ABSTRACT Emily Dickinson's poetry survives in largely unpublished manuscript versions, which some take as finished poems, with all their scriptural features (lineation, variants, calligraphy) intended. This equation of poem with manuscript not only obscures some of Dickinson's most striking visual effects but also mutes her music. By listening to her rhythms, and by reading rather than just looking at her poems, Shoptaw recovers Dickinson's radically experimental metrical practice.

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