsp;... an eccentric, dreamy, half-educated recluse in an out-of-the-way New England village (or anywhere else) cannot with impunity set at defiance the laws of gravitation and grammar".<ref>Blake (1964), 55.</ref>

Critical attention to Dickinson's poetry was meager from 1897 to the early 1920s.<ref>Blake (1964), vi.</ref> By the start of the 20th century, interest in her poetry became broader in scope and some critics began to consider Dickinson as essentially [[modernism|modern]]. Rather than seeing Dickinson's poetic styling as a result of a lack of knowledge or skill, modern critics believed the irregularities were consciously artistic.<ref>Wells (1929), 243–259.</ref> In a 1915 essay, [[Elizabeth Shepley Sergeant]] called the poet's inspiration "daring" and named her "one of the rarest flowers the sterner New England land ever bore".<ref>Blake (1964), 89.</ref> With the growing popularity of [[Modernist poetry in English|modernist poetry]] in the 1920s, Dickinson's failure to conform to 19th-century poetic form was no longer surprising nor distasteful to new generations of readers. Dickinson was suddenly referred to by various critics as a great woman poet, and a [[cult following]] began to form.<ref>Blake (1964), 202.</ref>

In the 1930s, a number of the New Critics—among them [[R. P. Blackmur]], [[Allen Tate]], [[Cleanth Brooks]] and [[Yvor Winters]]—appraised the significance of Dickinson's poetry. As critic Roland Hagenbüchle pointed out, their "affirmative and prohibitive tenets turned out to be of special relevance to Dickinson scholarship".<ref>Grabher (1998), 358–359.</ref> Blackmur, in an attempt to focus and clarify the major claims for and against the poet's greatness, wrote in a landmark 1937 critical essay: "...&nbsp;she was a private poet who wrote as indefatigably as some women cook or knit. Her gift for words and the cultural predicament of her time drove her to poetry instead of [[antimacassar]]s&nbsp;... She came&nbsp;... at the right time for one kind of poetry: the poetry of sophisticated, eccentric vision."<ref>Blake (1964), 223.</ref>

The [[Second-wave feminism|second wave]] of [[feminism]] created greater cultural sympathy for her as a female poet. In the first collection of critical essays on Dickinson from a feminist perspective, she is heralded as the greatest woman poet in the English language.<ref>Juhasz (1983), 1.</ref> Biographers and theorists of the past tended to separate Dickinson's roles as a woman and a poet. For example, George Whicher wrote in his 1952 book ''This Was a Poet: A Critical Biography of Emily Dickinson'', "Perhaps as a poet [Dickinson] could find the fulfillment she had missed as a woman." Feminist criticism, on the other hand, declares that there is a necessary and powerful conjunction between Dickinson being a woman and a poet.<ref>Juhasz (1983), 9.</ref> [[Adrienne Rich]] theorized in ''Vesuvius at Home: The Power of Emily Dickinson'' (1976) that Dickinson's identity as a woman poet brought her power: "[she] chose her seclusion, knowing she was exceptional and knowing what she needed&nbsp;... She carefully selected her society and controlled the disposal of her time&nbsp;... neither eccentric nor quaint; she was determined to survive, to use her powers, to practice necessary economics."<ref>Juhasz (1983), 10.</ref>

Some scholars question the poet's sexuality, theorizing that the numerous letters and poems that were dedicated to Susan Gilbert Dickinson indicate a lesbian romance, and speculating about how this may have influenced her poetry.<ref>Martin (2002), 58</ref> Critics such as John Cody, Lillian Faderman, Vivian R. Pollak, Paula Bennett, Judith Farr, Ellen Louise Hart, and [[Martha Nell Smith]] have argued that Susan was the central erotic relationship in Dickinson's life.<ref name=":1">Comment (2001), 167.</ref>