Books about Dickinson from Amazon.com

The first book to portray one of the most remarkable friendships in American letters, that of Emily Dickinson—recluse, poet—and Thomas Wentworth Higginson, minister, literary figure, active abolitionist

Their friendship began in 1862. The Civil War was raging. Dickinson was thirty-one; Higginson, thirty-eight. A former pastor at the Free Church of Worcester, Massachusetts, he wrote often for the cultural magazine of the day, TheAtlantic Monthly—on gymnastics, women’s rights, and slavery. His article “Letter to a Young Contributor” gave advice to readers who wanted to write for the magazine and offered tips on how to submit one’s work (“use black ink, good pens, white paper”).

Among the letters Higginson received in response was one scrawled in looping, difficult handwriting. Four poems were enclosed in a smaller envelope. He deciphered the scribble: “Are you too deeply occupied to say if my Verse is alive?”

Higginson read the poems. The writing was unique, uncategorizable. It was clear to him that this was “a wholly new and original poetic genius,” and the memory of that moment stayed with him when he wrote about it thirty years later.

Emily Dickinson’s question inaugurated one of the least likely correspondences in American letters—between a man who ran guns to Kansas, backed John Brown, and would soon command the first Union regiment of black soldiers, and the eremitic, elusive poet who cannily told him she did not cross her “Father’s ground to any House or town.”

For the next quarter century, until her death in 1886, Dickinson sent Higginson dazzling poems, almost one hundred of them—many of them her best. Their metrical forms were unusual, their punctuation unpredictable, their images elliptical, innovative, unsentimental. Poetry torn up by the roots, Higginson later said, that “gives the sudden transitions.”

Dickinson was a genius of the faux-naïf variety, reclusive to be sure but more savvy than one might imagine, more self-conscious and sly, and certainly aware of her outsize talent. “Dare you see a Soul at the ‘White Heat’?” she wondered. She dared, and he did.

In this shimmering, revelatory work, Brenda Wineapple re-creates the extraordinary, delicate friendship that led to the publication of Dickinson’s poetry. And though she and Higginson met face-to-face only twice (he had never met anyone “who drained my nerve power so much,” he said), their friendship reveals much about Dickinson, throwing light onto both the darkened door of the poet’s imagination and a corner of the noisy century that she and Colonel Higginson shared.

White Heat is about poetry, politics, and love; it is, as well, a story of seclusion and engagement, isolation and activism—and the way they were related—in the roiling America of the nineteenth century.

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The third edition of Nightwatch continues its tradition of being the best handbook for the beginning astronomer. Terence Dickinson covers all the problems beginners face, starting with the fact that the night sky does not look the way a modern city-dweller expects. He discusses light pollution, how to choose binoculars and telescopes, how to pronounce the names of stars and constellations, telescope mounts, averted vision, and why the harvest moon looks especially bright. Most of the lovely photographs in the book were taken by amateurs, which gives the section on astrophotography a particularly inspirational gleam.

Dickinson's star charts are very handy, each covering a reasonable field of view and mapping the most interesting amateur objects. He gives good advice for planet watching, which he notes "is one of the few astronomical activities that can be conducted almost as well from the city as from dark rural locations."

Altogether, the watchword for Nightwatch is indeed "practical"--this is a book to be used, not just read. Spiral-bound to lie flat or to fold back undamaged, it's a field guide that pulls its own weight in the field. Author Timothy Ferris says, "Like a good night sky, Nightwatch is clear and wind-free. Try it and see for yourself." --Mary Ellen Curtin.
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Emily Dickinson proved that brevity can be beautiful Only now is her complete oeuvre--all 1,775 poems--available in its original form, uncorrupted by editorial revision, in one volume. Thomas H. Johnson, a longtime Dickinson scholar, arranged the poems in chronological order as far as could be ascertained (the dates for more than 100 are unknown). This organization allows a wide-angle view of Dickinson's poetic development, from the sometimes-clunky rhyme schemes of her juvenilia, including valentines she wrote in the early 1850s, to the gloomy, hell-obsessed writings from her last years. Quite a difference from requisite Dickinson entries in literary anthologies: "There's a certain Slant of light," "Wild Nights--Wild Nights!" and "I taste a liquor never brewed."

The book was compiled from Thomas H. Johnson's hard-to-find variorum from 1955. While some explanatory notes would have been helpful, it's a prodigious collection, showcasing Dickinson's intractable obsession with nature, including death. Poem 1732, which alludes to the deaths of her father and a onetime suitor, illustrates her talent:

My life closed twice before its close;
It yet remains to see
If Immortality unveil
A third event to me,

So huge, so hopeless to conceive
As these that twice befell.
Parting is all we know of heaven,
And all we need of hell.

The musicality of her punctuation and the outright elegance of her style--akin to Christina Rossetti's hymns, although not nearly so religious--rescue the poems from their occasional abstruseness. The Complete Poems is especially refreshing because Dickinson didn't write for publication; only 11 of her verses appeared in magazines during her lifetime, and she had long-resigned herself to anonymity, or a "Barefoot-Rank," as she phrased it. This is the perfect volume for readers wishing to explore the works of one of America's first poets..
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CCH's Federal Income Tax: Code and Regulations--Selected Sections provides a selection of the Internal Revenue Code and Treasury Regulations pertaining to income tax. This popular volume reflects the collective judgment of seven distinguished tax teachers and provides an effective mix of official materials for individual and business undergraduate and graduate tax courses offered in law and business schools. It provides in one volume, the provisions most commonly addressed in income tax courses. The book's highly readable 7-1/2 x 10 oversized page format make it easier to read for both professor and student. The book is an attractive alternative to the full text of the multi-volume Internal Revenue Code and Income Tax Regulations..
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Emily Dickinson, poet of the interior life, imagined words/swords, hurling barbed syllables/piercing. Nothing about her adult appearance or habitation revealed such a militant soul. Only poems, written quietly in a room of her own, often hand-stitched in small volumes, then hidden in a drawer, revealed her true self. She did not live in time but in universals--an acute, sensitive nature reaching out boldly from self-referral to a wider, imagined world.

Dickinson died without fame; only a few poems were published in her lifetime. Her legacy was later rescued from her desk--an astonishing body of work, much of which has since appeared in piecemeal editions, sometimes with words altered by editors or publishers according to the fashion of the day.

Now Ralph Franklin, the foremost scholar of Dickinson's manuscripts, has prepared an authoritative one-volume edition of all extant poems by Emily Dickinson--1,789 poems in all, the largest number ever assembled. This reading edition derives from his three-volume work, The Poems of Emily Dickinson: Variorum Edition (1998), which contains approximately 2,500 sources for the poems. In this one-volume edition, Franklin offers a single reading of each poem--usually the latest version of the entire poem--rendered with Dickinson's spelling, punctuation, and capitalization intact. The Poems of Emily Dickinson: Reading Edition is a milestone in American literary scholarship and an indispensable addition to the personal library of poetry lovers everywhere.

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A rollicking memoir by one of the greatest (and most outrageous) supermodels of the 1970s.

Janice Dickinson was not only the first of the supermodels, she endured a nightmarishly traumatic childhood at the hands of a sadistic, sexually and emotionally abusive father, and emerged in the early 1970s as the first lush–lipped 'exotic' brunette to break into a modelling world dominated by sunny California blondes.

Janice owned the modelling world in the 1970s. Animated by a fierce desire to be recognised, a fearless spirit, and an insatiable hunger for alcohol, cocaine, sex, and fun, Dickinson appeared on every magazine cover, worked with every major designer and photographer (from Calvin Klein and Gianni Versace to Helmut Newton and Richard Avedon), was married three times, and had passionate affairs or one–night stands with everyone from Warren Beatty to Jack Nicholson to Mick Jagger. Though her career waned in the 1990s, her dramatic life story did not: in recent years she has fought a hotly contested paternity suit with Sylvester Stallone, survived a near–fatal car wreck during a tequila/marijuana blackout in St Bart's, and waged a raging battle with alcohol and drug addiction.

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Emergency care procedures and training for EMT..
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