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Emily Dickinson, probably the most loved and certainly the greatest of American poets, continues to be seen as the most elusive. One reason she has become a timeless icon of mystery for many readers is that her developmental phases have not been clarified. In this exhaustively researched biography, Alfred Habegger presents the first thorough account of Dickinson’s growth–a richly contextualized story of genius in the process of formation and then in the act of overwhelming production.

Building on the work of former and contemporary scholars, My Wars Are Laid Away in Books brings to light a wide range of new material from legal archives, congregational records, contemporary women’s writing, and previously unpublished fragments of Dickinson’s own letters. Habegger discovers the best available answers to the pressing questions about the poet: Was she lesbian? Who was the person she evidently loved? Why did she refuse to publish and why was this refusal so integral an aspect of her work? Habegger also illuminates many of the essential connection sin Dickinson’s story: between the decay of doctrinal Protestantism and the emergence of her riddling lyric vision; between her father’s political isolation after the Whig Party’s collapse and her private poetic vocation; between her frustrated quest for human intimacy and the tuning of her uniquely seductive voice.

The definitive treatment of Dickinson’s life and times, and of her poetic development, My Wars Are Laid Away in Books shows how she could be both a woman of her era and a timeless creator. Although many aspects of her life and work will always elude scrutiny, her living, changing profile at least comes into focus in this meticulous and magisterial biography.

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Alfred Habegger, formerly a professor of English at the University of Kansas, lives with his wife, Nellie, in northeastern Oregon. His previous books include Gender, Fantasy, and Realism in American Literature and a prize-winning biography, The Father: A Life of Henry James, Sr.

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我们不知道艾米莉的母亲是否也制作过腊叶集，不过她确实非常喜欢园艺，不在家的日子，有时爱德华要向她确认，她的植物“安全又茂盛”。布拉德给狄金森家的孩子画的画像说明，艾米莉最晚在1840年就养成了跟母亲类似的兴趣爱好。她于1842年和1845年的5月各写了一封信，信中均提及植物学课程。大概是在1845年，14岁的时候，艾米莉开始采集植物标本。“今晚我去散步了，”5月7日她给一个朋友写道，“采了一些极珍贵的野花。”她接着问朋友是否做过“腊叶集”， “如果你没有我希望你做一个，它会成为你的宝贝，大部分女孩都在做。如果你做，我可以采些附近的花充实你的收藏。”伊丽莎白·亚当斯寄给她的压花，可能也收在她的腊叶集中。

阿默斯特学园用的教科书是阿尔迈拉·林肯"的《常见植物学讲义》(Familiar Lectures on Botany)，林肯曾是特洛伊女子学校的教师和代理校长，她在阿莫斯·伊顿的指导下完成了这本教科书。伊顿是伦塞勒学校的讲师、植物学界的权威，一贯支持女性从事科学事业，他妻子的一个姐妹劳拉·约翰逊就是《北美植物学教师》 ( Botanical Teacher for NorthAmerica)的作者。部分得力于伊顿的鼓励，特洛伊成为植物学研究的传播中心。“特洛伊的年轻女士”被请到阿默斯特学园的那个学期，艾米莉对腊叶集表现得如此兴奋，这应该不仅仅是一个巧合。

林肯·费尔普斯还写了另外几本自然科学教科书，她最终入选“美国科学促进学会” (American Association for the Advancement of Science)，成为史上第三位受此殊荣的女性。她认同一个流行的观念:植物学“尤其适合女性，它的研究对象美丽而精致，追寻植物可以把人引到户外，有益于健康和快乐”。与此同时，她也强调这门科学的智力价值--它能促进脑力开发，将事物分门别类，置入“漂亮、规则的系统中”...

“我从没有母亲。”有人因为这个句子认为，诗人的人生是无情的。1870年8月，她和托马斯·温特沃思·希金森见面，希金森稍后做了谈话记录，这句话也被草草记录下来。

随后立刻说“我觉得母亲是一个你有麻烦就会跑去找的人”。这番澄清意味着，她所针对的并非母女之间的情义，而是心灵的独立。这一点作为她最显著的品质，给希金森留下了极为深刻的印象。它是从哪儿来的？诗人的回答是：“它来自，不要跑去找母亲，她有她的麻烦；它来自，要学会面对疑惑、恐惧和敬畏。”“每个人的意识里都有深渊，”19世纪70年代她写道，“没有人可以陪我们到那儿。”面对畏惧和忧虑，她听从父亲的话，“不要打扰母亲”，独自承担。艾米莉·狄金森之所以成为她自己，原因之一就是，不麻烦负担过重的母亲做她的贴心密友。

说也奇怪，挨饿竟然是孩子们经常玩耍的一个节目，特别是在玩吉卜赛人和海盗（Gypsy and Pirate）的时候。吉卜赛人游戏玩到一半时，从狄金森宅邸传来一个信号，只见一个小篮子从二楼的窗口缓慢放下。麦克一直无法判断诗人的“关心和小心翼翼是不是游戏的一部分，还是为了避免分散玛蒂的注意力”。这篮子不会打断孩子们的游戏（传记中特别强调了这一点），孩子们蹑手蹑脚地靠近篮子，拿走里面通常装着“黏黏的”姜汁蛋糕。情感的饥饿在诗人早期诗作中有明显表现，比如创作于1862年的《多年来我忍饥挨饿》（Fr439/J579）、《简直可以饿死一只小蚊虫》（Fr444/J612），看来，这个挨饿的幻想不仅吸引了孩子们，也吸引了诗人。他们的虚构想象连在一起了，他们在玩同一种游戏。艾米莉对康科德城的诺克斯罗姐妹说：“好时光总是共有的，否则就没有好时光”。

“艾米莉姑姑代表纵容。”这是玛蒂的说法。在麦克的记忆里，艾米莉总是为街坊的孩子们撑腰，通常用第三人称的方式说：“艾米莉保证你一定能得到。艾米莉保证你不会受责备。”她并不是孩子中的一员，但她和孩子们站在一边抵抗成人的命令，特别是她怂恿玛蒂到食品室偷袭曲奇饼和甜甜圈。她吸引孩子们，他们仔细观察她却不会轻举妄为，因为他们知道她“是用某些特殊材料做的”。拉维尼亚会变成维尼，但艾米莉永远都是艾米莉小姐。帮艾米莉小姐给温室里的植物浇水或在厨房给她打下手或为她递送便条，孩子们觉得很荣幸。

有一次吉尔伯特在幼儿园炫耀他看见一只美丽的白色小牛，后被证明是他的幻想，老师责备他犯了撒谎的罪行，他哭了。苏试图向这个愚昧的女人解释想象的合法性，侄女回忆说，艾米莉姑姑异常愤怒，不顾对方有任何理由，“干脆请他们来找他，她会证明给他们看！此时此刻那只白色的小牛正在她的阁楼上吃草！”姑妈给受伤的男孩写了一张便条让他交给老师，上面有一首诗，论“勤奋和道德的 / ……虚荣”（Fr1574B/J1522），还特别把提倡严惩的乔纳森·爱德华兹和耶稣作对比。

1884年或1885年，狄金森给隔壁送去了一封最难解的短笺，近年来引发了不少关注。放在婚姻困境、丧亲之痛、疾病和忧郁（以及苏带着传教士的热情主持了一所劳工阶级的安息日学校，在德怀特或「圆木镇」）的背景下来读，这封短笺或许算得上是诗人为嫂子鼓劲的一个顶点：

黎明或许来之偶然—姐妹—

(Morning might come by Accident -- Sister --)

夜晚依事而至—

(night comes by Event)

若相信卡上的最后一行，信仰就被排除了—

(To believe the final line of the Card would foreclose Faith --)

信仰是怀疑。

(Faith is Doubt.)

姐妹—

(Sister --)

给我看永恒，我就给你看记忆—

(Show me Eternity, and I will show you Memory --)

放在同一个包裹里—

(Both in one package lain)

再运回来—

(And lifted back again --)

做苏，当我是艾米莉—

(Be Sue, while I am Emily --)

在隔壁，一如既往，无限—

(Be next, what you have ever been, Infinity --)

让我看永恒，我就让你看记忆—

两样都搁在一个包里

随后又被拿了回去—

就做苏吧，在我做艾米莉期间—

然后再做你一直做的，无限—

书籍介绍

Emily Dickinson, probably the most loved and certainly the greatest of American poets, continues to be seen as the most elusive. One reason she has become a timeless icon of mystery for many readers is that her developmental phases have not been clarified. In this exhaustively researched biography, Alfred Habegger presents the first thorough account of Dickinson’s growth–a richly contextualized story of genius in the process of formation and then in the act of overwhelming production.

Building on the work of former and contemporary scholars, My Wars Are Laid Away in Books brings to light a wide range of new material from legal archives, congregational records, contemporary women’s writing, and previously unpublished fragments of Dickinson’s own letters. Habegger discovers the best available answers to the pressing questions about the poet: Was she lesbian? Who was the person she evidently loved? Why did she refuse to publish and why was this refusal so integral an aspect of her work? Habegger also illuminates many of the essential connection sin Dickinson’s story: between the decay of doctrinal Protestantism and the emergence of her riddling lyric vision; between her father’s political isolation after the Whig Party’s collapse and her private poetic vocation; between her frustrated quest for human intimacy and the tuning of her uniquely seductive voice.

The definitive treatment of Dickinson’s life and times, and of her poetic development, My Wars Are Laid Away in Books shows how she could be both a woman of her era and a timeless creator. Although many aspects of her life and work will always elude scrutiny, her living, changing profile at least comes into focus in this meticulous and magisterial biography.