A Loaded Gun: Emily Dickinson for the 21st Century by Jerome Charyn

By Jerome Charyn

“Remarkable perception . . . [a] specific meditation/investigation. . . . Jerome Charyn the unpredictable, elusive, and enigmatic is a usual fit for Emily Dickinson, the quintessence of these." —Joyce Carol Oates, writer of untamed Nights! and The misplaced Landscape

We imagine we all know Emily Dickinson: the Belle of Amherst, virginal, reclusive, and doubtless mad. yet in A Loaded Gun, Jerome Charyn introduces us to another Emily Dickinson: the fierce, great, and sexually charged poet who wrote:

My existence had stood—a Loaded Gun—
...
Though I than He— may well longer live
He longer must—than I—
For i've got however the energy to kill,
Without—the energy to die—

Through interviews with modern students, shut readings of Dickinson's correspondence and handwritten manuscripts, and a suggestive, newly stumbled on picture that's speculated to express Dickinson together with her lover, Charyn's literary sleuthing unearths the nice poet in ways in which have basically been hinted at formerly: as a lady who used to be deeply philosophical, intensely engaged with the area, interested in individuals of either sexes, and ready to write poetry that disturbs and delights us today.
Jerome Charyn is the writer of, such a lot lately, sour Bronx: 13 tales, i'm Abraham: a singular of Lincoln and the Civil conflict, and the key lifetime of Emily Dickinson: a singular. He lives in New York.

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These are not relevant in the sense of being evidence for some further relation Move' but as being, in part at least the material of which love consists. The sequence would include at least the following: (1) A knows B (or at least knows something of B) (2) A cares (is concerned) about B A likes B (3) A respects B A is attracted to B A feels affection for B (4) A is committed to B A wishes to see B's welfare promoted The connection between these relations which we will call 'love-comprising relations' or 'LCRs' is not, except for 'knowing about' and possibly 'Feels affection for' as tight as strict entailment.

1986); G. Ferrari, Listening to the Cicadas (Cambridge, 1987). form and Content, Philosophy and Literature 15 same questions the philosophers were discussing, if not the same answers. It therefore seemed to make sense to pursue them right there, in conversation with the philosophers, and not off in some other department—all the more since the prevailing methods and aims in literary study made literary experts not very interested in such questions. Dissent, as well, because I loved philosophy in all of its forms, and sensed that the questions would be more clearly focused, even where literature was concerned, if they were studied in a dialogue with other philosophical thought.

J. Dover's Greek Popular Morality (Oxford, 1974) is a methodologically far more adequate work, and its argument does not in any way rule out the possibility that literary works might have something to contribute to ethics studies as wholes and in their own right. But it is not that project that the book attempts. 20. K. J. " No matter who wrote this text, it is typical of approaches to that dialogue in the period I describe and, in fact, is consistent with the approach adopted by Dover himself.

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