Marta Werner

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Swansea University

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University of Chicago

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University of Oxford

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Papers by Marta Werner

The Society for Textual Scholarship

Textual cultures, Aug 9, 2021

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$Research paper thumbnail of Review of Emily Dickinson\u27s Open Folios: Scenes of Reading, Surfaces of Writing$

Review of Emily Dickinson\u27s Open Folios: Scenes of Reading, Surfaces of Writing

In Emily Dickinson\u27s Open Folios Marta L. Werner presents both an experimental edition of the ... more In Emily Dickinson\u27s Open Folios Marta L. Werner presents both an experimental edition of the forty holograph drafts and fragments known as the Lord correspondence and a highly suggestive analysis of this material. Werner\u27s book proceeds from the simple seeming proposition that we must learn to see Dickinson\u27s holographs before reading them. In this claim Werner aligns herself with Susan Howe, Martha Nell Smith, Sharon Cameron and a [End Page 111] growing list of scholars who believe that the visual complexities of Dickinson\u27s holograph manuscripts significantly challenge generic categories such as poetry, prose, letters, and books. Werner\u27s work most particularly resembles Howe\u27s stylistically, for Werner allows her critical perceptions to shape the texture of her prose. Convinced that at the heart of Dickinson\u27s work is an interplay of voices, Werner herself abjures traditional argumentation in favor of a poetic writing that encourages readers to collaborate w...

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“Of Strangers Is the Earth the Inn”: Still Life, Scale, and Deep Time in Emily Dickinson

2018 MLA Annual Convention, Jan 7, 2018

Writing in Time: Emily Dickinson's Master Hours

The Society for Textual Scholarship

Textual cultures, Jan 4, 2022

Founded in 1979, the Society for Textual Scholarship is an international organization of scholars... more Founded in 1979, the Society for Textual Scholarship is an international organization of scholars working in textual studies, editing and editorial theory, digital textualities, and issues of textual culture across a wide variety of disciplines. The Society welcomes scholars from literature (in all languages), history, musicology, classical and biblical studies, philosophy, art history, legal history, history of science and technology, computer science, library science, digital humanities, lexicography, epigraphy, paleography, codicology, cinema studies, theatre, linguistics, and textual and literary theory whose work explores the ideological structures and material processes that shape the transmission, reception, production, and interpretation of texts. The STS is devoted to providing a forum, in its conferences and its journal, for the discussion of the interdisciplinary implications of current textual research.

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Sparrow Data: Dickinson’s Birds in the Skies of the Anthropocene

The Emily Dickinson Journal, 2021

The Networked Recluse: The Connected World of Emily Dickinson

The Weather (of) Documents

ESQ, 2016

Mediating American Autobiography: Photography in Emerson, Thoreau, Douglass, and Whitman (review)

Biography, 2009

Elsewhere, in A(r)cadia: On Reading Cordelia Stanwood’s Bird Notebooks in the 21St Century

ELH, 2015

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A Woe Of Ecstasy": On the Electronic Editing of Emily Dickinson's Late Fragments

The Emily Dickinson Journal, 2007

hyperspace, where forces of unseen connectivity seem to be at work, but where the concept of tele... more hyperspace, where forces of unseen connectivity seem to be at work, but where the concept of teleology is largely absent. And so the decision was made. 1 Yet as time passed, Radical Scatters seemed to recede into this deep space, receding at last so far as to almost vanish from view entirely. Only a very small band of textual scholars, and a still smaller band of Dickinson scholars, seemed aware of its existence of at all, and there were even moments when I wondered whether my four years of hard work on the fragments had taken place in a dream. Thus, one day in 2006, when I received an e-mail from the University of Michigan Press informing me that the Press was no longer able to support its online, site-licensed archives and planned to declare them out-of-print, I imagined that Radical Scatters was soon to fall into a black hole from which there would be no return. 2 I inquired after the files-were they safe?-but their status was unclear. And, worst of all, the map of the archive, the "DTD," had seemingly been lost. 3 Yet what appeared to be the end of the archive was, in fact, only a turning point in its history. By the end of 2007, Radical Scatters will have moved from the server of University of Michigan Press to its new home at the Center for Digital Research in the Humanities (CDRH) at the University of Nebraska-Lincoln. This move is a salutary one for several reasons. In addition to preserving the archive's contents, the move to the CDRH will allow me the opportunity to update the archive by adding several additional fragments that have come to my attention since 1999, making minor corrections to the etext transcriptions of Dickinson's manuscripts, and converting the archive's SGML files to XML files. The move has still larger implications. Although the policies of the Harvard University Press continue to prohibit free access to Radical Scatters, the archive will be available by subscription to individuals as well as institutions-archives, colleges and universities. 4 Moreover, while at the University of Michigan the archive was a beautifully mounted but also a solitary and isolated site; at the CDRH Radical Scatters will be linked to other nineteenth-century sites, including The Dickinson Electronic Archives and The Walt Whitman Archive, through a connection with NINES, a networked infrastructure for 19th-century electronic scholarship. The use of Collex, "a collections and exhibits tool for the remixable web," will enable deep searching of Radical Scatters, as well as make possible the aggregation, collection, annotation, and sharing of related online scholarship. 5 The essay that follows, begun years ago and reconceived in light of the transfer of Radical Scatters from Michigan to Nebraska-Lincoln, marks two moments in my thinking about Dickinson's fragments and about the archive itself: it records my thoughts of the mid-1990s, the time of my initial encounter with the fragments, when I was primarily concerned with the problems of representing these texts as fully and accurately as possible; and it reports my reflections, almost a decade later, on the limits of encoding the fragments

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Signals from a Distance:Editing, Telepathy, Elegy

Textual cultures, Apr 1, 2008

And what the dead had no speech for, when living, They can tell you, being dead: the communicatio... more And what the dead had no speech for, when living, They can tell you, being dead: the communication Of the dead is tongued with fire beyond the language of the living. (T. S. Eliot, from Little Gidding, part 1) "Telepathy" may be the site of a certain fold, of a cutting or interruption. It may appear on occasion as some uncanny reading-machine, a sort of reader-response criticism in reverse. Elsewhere it will be linked with questions of divination and fortune telling, […] proper names and cryptonymy, doors and thresholds, poetry, hysteria and hypnosis, apocalypse and the so-called death-drive, silence, ghosts and writing. (Nicholas Royle, Telepathy and Literature) The following cluster of essays was originally prepared for delivery in two mirror sessions organized by W. Speed Hill for the Society for Textual Scholarship's 2007 conference. Titled "Psychic Connections and Disconnections: Editors and Writers Choosing Each Other", the sessions interrogated the intersection of the discourses of editing and telepathy. In what sense is editing linked with questions of divination and second sight? Do we choose a text, or, rather, does a text foresee its addressee/editor? And if, across the apparently untraversable wastes of time and space, a text chooses us, singling us out to make us its willing or unwilling companion, to what extent does it then propel all of our future itineraries? Together, the accounts offered by Jack Stillinger, Donald H. Reiman, J. C. C. Mays, David Greetham, and W. Speed Hill trace the many dark paths by which editors are led towards, into, and, sometimes, away from texts. The essays are largely personal and occasionally almost private: they concern the lure of the physical document, the search, often doomed, for a surrogate father, the dialectics of presence and absence in the practice of editing, the confusion of choice and chance in life

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Emily Dickinson's Open Folios

REVIEW: John Bryant, Melville Unfolding: Sexuality, Politics, and the Versions of Typee: A Fluid-Text Analysis, with an Edition of the Typee Manuscript

Leviathan, May 19, 2011

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Emily Dickinson's Fascicles: Method & Meaning

The New England Quarterly, Dec 1, 1996

Emily Dickinson's Fascicles: Method & Meaning Dorothy Huff.-eBay The chief subject of my paper is... more Emily Dickinson's Fascicles: Method & Meaning Dorothy Huff.-eBay The chief subject of my paper is my recently published book, Emily Dickinson's Fascicles: Method & Meaning. I will begin by describing how I went about Amazon.com: Emily Dickinson's Fascicles: Method and Meaning Writing Otherwise: Emily Dickinson and the Scenes/Surfaces of Writing About Dickinson's Writings: An Introduction-Emily Dickinson Museum Domov Knjige Književnost Književnost: zgodovina in kritika Pesništvo in pesniki Emily Dickinson's Fascicles: Method and Meaning. Emily Dickinson's Fascicles: Methods Meaning-PaperBackSwap A poet who took definition as her province, Emily Dickinson challenged the existing. Dorothy Oberhaus, Emily Dickinson's Fascicles: Method and Meaning Dickinson's Charm by Adrian Piper The New York Review of Books readers have embodied/transformed Dickinson's writings and propose options for. 124-34 Dorothy Oberhaus, Emily Dickinson's Fascicles: Method & Meaning Emily Dickinson's Fascicles: Method & Meaning Emily Dickinson composed almost 1800 poems, but fewer than a dozen were published. In addition to the fascicles and sets, Dickinson had other methods of.. Emily Dickinson once defined poetry this way: "If I read a book and it makes my College. DorothyHuff Oberhaus.

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WILLIAM C. SPENGEMANN, Three American Poets: Walt Whitman, Emily Dickinson, and Herman Melville

Leviathan, Jun 1, 2012

This Is His—This Is My Mystery

University of Iowa Press eBooks, Feb 14, 2018

Most Arrows": Autonomy and Intertextuality in Emily Dickinson's Late Fragments

named, sometimes anonymous, outside reader; the second stretches from a questioning alterity back... more named, sometimes anonymous, outside reader; the second stretches from a questioning alterity back to the writer who, in trying to meet it, bypasses the reader and the established codes of communication and returns to a luminous yet illegible form of private notation. The letters and poem-messages of the 1870s and 1880s, although already marked by a fanning out of specific address that has often been mistaken for clairvoyance, are still legible; they may be intercepted, even answered by a vanishing reader. The fragments, on the other hand, a mob of traces, some in verse, others in prose-if we prefer a distinction that is by this time in extremisbelong to the pre-scriptive processes of thought or, rather, since these are "retrieveless,"' to that moment when the words that