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Updates

9/24/2026

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THREE UPDATES IN TODAY'S POST:

1. "I'm Nobody? Who are you?" inspired by "'Nobody' by Somebody"?

2. The first-edition volume from 1894 signed by Lavinia Dickinson -- where is it?

3. Collected Poems, 1924 vs. 1991 -- what is going on?
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1. Back on September 13, my daily post included Dickinson’s poem “I’m Nobody!  Who are you?” (HERE), and I made this comment:
“The poem ‘Nobody by Somebody’ was published anonymously in the Hampshire and Franklin Express on April 4, 1956.  It included the line, ‘Sign yourself “Nobody,” quick as you can.’ Scholars note that the Dickinson family regularly read this local Amherst newspaper, and some suggest that the earlier poem's focus on anonymity could have inspired Dickinson's playful poem on identity and public fame.  I tried to find the full text of the poem and/or an archive of the paper online, but so far -- no luck! I've contacted the Amherst Historical Society for help!  I'll provide an update if I hear from them.”
Well, I did hear from them.  Alas, they said, “The Amherst Historical Society does not maintain document archives due to the conservation needs of such materials.  I suggest you contact the Jones Library Special Collections.  They may be able to help you.”
 
So I did.  I emailed them yesterday at 4:01 p.m.  I received a response at 4:36 p.m.:

“I was able to find the poem on microfilm. I printed it and then snapped a photo for you—it’s attached.” 
 
WOW – now that’s what I call service!  I emailed back to thank them, and I complimented them on their quick, efficient service!  

And now, without further ado, here is the poem “NOBODY, by Somebody” from 1856.
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2. Back on September 11, I published a post about an incredible find at UVA’s Shannon Library:  I happened upon a first-edition volume from 1894 signed by Dickinson’s sister Lavinia (info HERE about the find, and info HERE about how I responded).  
 
About a week later, I was back at the library to check on the book – was it transferred from the main library to the special collections library?  I wrote about it HERE.   In short, no -- they could not account for the book at that time. 
 
I was back at both libraries yesterday.  The volume was NOT back on the shelf in the main library – the pic below – and the staff at the Special Collections library said they were too busy at that time to check.  However, I did hear from the library staff later in the day:
“Our colleague Anne let us know you were in the Special Collections reading room today and asked about the status of the first edition volume signed by Lavinia Dickinson. As Krystal noted (in response to an email I had sent earlier), we’re looking into it. We’re grateful for your thoughtful care and advocacy! With thanks on behalf of the curatorial team.”
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Here’s what I replied:
 
Thanks for the email.
 
I just want to make sure that the book does not disappear.  Not being a librarian, I'm not sure of the process of transferring a book from Shannon to Small -- so I hope all is well with the book.  ;-)
 
I've been reading and taking notes on a book at Small with "Three Views" on Dickinson -- last week I read the first; today, the second -- so I'll likely be back next week to finish up with the third. 
 
OH -- and just a reminder:  The book in question is the first of a two-volume set.  Volume 2 remains on the shelf at Shannon (and the space that Volume 1 occupied is there as well).  Volume 2 is not signed by Lavinia Dickinson, but was owned by the same person -- and both were donated to UVA by the same owner. 

 
Sooo...I'll check on this again next week.  Stay tuned. 
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3. On September 18, I wrote about a “mystery” – certainly a mystery to me – surrounding Dickinson’s poem “Because I could not stop for Death.”  Here are the deets in a nutshell:
 
  • Dickinson wrote the poem in 1862.
  • Mabel Loomis Todd and Thomas Wentworth Higginson included the poem in the first collection of Dickinson’s poetry published in 1890.  They titled it “The Chariot,” they omitted the fourth stanza, and they made other modifications to the poem as well.
  • The poem showed up again in The Complete Poems of Emily Dickinson published in 1924.  The book was a compilation of Poems (1890), Poems, Second Series (1891), Poems, Third Series (1896), and The Single Hound (1914).  However, a DIFFERENT version of “Because I could not stop for Death” showed up in that volume. Line 10 was changed – and I have no idea why. 
 
All the details about this are HERE.

Below, left to right:  Dickinson's original version of the third stanza; Mabel Loomis Todd's edited version of the stanza; and the stanza as it appears in 1924's The Complete Poems of Emily Dickinson. 
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Below:  1924's The Complete Poems of Emily Dickinson was a compilation of the four other books --  so why was just one line of one poem changed?  (Line 10 in "Because I could not stop for Death")
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However, there’s an added layer to all of this:   
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On my summer trip to New York City, Boston, and Amherst, I spent a bit of time at the public library in Medford, MA, just outside of Boston.  There, I discovered, Emily Dickinson, Collected Poems, published in 1991, and it too – like the 1924 volume mentioned above – is a compilation of the 1890, 1891, 1896 and 1914 books. 
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But get this: 

“Because I could not stop for Death” was changed back to the 1890 version of the poem edited by Mabel Loomis Todd. 

The two books are BOTH compilations of the 1890, 1891, 1896 and 1914 books -- BUT THEY CONTAIN DIFFERENT VERSION OF "BECAUSE I COULD NOT STOP FOR DEATH."

Are there any Dickinson scholars/researchers out there who can explain what in the world is going on? LOL. 
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Just Because

9/18/2026

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The funny bone ain’t so funny when you hit it, amirite? And sweet breads – well, don’t get me started on that misleading moniker!  Who the hell came up with that one? 
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Perhaps not as egregious, but I always thought Todd & Higginson made a similar slip when they bestowed the title “The Chariot” on Dickinson’s poem, “Because I could not stop for Death.”  I mean – line 3 very clearly states “The carriage held but just ourselves,” and there ain’t no mention of a chariot no where, no how.   Kind of makes me think of Panama Hats – which originated from and are made in Ecuador.  
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As far as Dickinson goes, “Because I could not stop for Death” is my “go to” poem whenever I find any collection of Dickinson’s poetry.  I always check to see if the book includes the Todd-Higginson edited version (with its altered lines, reworked rhymes and an AWOL fourth stanza) – OR – the complete poem as Dickinson wrote it.  
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This past summer, on a whim, I typed “Emily Dickinson” into the search field of Spotify to see what might pop up.  To my surprise, there was much more than I woulda thought.  One of the top picks was an album of poems recited by Julie Harris (who, incidentally, portrayed Dickinson on Broadway in a one woman show “The Belle of Amherst.”

I listened to a few of the poems and was about to move on when I thought, “Hmm…I wonder which version of ‘Because I could not stop for Death’ she reads?” so I scrolled down to take a listen – and halfway through the poem I almost fell out of my chair. 
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“WHAT the hell is this?” I wondered.  Line 10 differed from both Dickinson’s original and Todd’s edit. 
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THE THIRD STANZA FROM "BECAUSE i COULD NOT STOP FOR DEATH":
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Dickinson's version:
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Todd's edited version:
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The 1924 "Complete Poems" version:
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Below:  I did some research and found this in Franklin’s Variorum:  "At wrestling in ring CP24":
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Below:  The poem as it appears in The Complete Poems of Emily Dickinson (1924):
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Below:  The third stanza in CP24:
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Soooo...it turns out that this version of the poem appears in the 1924 volume The Complete Poems of Emily Dickinson – but, in my mind, the mystery gets get even more mysterious.  Here’s the lo down:
The 1924 “complete” version of Dickinson’s poem is, in reality, just a compilation of Todd’s 1890, 1891, and 1896 three-series set of Poems along with the 1914 edition The Single Hound, edited by Dickinson’s niece, Marth Dickinson Bianchi:

1890 +1891+1896 +1914 – however, sans titles – PLUS the one change in “Because I could not stop for Death.” 

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  BUT WHY THE CHANGE IN “BECAUSE I COULD NOT STOP FOR DEATH”? 

This is the weird part to me:

In the 1890 edition, when the poem was first published, Todd removed the fourth stanza, and she changed line 10 so that “done” would rhyme with “sun” in line 12.  However, in the “new” version in 1924, the fourth stanza is still missing – BUT – the original rhyme in the third stanza is back – “ring” in line 10 once again pairs with “sun” in line 12, albeit with a new image of “wrestling” instead of “at recess."  What's up with this?
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IF, in fact, the 1924 book is just a compilation of 1890 +1891+1896 +1914, then why didn’t Todd's 1890 version just transfer over?  WHY the change?  Who owned this version of the poem? And if the original rhyme was reinstated, why wasn’t the fourth stanza reinstated?  I have so many questions. 

Here are some of the things I looked into:

Who edited the 1924 The Complete Poems of Emily Dickinson?  Well, no editor is listed.  The introduction is from Dickinson's niece Martha Dickinson Bianchi -- and she also included a "NOTE."  I did find this on an old "Dickinson Electronic Archive" page:  
The Complete Poems of Emily Dickinson, edited by Alfred Leete Hampson, introduction by Martha Dickinson Bianchi, Boston: Little, Brown, and Co.

Sooo....did MDB possess an odd copy of "Because I could not stop for Death" where the children are "wrestling in a ring"? I doubt that Hampson would have owned such a copy.  And I'm curious:  IF MDB owned a modified manuscript of the poem, did it include the missing 4th stanza? Why make the change in line 10? 

Below far left and left:  The title page and copyright page of The Complete Poems of Emily Dickinson.  Below right:  One page of MDB's "Introduction."  She states that the book has "the addition of a few before omitted" poems and that this volume is "a final complete edition."   She does not address any changes made to the previously published poems.  Below far right:  In her "NOTE," MDB does mention that "the original four divisions have here been retained" (Life, Nature, Love, and Time & Eternity),  but that the "names given to many of the poems by former editors have been dropped."  Again, no mention of any other changes. 

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Hmm...how about any change made by the publisher?  1890's Poems was published by Roberts Brothers, and the 1924 volume was published by Little, Brown and Company.  I found this about the two companies:  

Messrs. Roberts Brothers (1857–1898) were bookbinders and publishers in 19th-century Boston, Massachusetts. Established in 1857 by Austin J. Roberts, John F. Roberts, and Lewis A. Roberts, the firm began publishing around the early 1860s. Little, Brown and Company bought the firm in 1898.

I doubt, though, that someone in the LB&C publishing firm would have made the change in "Because I could not stop for Death."

Next, I checked the online Dickinson archive.  There were three entries for "Because I could not stop for Death, and all three included the same digital copy of Dickinson's manuscript -- with no mention of any "wrestling."  One of the entries, #5 in the pic below on the left, mentioned the change in 1924; however, it does not explain WHY the change was made (see bottom right). 
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Finally, on a whim, I Google-searched, "Is there a manuscript of 'Because I could not stop for Death' that shows line 10 as "wrestling in a ring."   

Great googly-moogly, folks, are you ready for this?  I hope you are sitting down.

I ran the search and got this back in response:  "No, there is no known original manuscript by Emily Dickinson that contains the line 'wrestling in a ring.'"  Well, alrighty then. 

BUT THEN --  

Oh. Em. Gee.  The Google AI Overlord...er, I mean Overview...looped me back to my own site as the authoritative source.  Folks, if I've said this once I've said it many a-time:  At least 80% of what I get from AI is erroneous or ludicrous -- or, as in this case, both.  I'm telling ya, if AI is turning to me the expert, we as a species are in trouble, deep trouble -- trouble with a capital "T" and that rhymes with "P" and that stands for poppycock!  (And "poetry" too.  #justsaying)
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I'll have a bit more on "Because I could not stop for Death" tomorrow, and if you missed my reference to the poem in my ditty, "The Critics and the Poetess," in yesterday's post, click HERE. 

In the meantime, if any Dickinson scholars happen upon this piece and know something about this "BICNSFD" mystery, please lemme know what you know!  ;-)

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Checking the Matrix

9/1/2026

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Ever have that feeling where you’re not sure if you’re awake or dreaming?  Believe me, dear reader, this is no dream, and you are wide awake.  However, this is your last chance to return to a state of somnambulism. Beyond this statement, there is no turning back. You must decipher the entire post.

The fact is that the Matrix is everywhere, and you are in the Matrix. It surrounds you. Even now, in this very post. Unfortunately, no one can be told what the Matrix is. You have to experience it for yourself – so read on – to determine if you are in control of your own life or if you are, indeed, within the Matrix.

You are here because you were sent here. You were told to come here, and then you obeyed. It is, of course, the way of all things. You see, there is only one constant, one universal. Poetry is the only real truth. 

In recent posts, I have reviewed comments made by poet and Dickinson biographer Genevieve Taggard in the margins of her copy of The Complete Poems of Emily Dickinson published in 1924. Today, I will investigate wordless communications made by Taggard; that is, markings she made on the pages in the way of symbols, punctuation marks, lines, and other characters.
To begin, I will discuss checkmarks made by Taggard – but before checking Taggard's “checks,” I will examine Dickinson’s use of “checks” in the poem “I never saw a Moor,” discussed in a post entitled “Funny Business,” HERE.
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In her book Emily Dickinson’s Poems as She Preserved Them, editor Cristanne Miller noted, “The word ‘checks’ was used colloquially to mean railroad ticket; one gave one’s checks to the conductor.”

I checked on this, and definition III.15.b for “check” in the OED – dating back to 1803 – read as follows:  
“A token, counterfoil, ticket, or other receipt, used as a means of identification. Frequently in the context of depositing items for temporary safekeeping or transportation. Now somewhat rare.”
"See also," the esteemed lexicon added, “baggage check.”

It all makes sense now, no?

Below:  Examples from the OED of usage through the years for "checks" as a ticket or token.  Once again, the OED has failed to use Dickinson's line -- perhaps one of the more famous uses of "checks" defined in this way -- as an example.
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Now, Dorothy, it is time to buckle your seatbelt, because Kansas is going bye-bye:  the esteemed lexicon also asserted that “check” typically occurs about 40 times per million words in modern written English, and that the word is “one of the 2,000 most common words in modern written English. It is similar in frequency to words like conventional, determination, gather, laugh, and matrix.”

Beneath our poised exterior -- masquerading the fact that we are now completely shook -- the truth is ever present. There is no escape from it. 

I returned to the esteemed lexicon: “matrix is one of the 2,000 most common words in modern written English. It is similar in frequency to words like exceed, feed, gather, occupation, and zero." 
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Can that statement above from the OED be true? 

The answer is out there, dear reader, and it is looking for you, -- and it will find you if you want it to.


​Denial of the truth is an option, of course.  It is the most predictable of all human responses, and comprehension is not a requisite of cooperation.  However, for now, let us explore the "checks mix" made by Agent Taggard on the pages of her tome -- miscellaneous check marks and Xs beside miscellaneous poems.
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Below:  On various pages throughout her book, Taggard tagged seemingly random poems with an “X” and a check mark.  The versions of the poems provided are from R. W. Franklin's 1998 edition of Dickinson's poetry. 
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Below:   For a handful of poems, Taggard circled lines or underlined words:
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Below:  Next to some poems, Taggard drew questions marks -- some of which I could figure out; others -- no. 
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Below:  For "I'll tell you how the sun rose," Taggard seems to be questioning the break between the two stanzas -- shown in the 1924 The Complete Poems of Emily Dickinson on the left and in the 1890 edition of Poems in the center.  Later editions printed the poem as one sixteen line poem as on the right. 
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Below:  Two other examples of marks made by Taggard -- a set of parentheses and a double vertical line.
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I know you’re out there, dear reader. I can feel you now – and I know that you’re afraid. You’re afraid of change.

I don’t know the future. I didn’t come here to tell you how this is going to end. I came here to tell you how it’s going to begin. I’m going to end this post now, and then I’m going to begin working on my next one, about a world without rules and controls, without rhyme schemes or metered stanzas. A world of poetry where anything is possible. Where you go from there is a choice I leave to you.

But know this:  There is no spoon.
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Well, there is one spoon – in Dickinson’s poem “I know some lonely Houses off the Road.”

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How Low Can She Go?

8/27/2026

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This past July, I spent time at the New York Public Library on Fifth Avenue in New York examining marginal notes that poet and Dickinson biographer Genevieve Taggard made in her copy of The Complete Poems of Emily Dickinson.  The volume was published in 1924 (and signed and dated by Taggard on “7 – 24 – 24”), and it included all of Dickinson’s poems that had been printed up to that time – from the three-volume series of Poems, edited by Mabel Loomis Todd in 1890, 1891, and 1896, and The Single Hound, published in 1914 by Dickinson’s niece, Martha Dickinson Bianchi.  At that time, this “complete” collection represented about one-third of all the poems Dickinson wrote.
Concerning poem VI, “If I can stop one heart from breaking,” one of Dickinson’s most popular works, Taggard jotted an enigmatic note in the left margin, “the lowest she ever went.”
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Above right:  In Fritz Lang's 1953 film noir classic The Big Heart (a sequel to his hit The Big Heat), I starred as a detective investigating any connection at all to the poem "If I can stop one heart from breaking" and the lowest Emily Dickinson ever went.  
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"the lowest she ever went"


Am I reading that correctly? Is that what Taggard's note says?  If so – what do you think Taggard meant by that -- and how does it pertain to that poem?  If not – what is that Taggard wrote and that I misread?

I checked an online copy of Taggard's biography of Dickinson (HERE) to see if I could figure this out. 
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* I checked the index for the first lines of any poems quoted in the book, and this poem was not listed.

* I ran a word search within the book for “breaking” to see if the first line of the poem would pop up somewhere in the pages.  The word was used four times in the text, but just in the description of actions like the breaking of rules and the breaking of bread.

* I ran a word search for the word “lowest,” to see if Taggard described in the book “the lowest she ever went.”

“Lowest” did show up twice, but not in reference to the poem.  “Lowest” was used once when Taggard quoted Henry David Thoreau from Walden: “I went to the woods because I wished to live deliberately…to drive life into a corner and reduce it to its lowest terms.” 
The term was used again in a strange section of the book where Taggard discussed how Dickinson’s poetry was influenced by her thoughts on death – with Death’s voice in her head: “His loud husky voice said that the lowest, crudest form of life was better than eternity in God’s barren sky.”  Taggard continued, “Another voice answered, and the two voices argued.  We catch the argument in the poems.  Emily let them speak out fully through her.”

* Finally, I also ran a  few Google-searches on “Taggard on Dickinson the lowest she ever went” just to see what might pop up.

First, Google’s AI Overview tied Taggard’s comment, “the lowest she ever went,” to the “absolute lowest emotional and psychological point” in Dickinson’s life, for Taggard had made the claim that her somber poetry was directly triggered by her father’s forbidding her engagement to George Gould – but of course, none of this has to do with the poem “If I can stop one heart from breaking.”

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As the result of a second search, Google linked “the lowest she ever went” with the poem “I felt a Funeral in my Brain” – but  neither of the links (poet.org or the YouTube video) mentioned Taggard at all.
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My third search was a bit surprising – and amusing – because Google cited “the lowest she ever went” as a “misremembering” of the opening line of “How many times these low feet staggered” – and the corresponding link was from my own site; it took me to a blog post from 2017 about  literary critic and poet Sandra Gilbert’s top ten list of Dickinson’s poems of death and grief (HERE).
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So in the end -- and yes, folks, this is pretty much the end -- or -- certainly very near the end -- I have no idea what Genevieve Taggard meant when she wrote "the lowest she ever went" off to the side of "If I can stop one heart from breaking."  Any thoughts on this?

So in the end -- and yes, folks, this is the end -- I would like to add that in my investigation into all of this, I believe I found a never-before-seen alternate version of this poem in Dickinson's own handwriting.  How exciting is that! I have submitted my find to the Emily Dickinson Museum for authentication, and I wrote about it (with pics) just the other day HERE.

​Stay tuned  -- I'll report out on this once I hear back from them!
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Live and Let Dice

8/24/2026

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This past July, I took a Dickinson-related road trip to NYC, Boston, and Amherst, and I reported on much of the trip in my travelogue, “Dial ‘Em’ for Emily,” HERE, and in many plog (poetry blog) posts (all linked in the travelogue).
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In New York, I visited the New York Public Library on Fifth Avenue perused a copy of The Complete Poems of Emily Dickinson once owned by poet and Dickinson biographer Genevieve Taggard. 

Below left to right: Genevieve Taggard, her book, her name plate 
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This particular collection, published in 1924, is a compilation of four books, Mabel Loomis Todd’s three-volume set of Dickinson’s Poems published in 1890, 1891, and 1896, and the 1914 book The Single Hound: Poems of a Lifetime, a collection of poems edited by Dickinson’s niece, Martha Dickinson Bianchi.

Far right:  Me examining The Complete Poems of Emily Dickinson, a 1924 compilation of the four books below. 
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I first wrote about this 1924 edition back on July 23 (HERE), and then again the next day on Taggard’s comments (below on the left) about the first poem in the book, “Success is counted sweetest” (HERE). Today, let’s take a look at comments made by Taggard (below on the right) on two poems, “Soul, wilt thou toss again?” and “’Tis so much joy! ’Tis so much joy!”

​Click on the images below to enlarge.

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Before I get to Taggard's observations on the page of the book, let me share a few comments I came across concerning the poem on a blog, The Prowling Bee, following a perceptive analysis of the poem by Susan Kornfeld, HERE. 

One person – who agreed with Ms. Kornfeld's take on the "interestingly ambiguous word...again of 'toss again.' It implies the Soul has already tossed once and the Self is asking if it won’t give Chance another go" – said this:  

"I agree that the word 'again' is key. The first line is a powerful question we can ask ourselves every time we are faced with familiar temptations. She was living in the land of pilgrim forebears, after all!."

Another commenter offered this: 
"It’s 1859 and ED has to decide whether to be the quiet feminine mouse that her society, her father, and her brother expect of her or to listen to Stephen Bowles’ encouragement that she use her poetic genius to reject the straitjacket of feminine propriety expected of 19th century women. Her head said be a mouse but her heart urged joining forces with Charlotte Brontë, Elizabeth Barrett Browning, and Marian Elliot to forge frontiers in literature. ED compromised by writing 2000 amazing poems and storing them in her desk until she died."
Still another followed up on that comment with this:

"…or, as Joni Mitchell put it, 'your head says "forget it" but your heart’s still smokin’"
Finally, this interesting observation caught my eye:
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In Poems (1890), edited by Todd and Higginson, the poems do come one after the other: 
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However, “Soul, wilt thou toss again?” appears in Dickinson’s Fascicle Four, Sheet Two, written around the summer of 1859, and “’Tis so much joy! ’Tis so much joy!” appears in Fascicle Eight, Sheet Three, written around spring 1861 – so written about six to nine months later.

Cristanne Miller, in Emily Dickinson’s Poems As She Preserved Them, includes this note about “’Tis so much joy!”: 

“TWH titles this poem ‘Rouge Gagne,’ after a poem by Julia Ward Howe about a woman gambling for love; Howe’s poem was not published until about six years after ED copied this one.” 

Miller does not make any note about the title given to the other poem, “Rouge et Noir.” 

Back to Taggard’s comments on the page of her book published in 1924. Above the first poem, “Soul, wilt thou toss again?” she wrote the enigmatic statement, “Was Mr. Higginson involved in the toss?” (below left)  What do you make of that?
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Then, off to the side of the page between the two poems, Taggard wrote, “Two gambling poems”  (below right) – so certainly Todd and Higginson paired the two poems together to create a connection – though I can’t say for sure that Dickinson, in her mind, ever connected the two poems in the same way.  Interesting to think about, though. 

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ONE INTERESTING SIDE NOTE:
​
I'd not heard of George Monteiro until this past March, and my knowledge of him began after receiving this puzzling comment on Tumblr:  "I don't know who you are IRL but I can assure you that my late father, a Dickinson scholar of some renown, would have been an avid and enthusiastic follower…You do yourself, and Emily, proud in both attention to detail and scope of intellectual connections."  I wrote all about it HERE.

In exploring info for today's post, I came upon this "three volumes in one" compilation of  the 1890, 1891, and 1896 Poems, and it includes an introduction by none other than George Monteiro!  Looks like imma have to track that book down!  ; )

BTW, all of my posts since March that mention Monteiro (including this one) are HERE. 



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A Puzzlement

8/7/2026

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In 1862 Emily Dickinson wrote “Because I could not stop for Death":
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Below:  Proof of Life pic for Emily Dickinson:  I'm tellin' y'all -- she could not stop for Death!
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The poem was first published posthumously in 1890 in Poems, edited by Mabel Loomis Todd and Thomas Wentworth.  They modified the poem considerably.  
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They omitted the fourth stanza completely, and they altered the third stanza so that “done” would provide a perfect rhyme with “sun.”
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To be honest, whenever I see a published collection of poems by Dickinson, I always check “Because I could not stop for Death” first. I look to see if the book includes the poem “as written” – or “as edited.”
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Then, early last month, I came across a third version of this poem, one I’d never seen before.  In this version, the stanza reads as follows:
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Oddly enough, I first encountered this new version while listening to an album by Julie Harris reciting selected poems by Dickinson.  I wrote about it HERE.

Upon learning of this “new” version, I turned to the Frank Variorum, and there – at the conclusion of his discussion of the poem – was this comment about line 10:

At wrestling in a ring CP24  (i.e., The Complete Poems of Emily Dickinson, published in 1924).

I also checked the Dickinson archive, and one entry for the poem includes this comment:

When the poem was included in CP (1924) and later collections, the fourth stanza was still omitted. There are the same alterations in lines 9, 20, and 21, but line 10 is altered in a different way: At wrestling in a ring
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NOW HERE'S WHERE MY PUZZLEMENT COMES IN:
Following the success of Poems, Todd published two other series of Poems in 1891 and 1896.  Additionally, in 1914, Martha Dickinson Bianchi published a volume of previously unpublished poems by Dickinson in a volume entitled "The Single Hound.” 
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Then, in 1924, Little, Brown, and Company published The Complete Poems of Emily Dickinson.
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This book was not an edition of previously unpublished poems. Instead, it was simply a “complete set” of the earlier four volumes:  Poems; Poems, Second Series; Poems, Third Series; and The Single Hound. Therefore, one would expect that The Complete Poems would contain the works as previously published in the four earlier publications, end of story.   And that is true for the most part – except “Because I could not stop for Death” was changed.  The third stanza now included what I call the “third” version of the poem (with “At wrestling in a ring”).
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Below:  "Because I could not stop for Death" in the 1924 edition of The Complete Poems of Emily Dickinson:
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​The 1924 edition includes an introduction by Martha Dickinson Bianchi.  Did she edit the poems?  OR – perhaps based on my discussion with Mimi at the Frost Library – did she (or someone else involved with the publication) possess a copy of the poem with this version of line 10? 

It’s interesting to note that line 9 maintains Mabel Loomis Todd’s altered wording (“We passed the school where children PLAYED") although it preserves Dickinson’s “rhyme” of “ring” and “sun.”  However, let me add that I could not find any manuscript with the line "wrestling in a ring" as a possible substitute for line 10 in Dickinson's own handwriting.

If The Complete Poems was meant  merely to be a reprint of the first four volumes, why was this particular poem changed?  And who made the decision to make this change? To be honest, I did not compare other poems in the book to the previous editions to see if other changes had been made – LOL – I suppose that will be a future project. I will add, though, that it was great fun to discuss the various possibilities behind all of this with Mimi at the Frost Library.  
AN ADDITIONAL TWIST:
​On the same day as my visit to the Frost Library, my sister, my wife and I drove back to the Boston area – we were to depart for home the next morning.  We made it to Medford in the late afternoon, and just after dinner, I walked up to the town’s public library. 
Any time I visit a bookstore or library, I always check to see what Dickinson they have on the shelves.  Below:  Me checking for Dickinson at the Medford Public Library. 
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The Medford library included four volumes on Dickinson. One in particular was called Dickinson, Collected Poems.
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I was quite surprised when I opened to the table of contents.  This books was literally a reprint of The Complete Poems of Emily Dickinson, the volume published in 1924 – with the addition at the end of the book of two essays, one by Thornton Wilder and one by Elizabeth Jennings.  But check out the table of contents; this volume includes Poems from 1890; Poems, Second Series from 1891, Poems, Third Series from 1896, and The Single Hound from 1914 – just like the 1924 volume.  The book's introduction (below, far right) states, "“This edition gathers the first four volumes of Dickinson’ poetry, complete with their introductions and preludes.”
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However – are you ready for this – it does NOT include the 1924 version of “Because I could not stop for Death”; instead, it includes the1890 version from Mabel Loomis Todd's Poems – which is the version I had expected to see in the 1924 compilation – but that change was made (with "wrestling in a ring") in the 1924 edition. Thus, my puzzlement.

Looks like I'll have to keep wrestling with this.  

​(LOL -- did you see what I did there?) 
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More info and pics are on my travelogue, "Dial 'Em' for Emily,"  --  including my final shot from Amherst (a gas station) -- AND -- my final pic from Boston (South Station where we boarded our train to head home), HERE. 

This wraps up my travelogue, and today's post is the final post  concerning our trip -- from New York to Boston/Medford to Amherst to Boston again to home -- aside from upcoming posts related to Dickinson's poetry associated with The Complete Poems of Dickinson I reviewed at the New York Public Library at the start of my trip. 

More posts from my trip are here:

08.06.2026: BITS AND PIECES – & A PUZZLEMENT, CLICK HERE.

08.05.2026:  THE ARTIFACTS OF LIFE, CLICK HERE. 
08.04.2026:  ONE GOOD TOUR DESERVES ANOTHER, CLICK HERE.
08.03.2026:  ENETER THROUGH THE GIFT SHOP, CLICK HERE.
08.02.2026:  FUN WITH JIM AND EMILY, CLICK HERE. 
08.01.2026:  THE BIG SLEEP, CLICK HERE. 
07.31.2026:  A WICKED ADVENTURE IN THE HUB OF THE UNIVERSE, CLICK HERE. 
07.30.2026:  PAINT BY BLUNDERS, CLICK HERE. 
07.29.2026:  YABBA DABBA DO BE DO BE DO WOP BOP A LOO BOP A LOP BAM BOOM DEE AY, CLICK HERE. 
07.28.2026: NOT YOUR GARDEN VARIETY, CLICK HERE. 
07.27.2026: THE TROUBLES WITH EMILY, CLICK HERE. 
07.26.2026: THE MAN WHO BLOGGED TOO MUCH, CLICK HERE. 
07.25.2026:  STRANGE TURNS ON A TRAIN, CLICK HERE. 
07.24.2026:  HOW SWEETEST IT IS, CLICK HERE. 
07.23.2026:  A DATE WITH DESTINY, CLICK HERE.
07.22.2026:  THIS – IS THE BLOG POST – ​THE SUNSET WASHES, CLICK HERE.
07.21.2026:  DOUBLE ETERNITY, CLICK HERE. 
07.20.2026:  THE ORACLE WORE A WHITE DRESS -- PART DEUX, CLICK HERE.
07.19.2026:  ALL THINGS MATTER, CLICK HERE. 
07.18.2026:  INTRODUCTORY PLOG POST ABOUT "DIAL 'EM' FOR EMILY," CLICK HERE.
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How Sweetest It Is

7/24/2026

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Dear readers, the story you are about to read is true. The names have been changed to protect the innocent. 

This is the city, New York, New York.   It's a big city with a big heart, and it offers a lot – museums, libraries, galleries, and about 700 miles of subway track.

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​I visited there.  I’m Jim Friday, a literary sleuth.  I carry a library card.  It was Saturday, July 11.  The day was hot and crisp, like an over-baked baked crust of a slice of New York Pizza.  I was working the Rare Books and Manuscripts detail.  My partner was scoping out sales in Activewear at Macy’s.
 
I was investigating a gang of prest-o-change-o poetry forgers out or Amherst, Massachusetts, back in the 1800s. Seems that someone by the name of Helen Hunt Jackson had submitted a poem for an 1878 publication called A Masque of Poets, 
some pilfered lines from a poetess by the name of Emily Frickinson (don’t forget now – I’ve changed the names to protect the innocent).  Furthermore, another member of the gang had the poem published earlier in an 1864 issue of the Brooklyn Daily Union, and in both cases, the work was a skillfully crafted counterfeit.   
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I was in New York for an appointment with Kyle, Rare Books Librarian and Archivist Extraordinaire in the Stephen A. Schwarzman building of the New York Public Library.  I was there to cross-reference some unresolved hand-written notes penned by one Genevieve Taggard in 1924 in an original case document, The Complete Poems of Emily Frickinson (again, don't forget -- I changed the names of the innocent).  I also had to identify the forgeries from a line up. 
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The poem in question begins "Success is counted sweetest," and a detective on the case, back in 1998, Sgt. R. W. Franklin, said this:

"Four fair copies (one lost), about 1859 and 1862.  The earliest holograph, in pencil without address or signature, was sent to Susan Frickinson about summer 1859."

Below: The earliest version of the poem.
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Sgt. Franklin continued with this:

"If Susan did not provide a transcript, a lost manuscript, presumably from about 1859, must have been the source for publication in the Brooklyn Daily Union on 27 April, 1864. The newspaper's connections to Amherst were several, including Emily Fowler Ford, who grew up with Emily Frickinson and Richard Salter Storrs, Jr., and Charles Sweetser, both graduates of the college and experienced editors well known to all the Frickinsons"

One of those guilty parties most certainly pilfered the poem and submitted it for publication -- BUT -- whoever it was, changed the word "Requires" in line 4 to "Requireth."

I tried to track down a copy of the poem as printed in the April 1864 edition of the Brooklyn Dailly Union, but the only copy I could find was on a site that required a paid subscription -- and since I'm on a tight budget, that was a "no-go."  However, in the fragment the site provided to entice me to register, shown below, you can see that, indeed, the counterfeiter had changed "requires" to "requireth."
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Sgt. Franklin also reported that the poem appeared  later in A Masque of Poets (1878):

"From Higginson's copy, as three quatrains.  (Frickinson) resisted this appearance in print -- the determined effort of Helen Hunt Jackson, who knew the poem from Higginson...which had been altered for publication." 
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At the left: "Success is counted sweetest" as it appeared in A Masque of Poets.  Below left:  Corrections Genevieve Taggard made to the poem in her copy of the 1924 The Complete Poems of Emily Frickinson.   Below right: The poem with Taggard's corrections shown in RED.  It appears that she was trying to match the poem as published in A Masque of Poets; however, she missed one of the changes made in that book's copy - in line 8.  The Masque copy begins with "So plain" and the Taggard's version has "So clear."  
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Detective Cristanne Miller, in her case file The Letters of Emily Dickinson (2016), divulged, “The December 10, 1878, review in Literary World quotes in full and comments on ‘Success is counted sweetest,’ speculating that it is by Emerson.”

You read that right, dear reader.  A reviewer in 1878 believed Frickinson's lines were penned by Ralph Waldo Emerson.

I stared at Taggard's handwritten notes from 1924 one last time.  What was she trying to tell me?  I took a last long drag of my cigarette, letting the ash drop onto the desk like the remains of another wasted day. 

[NOTE:  I wasn't really smoking.  I just said that for dramatic effect.]

The clues seemed to point everywhere and lead nowhere, and I had so many questions -- like Is the “Pizza Principle” a real thing (that the cost of a single slice of NY pizza generally matches the cost of a subway ride)?  And what's with the Statue of Liberty’s address – if it sits in the waters of New Jersey, why is it thought to be a New York icon?

I was getting tired. This Frickinson case could wait until tomorrow. Hell, the whole world could wait. At that time, the only mystery I needed to solve was how to find five minutes of shut-eye in a town that never sleeps. 
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Below left and center:  The version of "Success is counted sweetest" from The Complete Poems of Emily Dickinson (1924).  Below right & other images:  Comparison of other versions to the 1924 copy. 
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My complete travelogue, "Dial 'Em' for Emily is HERE. 

More posts from my trip are here:

07.23.2026:  A DATE WITH DESTINY, CLICK HERE.
07.22.2026:  THIS – IS THE BLOG POST – ​THE SUNSET WASHES, CLICK HERE.

07.21.2026:  DOUBLE ETERNITY, CLICK HERE. 
07.20.2026:  THE ORACLE WORE A WHITE DRESS -- PART DEUX, CLICK HERE.
07.19.2026:  ALL THINGS MATTER, CLICK HERE. 
07.18.2026:  INTRODUCTORY PLOG POST ABOUT "DIAL 'EM' FOR EMILY," CLICK HERE.

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A Date with Destiny

7/23/2026

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If you have been following my daily posts, dear reader, then you know I’ve been chronicling the events from the first leg of my recent Dickinson-related trip to New York, Boston, and Amherst. If you have not been following my daily posts, I’ve been chronicling the events from the first leg of my recent Dickinson-related trip to New York, Boston, and Amherst.

At oh-thirteen-hundred (or is it just "thirteen-hundred"?) on the eleventh day of the seventh month – of the year and not of my trip – I entered the Brook Russell Astor Reading Room in the North Hall of the Stephen  A. Schwarzman building of the New York Public Library for my rendezvous with destiny in the Rare Books and Manuscripts chamber. 

Ah, distinctly I remember it was in the mid of summer,
And each separate glowing light source wrought its ghost upon the floor.
    Eagerly I wished the morrow;—vainly I had sought to borrow
    From their books surcease of sorrow—sorrow for the Belle of yore --
For the rare and radiant maiden whose poetry I adore --
            Famous now for evermore.
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There upon a midday eerie, I’d hoped to ponder, weak and weary,
Over many a quaint and curious volume of forgotten lore--
“Surely,” said I, “surely there is something in this ghostly chamber;
      Let me see, then, what there is, and this mystery explore--
Let my heart be still a moment and this mystery explore”--
            And here I opened wide the door –

Spooky, huh?

Yes, dear reader, as the clock struck one on the eleventh calendar day of Quintilis, I entered the Rare Books and Manuscripts chamber and spoke to Kyle, Rare Books Librarian and Archivist Extraordinaire, who helped me register for a NYPL library card and complete the required documentation and administrative tasks necessary to obtain and peruse a timeworn volume.

I had hoped to view (and hold) one of the first three in the series of Dickinson’s Poems (
from 1890, 1891 and/or 1896) edited by Mabel Loomis Todd and Thomas Wentworth Higginson..  However, that was not to be.  Such notable and valuable editions are marked for “exhibition only."  Therefore, I inquired about a 1924 publication of The Complete Poems of Emily Dickinson, and Kyle worked his magic.  He informed me that the volume was, indeed, available for inspection.  He asked that I return at two o'clock in order to give him time to retrieve it from the vault.  I was there on the dot.
 
At that time, a cordial librarian aide (alas, I do not recall his name) seated me at a table, prepared a black Styrofoam frame upon which to cradle the book, and handed me the volume.  

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To be honest, I thought my study of the book would be quick.  I knew it was a compilation of four previous publications – the 1890, 1891, and 1896 series of Poems edited by Mabel Loomis Todd, and all of the works from The Single Hound (1914) edited by Emily Dickinson’s niece, Martha Dickinson Bianchi.  I thought I would thumb through pages casually, snap a few pics, take a quick look at “Because I could not stop for Death” – the main reason I’d asked to see this volume – and be on my way.   

I wanted to check out “Because I could not stop for Death” because I’d only recently discovered the version in this book differed from the two versions of the poems with which I am familiar – Dickinson’s version and Todd’s version – but I’ll get to that in some future post.  For now, let me say, that what I thought would be a quick glance through the pages of the 1924 The Complete Poems of Emily Dickinson was anything but – and my decelerated scrutiny of the pages began with the opening poem of the book on page 3, “Success is counted sweetest."
 
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Someone had made handwritten corrections to the text of the poem and had written below it, “Higginson wrote in Masque of Poets ‘altered probably by Helen Hunt.”  On the side of the page, in pencil, is the word “war.”
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What did all of that mean?  Well – I knew what all of that meant. “Success is counted sweetest” is one of the handful of poems by Dickinson published in her lifetime, and her friend Helen Hunt had submitted it for inclusion in an 1878 poetry anthology, “Masque of Poets,” published by Roberts Brothers and edited by George Parsons Lathrop – and at some point, Dickinson’s friend, mentor, and later editor, Thomas Wentworth Higginson must have indicated that alterations to the poem were probably made by Hunt. 
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Who had made that note in the book I was perusing?  This was no cursory comment from some casual reader of poetry.  This was made by someone “in the know."  Who had owned this book?  Turns out it was owned by one Genevieve Taggard. She’d signed the first page and dated it “July 24 – 24," 1924, the very year the book was first published.  
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Hmm…I was familiar, of course, with Dickinson and Todd – but  bachelorette number three,  the captivating Genevieve Taggard?  No, she was a mystery to me – but by reading through her marginalia, I could tell – the woman knew her stuff -- and I was on a date with destiny.
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My heart is still palpitating.  Let me catch my breath!

More on Taggard, her corrections to “Success is counted sweetest,” the rest of her marginalia, and The Complete Poems of Emily Dickinson is coming tomorrow – and beyond!  Stay tuned!

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MORE:  See more pages from The Complete Poems of Emily Dickinson in my travelogue, "Dial 'Em' for Emily," HERE. 

More posts from my trip are here:

07.22.2026:  THIS – IS THE BLOG POST – ​THE SUNSET WASHES, CLICK HERE.

07.21.2026:  DOUBLE ETERNITY, CLICK HERE. 
07.20.2026:  THE ORACLE WORE A WHITE DRESS -- PART DEUX, CLICK HERE.
07.19.2026:  ALL THINGS MATTER, CLICK HERE. 
07.18.2026:  INTRODUCTORY PLOG POST ABOUT "DIAL 'EM' FOR EMILY," CLICK HERE.
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Who Am I to Disagree?

7/8/2026

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In yesterday’s post, I discussed Helen Vendler’s take on Dickinson’s use of the dash.  In brief: “Her dashes served a multitude of purposes,” noted Vendler in Dickinson, Selected Poems and Commentaries.  She added, “The dash becomes especially significant when it concludes a poem.” 
 
Also in the post, I discussed one poem, “If recollecting were forgetting,” of which Dickinson wrote two versions – one with dashes (published in Miller 2016) and one without (published in Franklin 1998).  Furthermore, I shared “‘Lethe’ in my flower,” a poem with no dashes, but a work which survived only in the form of a transcription produced by Mabel Loomis Todd – the original manuscript either lost or destroyed. Did Todd alter the poem to “clean up” Dickinson’s punctuation and eliminate the dashes?  After all, she was known for modifying the poet’s punctuation and grammar to make her poems more palatable for public taste.
 
Vendler provided an interesting twist on this theme:
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Vendler concluded her proposed transcription with this:
 
“As we compare the two possibilities, which seems more Dickinsonian?  And what inference does a final dash allow that Todd’s terminal period does not?”
 
As I prepared today’s post and revisited Vendler’s text, I observed that I’d written a note to myself on the page, “LOL see recent post on the…”? 
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 “Bunny”?  Does that say “bunny”?  Or does it say “bumnyl”?  What the hell did I write – and what was my past-self trying to remind my present-self?

It took me a bit to figure it out, but it does say “see recent post on the bunny.”  Thisnote to myself was a cue to revisit a post from the end of April which focused on one individual’s query, “How would famous writers rewrite this sentence in their style: A bunny was looking for a carrot.”
 
I didn’t think their proposed response for Emily Dickinson sounded very Dickinson-esque, so I attempted to compose one myself that sounded more Dickinsonian (a la Vendler’s reflection above).  My post is HERE.
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Below:  Variances in punctuation and spelling in Dickinson's "My life closed twice before its close":
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NOTES RE: ABOVE CHART:

* From Franklin’s The Poems of Emily Dickinson, Variorum Edition.

** I have no idea why Johnson added a dash at the end of the opening line of the poem.

# Franklin:  At the time she transcribed the poem, Todd wrote “[disclose}” next to line 3, apparently as a potential editorial alteration.

Emendation:  1 it’s] its         even numbers 2-8] indented        6 befell] befel

## Miller: “Befel” may be MLT’s mistake (it was emended by RWF), but it may also be ED’s anachronistic spelling; it is used by Shakespeare and by Isaac atts, albeit rarely.
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Left:  "My life closed twice before its close" in the 1924 "The Complete Poems of Emily Dickinson; the title "Parting," given my Mable Loomis Todd, was not used in this edition.

Below left and right:  The poem as it appeared in the June 1896 issue of Scribner's Magazine.  The Scribner's version of the poem is the only one to use the word "this" in line 6 of the poem instead of "these"  (which reminds me of the Eurythmics' "Sweet dreams are made of this...vs these" line in their song).
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Below:  Click Annie Lennox's eyes to hear "Sweet Dreams are Made of This" (not These):
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An Incomplete Complete Volume

7/6/2026

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In yesterday’s post, I shared a version of “Because I could not stop for Death” which I had never seen before.  It was from a 1924 edition of The Complete Poems of Emily Dickinson edited by the poet’s niece, Martha Dickinson Bianchi. I knew of the volume; I’d just not seen one though, nor did I realize it contained previously published works with additional modifications.
 
Here’s a recap of the early publications through 1924:
 
1886:   Emily Dickinson died on May 15
 
1890:   “Poems,” first series edited by Mabel Loomis Todd and T. W. Higginson
 
1891:   “Poems,” second series edited by Mabel Loomis Todd and T. W. Higginson
 
1896:   “Poems,” third series edited by Mabel Loomis Todd
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NOTE:  Mabel Todd ceased publishing additional volumes of poems (until 1945) due to a lawsuit brought against her by Dickinson’s sister, Lavinia, who successfully sued to reclaim a strip of meadow her brother, Austin Dickinson, had deeded to Todd. The victory caused a permanent rift, leading Todd to lock up Emily Dickinson's remaining unpublished manuscripts.
 
1914:  “The Single Hound, Poems of a Lifetime,” poems and letters by Dickinson edited by Martha Dickinson Bianchi

1924:  “The Complete Poems of Emily Dickinson,” edited by Martha Dickinson Bianchi; this volume included all of the poems from the first, second, and third series and “The Single Hound,” for a total of 595 poems, or about one third of all of Dickinson’s poetry. 
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Bianchi included this “NOTE” at the start of her volume:
 
For the convenience of readers familiar with previous editions of Emily Dickinson’s poems the original four divisions have here been retained, each now including all the poems of its own group in the three volumes of the series.

The names given to many of the poems by former editors have been dropped, leaving them as they were found in manuscript, — not entitled; but the old landmarks of “Life, Nature, Love, Time and Eternity” remain at suggestion of the publisher, for whose kind consideration I make sincere acknowledgement, as also for the invaluable assistance of Alfred Leete Hampson.


Therefore, this 1924 included all of the poems from the first three series, categorized under the previously applied groupings of Life, Nature, Love, and Time & Eternity, plus all of the poems published ten years earlier in “The Single Hound.”

Below:  Bianchi's "Introduction" to the collection (click the image to enlarge):​
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