EDWIN DICKINSON: Dreams and Realities is a major work. Again we have a catalogue for an exhibition (that started at the Albright-Knox Gallery in 2002 and is still travelling) that is so well written and illustrated that it becomes a standard reference for any library of art.

Dickinson is not a name that carries instant recognition outside of art historians' and artists' circles. He spanned (1891 - 1978) a period in American art history which jumped from academic realism to cubism and abstract expressionism and through all of these changes he retained his own style, pausing here and there to prove that he was thoroughly informed by all the changes in the arts while continuing his mission as a representational artist. His studios were in New York and in Cape Cod and it is here that he observed and painted the world as he saw it. Some of his canvases took years to complete: other canvases and works on paper were dashed off in a most facile fashion.

This major book celebrates an artist who probably will always be an enigma in the history of American art and brings his entire oeuvre to our attention. We are shown self portraits painted throughout his career, always a fascinating and valid way to track an artist's progress. The color reproductions are a bit bland and tend to flatten the images. Oddly the black and white drawings suffer the same fate, becoming shades of gray rather than strong lines. The various contributors to the book add a significant dimension of awe for this under-appreciated artist. It is up to the viewer of this book to judge how visually important rather than historically significant was Edwin Dickinson.

EDWIN DICKINSON: DREAMS AND REALITIES is a major work. Again we have a catalogue for an exhibition (that started at the Albright-Knox Gallery in 2002 and is still traveling) that is so well written and illustrated that it becomes a standard reference for any library of art.

Dickinson is not a name that carries instant recognition outside the circles of art historians and artists. He spanned (1891 - 1978) a period in American art history which jumped from academic Realism to Cubism and Abstract Expressionism and through all of these changes he retained his own style, pausing here and there to prove that he was thoroughly informed by all the new schools in the arts while continuing his mission as a representational artist. His studios were in New York and in Cape Cod and it is here that he observed and painted the world as he saw it. Some of his canvases took years to complete: other canvases and works on paper were dashed off in a most facile fashion.

This major book celebrates an artist who probably will always be an enigma in the history of American art and brings his entire oeuvre to our attention. We are shown self portraits painted throughout his career, always a fascinating and valid way to track and artist's progress. The color reproductions are a bit bland and tend to flatten the images. Oddly the black and white drawings suffer the same fate, becoming shades of gray rather than strong lines. The various contributors to the book add a significant dimension of awe for this under-appreciated artist. It is up to the viewer of this book to judge how visually important rather than hisortically significant was Edwin Dickinson.

The collaborative effort of Douglas Dreishpoon (Curator of 20th-Century art, Albright-Knox Art Gallery), Mary Ellen Abell (Assistant Professor, Dowling College, Oakdale, New York), and independent American art historian and expert Francis V. O'Connor, Edwin Dickinson: Dreams And Realities showcases the life and work of Edwin Dickinson (1891-1978), a representational painter best known for his abstract expressionist landscapes, nudes, and still life paintings. An informative monograph details Dickinson's more than 35 years as a very highly regarded and influential American painter. Profusely illustrated with 72 full color reproductions and 91 black/white illustrations, Edwin Dickinson: Dreams And Realities is a quite welcome and very highly recommended addition to academic, personal, and professional Art History reference collections.

What could have been developed into a rewarding digression from the established mythology instead fatally suffers from pedestrianism. This books reads like the author just finished a writer's workshop. Trite, unoriginal writing leaves the reader wondering whether to turn the page or stop wasting time and move on to something more worthwhile. Not to mention the abundant typos in the printing. Argh. If you want something along this line, pick up Kazantzakis' 'The Last Temptation of Christ'. You'll find your time far better spent with someone who truly knows his craft.

Poor old Jesus. His image took a few literary knocks in the 1900s. There was Schweitzer's Quest for the Historical Jesus which raised early hackles; The Last Temptation of Christ by Kazantzakiz, plus the Scorsese film version; not to mention Terence McNally's Corpus Christi, or the court case brought against Britain's Gay News in the seventies for publishing James Kirkup's 'blasphemous' poem.

Now, just as it seemed Christian Fundamentalist's hackles could get no higher, along comes THE CONFESSIONS OF JUDAS by Michael Dickinson, which lands several unguarded blows below the Bible belt.

And this one doesn't pull any punches. In 120 pages, Matthew, Mark, Luke and John are out for the count, no contest against the stunning "kiss-and-tell" revelations that the miracles were faked publicity stunts; the Virgin Birth a terrified girl's invention; and even the Crucifixion and Resurrection cunning feats of deception orchestrated by this gentle Judas.

Instead of hanging himself after the events Christians commemorate every Easter, Judas hangs out in the tomb vacated by the "resurrected" Lazarus, from where he narrates his version in a letter addressed to the puzzled, half-aware Peter - a confession which rolls away stone after stone, revealing quite a different story from the one we learned at Sunday School.

The boot here is on the other foot, and perhaps in this age of anti-heroes it was about time that probably the greatest anti-hero of them all - the arch-traitor Judas Iscariot - condemned by Dante to the very lowest pit in Hell - should finally get the chance to speak in his own defense.

What emerges is a story simply and clearly told, entirely convincing and logical in its exposition, and one cannot help but pity the totally devoted and well-meaning disciple, swept helplessly along in the train of events he unleashes, bound to end in his own ruin at the expense of his Master's fame.

A short preface claims the book to be the translation of a secret, centuries-old document smuggled out of the Vatican, but I reckon that should be taken with a large pinch of salt and a firm tongue in cheek.

Nevertheless, THE CONFESSIONS OF JUDAS is a brave, controversial and original novel which would definitely have been on the Vatican's List of Banned Books a few years ago, and the bonfire before that. Thank God (for want of a better word), we are now allowed to read what we like.

It was a wonderful idea, but I was disappointed by the book. In my view the illustrations are stylized, sterile, and off-putting - you can see if you agree with me by enlarging the cover and taking a look at it - , the graphic design and color patterns produced visual clutter, and the poems are in not-easy-to-read stylized italics. But what prompted me to comment was the alteration of language of at least one, and I suspect more than one, of the poems. The eight-line poem I checked begins: "I'm nobody. Who are you?" In Ms. Winter's book line four of this poem substitutes "advertise" for "banish us," line six substitutes "frog" for "fog," and line seven substitutes "June" for "day." As you can see for yourself, these changes degrade the poem. I suppose this is considered legitimate bowdlerization, given the audience. I don't agree. In any event the author and editors were remiss in failing to include a notice that at least one of the poems was altered.

While it is a nice premise - Emily's sister Lavinia discovers her sister's poems - the book falls a bit flat. The tone feels a bit condescending and dramatic in its attempt to engage young readers, and the narrative stops abruptly, launching into the poems with no commentary. The letters to the world theme is hammered into the reader's head, mentioned no less than five times if one includes the subtitle.
The poems are printed in a spidery script to distinguish them from the narrative. The font may be difficult for the beginning readers the book seems to be intended for. The selections are a diverse mix of her familiar and lessen known poems, including "I'm Nobody! Who are you?" and "There is no frigate like a book."
The illustrations are lovely, with a smooth solid folk art look to them. Emily appears in each drawing, making it clear that we are seeing the world through her eyes. Although each poem (and therefore illustration) is quite different, a common motif of scattered flowers, leaves and stars and graceful undulating arcs repeat in the forms of branches, waves and earth, tying the volume together. A short note at the end divulges additional biographical information. Sources are cited.
The small size, simple language and bright pictures make this a nice choice for young readers, but it is not as well done as The Mouse of Amherst by Elizabeth Spires (Francis Foster, 1999) or Emily Dickinson: Poetry for Young People by Emily Dickinson (Sterling, 1994).

"My sister Emily was buried today..." So begins Jeanette Winter's very brief biography of poet, Emily Dickinson. Narrated by her sister, Lavinia, as she cleans out Emily's room, we learn just a few small facts about the elusive poet. She was a recluse who lived in the smallest upstairs room of the family's house. She loved words, studied the dictionary, and spent all her time writing on scraps of paper. She wore only white dresses, and most townfolk thought her strange. After her death, Lavinia finds drawers full of those scraps of paper, Emily's "letters to the world," and Ms Winter fills the rest of this small volume with a selection of 21 poems, some famous...There Is No Frigate Like A Book, I'm Nobody! Who Are You?, and If I Can Stop One Heart From Breaking, and others less recognizable to complete her story. Her vibrant illustrations, done in an engaging folk art sytle, complement the text and enhances each poem beautifully. Though a bit light on biographical material, Emily Dickinson's Letters To The World is a simple and intriguing introduction to a remarkable poet that should open interesting discussions and whet the appetite of youngsters 7 and older, and send them out looking for more.

Mr. Mitchell's work is the kind of speculative fiction that passes as literary criticism today. This book is a tedious, pretentious piece of claptrap that won't even delight other Dickenson scholars.

Mr Mitchell has penned a book which will be seen as a watershed in literary criticism. "The Monarch of Perception" is a truly perceptive piece. It uncovers many a stone in the field of Emily Dickinson studies, and is not afraid to look at what lies beneath. For anyone who wishes to learn about not only Emily Dickinson, but also America, and even the world, this book is a must. Buy it!

Good readings, but the producer apparently felt the poetry can not stand on its own and added background music throughout. It distracts terribly from the music, and never has any relation in mood to the poetry. Avoid this tape.

If you like Emily Dickenson (and I do) you will love this audio cassette. The readers include Meryl Streep, Sharon Stone, and other great female talents. They read the poems with style and a subtility that matches the work of the poet. After hearing the presentations, I came away feeling that the poems were studied by the readers and for the most part understood and delivered accordingly. Thumbs up!

A Biography with Factual Errors

I had been warned that this book was poorly written and edited, that it had no documentation, and that
it did not succeed in proving the author's arguments. Nothing, however, could ever have prepared me for the inaccuracies and unwarranted assumptions of the book itself.

Ms. Farr's thesis itself contains a serious error in fact. She states, without qualification, that Emily Dickinson wore a nuns habit because she did not know who the master was.

The book goes downhill from here. Ms. Farr's evidence that no one is Master includes several loosely-crafted - one might rather say, accidental - stories about liaisons between Emily Dickinson and her women acquaintances.
Farr builds several arguments on speculation. Perhaps the most egregious example is the question
of Susan's house next door. After establishing the existence of the ivory gown, Farr asserts, in a short but vacuous epilogue that she really doesn't know who master was. Or maybe there wasn't a master. Or if there was, any body's guess is as good as hers.

For several pages Farr proceeds as if this connection were fact, making a few tenuous connections between Dickinson's poetry and women, and kisses behind closed doors. Then she admits it is all fiction. In addition, Farr tells us that when Emily died, the master was known but then she does not feel that s/he is known, as it might be a woman.

I have saved just enough space for the epilogue and the bulk of the book. The epilogue is not worth the meager price of this empty paperback.

English teacher in Texas

Farr's epistolary novel about the life and passions of Emily Dickinson is a mesmerizing, inspiring, zesty read. Based on facts gleaned through letters and Dickinson's poetry, the story elaborates on Dickinson's 10-month school career, on her passions for women and for men, and on her final, ailing years. Like Cunningham's "The Hours" and Zackheim's "Violette's Embrace", it's a wonderful tribute to a woman whose true life is obscured by history. Farr's rendering of Dickinson's school year brought to mind Rosemary Manning's "The Chinese Garden" and Dorothy Strachey Bussy's "Olivia".

These tapes may be a good summary of the ideas covered in an MBA program however the ideas are of average quality meaning that someone with an MBA would be qualified to maintain the status quo vs to seek a higher level of serving customers better in my view. The material may be more a reflection of University academia vs the real business world it seems to me. Several observers have noted that much of what is taught in many universities is material 20 years old (aka living in the past vs today).

I found the series of tapes to be a bit flat and not all that useful. However, Lerman and Turner have such thick accents that the series is worth a listen, if only for the humor of it all.

Considering its high price and the fact that it calls itself an 'Encyclopedia,' and considering the incredible importance of Emily Dickinson's writings and the vast amount of research and criticism they have given rise to, one would have expected this book to have been a rather hefty and substantial volume.

One would have expected, for example, many interesting photographs, illustrations, useful tables, maps, genealogies, discussions of _many_ of her important poems, detailed and classified bibliographies of early editions, modern editions, biographies, criticism, etc. And one would have expected much more. After all, this book is supposed to be an 'Encyclopedia.'

Unfortunately we get very little of the above. What we get is a standard 8vo-size volume (6.5 by 9.5 inches) of just 395 pages of bare and unadorned text. After a brief Preface, a Chronology, and a list of Abbreviations, 312 pages of articles follow. The articles vary from paragraph to essay-length, and the book is rounded out with two Appendices, an 18-page Bibliography (of which 16 pages are devoted to Critical Books, Articles, and Dissertations), an Index of Poems Cited, and a General Index.

Interestingly, in a book already top-heavy with biographical entries, and that might have included so much else - I personally expected to find many more discussions of individual poems, for example - it concludes with 9 pages 'About the Contributors' - their affiliations, major publications, and interests.

The articles are arranged alphabetically. Here is the entire crop for 'A' : "A narrow Fellow in the Grass" (P986); "After great pain a formal feeling comes -" (P341); Aldrich, Thomas Bailey; Ambiguity; American Dictionary of the English Language; Amherst; Amherst Academy; Amherst College; Anthon, Catherine (Scott) Turner (1831-1917); Aphorism; "Apparently with no surprise" (P1624); Asian Responses to Dickinson; The Atlantic Monthly, A Magazine of Literature, Science, Art, and Politics; Austin.

So much for the letter 'A.' To properly evaluate the scope of this book and the quality of its articles (some of which read quite well), one would of course have to be a Dickinson scholar, which I'm not. I do note, however, the absence under 'A' of an entry on 'Animals,' which in view of the many animals we find in Dickinson's poems seems very strange.

I also note, on turning to the entry for 'Carlo,' Emily Dickinson's pet dog, the following statement: "He is the only animal in her entire corpus given human emotion and intelligence" (p.41). This statement is utterly and completely false, and could easily be shown to be so, by, for example, an analysis of a poem such as "The waters chased him as he fled" (P1749). I've also run into other highly dubious statements in this book, particularly ones that seem determined at all costs to claim Dickinson for the Christian camp, whereas it seems perfectly evident to me that her mind was far too subtle to be contained by Christianity, or indeed by any official religion.

This book is very much a product of the official world of Dickinson scholarship. Its orientation is squeaky-clean orthodox, and it has either rejected or distorted much that isn't to its taste. It will prove a handy (though misleading) reference work for students, and the few ED cultists who stumble upon it will no doubt approve of it.

The book is bound in full cloth, stitched, and beautifully printed on excellent strong paper, but to me its contents came as a terrible disappointment. Gudrun Grabher's 'The Emily Dickinson Handbook' (1998) turned out to be a far better book, a superb collection of articles from which I feel that I'm actually learning something about Emily Dickinson. Some of its contributors are also found in the 'Encyclopedia,' but perhaps they weren't operating under quite the same constraints.

This book provides a firsthand look back at two crucial events in the forming of the United States: American's response to and reasons for fighting against taxation by the British, and arguments about the Constitution.

In the first half, Letters from a Famer in Pennsylvania, John Dickinson takes great care to explain why Americans should oppose all taxes that the British impose merely to raise money, namely the Townshend Acts. Dickinson expresses his concern over precendents being set, and draws heavily on the previous American refusal to pay the Stamp Act. This section was fairly interesting in that it helped explain some of the reasons Americans didn't want to pay British taxes, but it did become fairly repetitve throughout the letters.

In the second half, Letters from the Federal Farmer, Richard Henry Lee puts forth his arguments about the Constitution before it was ratified by the states. Arguments included why state governments should wield more power than the federal government, whether a bill of rights should be included in the Constitution, and why too much power was located in the federal government outlined in the Constitution.

All in all, the book was a fairly difficult read that was boring at times, but it did provide an interesting look into the opinions that shaped the US.

This books imagines that Prince Eddy, engaged to marry the late Queen Mary of England, never died. In fact, he did, and she married his brother, King George, the parents of the current Queen Elizabeth. (I think) It's a good thing they put a pedigree chart in the front, because I couldn't keep all these imaginary people straight and I had to keep referring back to it. I suppose the main reason for writing it like this is that the writer can imagine his own royal family instead of having to deal with the one we've got. But I was rather confused. I think the author should have decided to write either a straight mystery based on real people, one based wholely on imaginary people, or an alternate reality book. Instead it's a mix. The characters were well drawn but the mystery was a little unclear and the whole thing was confusing. Some of the relationships were a little unbelievable too.