Emily Dickinsons Research Articles

Our Emily Dickinsons: American Women Poets and the Intimacies of Difference

Our Emily Dickinsons: American Women Poets and the Intimacies of Difference

Bennett’s Dickinsons

Bennett’s Dickinsons Páraic Finnerty At the beginning of her review of Alexandra Socarides’ Dickinson Unbound: Paper, Process, Poetics (2012), Paula Bernat Bennett reminds scholars of the connection between an “indeterminacy” that most agree is foundational to Dickinson’s poetry and the passionate and personal quests they undertake in pursuit of her writing’s “ever-elusive meanings.”1 Dickinson’s evasive style of writing and her reclusive life invite investments and interpretations that often reveal more about readers than about the poet herself. Drawing on ideas from Robert McClure Smith’s The Seduction of Emily Dickinson (1996), Bennett suggests that the process of “self-seduction” continues apace in Dickinson studies as scholars’ “conscious and unconscious obsessions and ways of configuring both literature and life” shape and reshape “not only who Dickinson is but what she wrote.”2 Recalling Smith’s critique of her work, Bennett reflects that “the Emily Dickinson I fashioned in Emily Dickinson: Woman Poet is the one I saw through the lens of my own passion,” adding that “part of Dickinson’s greatness lies in the way she serves as a Rorschach for her readers’ obsessions, and it is a good bet that the number of Emily Dickinsons will only grow in the years to come, which for the future of Dickinson [End Page 214] Studies everywhere is just as well.”3 This essay reviews Bennett’s engagements with and interventions in critical and theoretical developments in Dickinson scholarship over the last four decades. Her passionate and personal conceptualization and reconceptualization of Dickinson have helped shape Dickinson’s contemporary status as one of the nineteenth century’s greatest poets. What emerges are some of Bennett’s Emily Dickinsons: the feminist icon, the lesbian and queer poet, the peer of other nineteenth-century US women poets, and the wartime dramatic lyricist. Spurred on by the 1970s women’s movement, Bennett, whose PhD was in early modern literature, sought to study a woman poet and chose Dickinson as “unquestionably America’s greatest woman poet” and “the greatest writer of short lyrics yet to grace these shores.”4 Although always sensitive to the interpretative possibilities and resonances in Dickinson’s poetry, Bennett was initially concerned with what the poetry revealed about Dickinson the woman. In one of her earliest publications on Dickinson, “ED and the Value of Isolation” (1979), based on a 1976 talk, Bennett argues that Dickinson’s much-discussed retirement from the public world represents “one of the most extraordinarily productive psychological and spiritual retreats in human history”; it reflects not only Dickinson’s sense of isolation from, skepticism about, and questioning of her culture, but was also the result of her hidden fury at others’ “rejection or apparent rejection.” Examining Dickinson’s writings addressed to male and female figures, Bennett notes how the poet figures personal neglect as death or a death-like experience, conjuring up “the rage of a woman who feels she has been emotionally ripped off and abandoned,” who feels “an over-wrought combination of frustration, anger, need and an inordinate sensitivity to affront.” From the beginning, Bennett recognizes Dickinson’s personal and poetic complexity: “unable to deal with others, ED went within. In poem after poem she exhibits an awareness of [End Page 215] the inner life and the ghosts which haunt it.” Although her powerful poems prove the benefit of isolation, they are animated by specters of insufficiency and by the world she renounces: “The Stimulus of Loss makes most Possession mean” (L364).5 Developing these initial ideas in light of emerging feminist approaches to Dickinson, Bennett’s 1984 review essay, “Elusive Emily,” presents an artist who demonstrates an “almost obsessive devotion to craft,” “ill-served by those who have claimed the competence to bring her work to the public at large.”6 She particularly chastises the condescending, paternalistic, and trivializing approach of chauvinistic critics who dispute Dickinson’s professionalism and fail to recognize her rebelliousness. In contrast, Bennett’s Dickinson is a woman who “behaved in her lifetime in singularly outrageous and deviant ways: she preferred art to life, she withdrew from society, she never married, she mocked and conspired against the male figures who knew, supposedly, more than herself...

Our Emily Dickinsons: American Women Poets and the Intimacies of Difference

Our Emily Dickinsons: American Women Poets and the Intimacies of Difference

The Return to Sentimentalism in Antebellum Poetry Studies

The Return to Sentimentalism in Antebellum Poetry Studies Don James McLaughlin Antebellum American Women’s Poetry: A Rhetoric of Sentiment. By Wendy Dasler Johnson. Carbondale: Southern Illinois University Press, 2016. vii + 265 pp. $40.00 paper. A History of Nineteenth-Century American Women’s Poetry. Edited by Jennifer Putzi and Alexandra Socarides. New York: Cambridge University Press, 2017. v + 440 pp. $72.80 cloth. Our Emily Dickinsons: American Women Poets and the Intimacies of Difference. By Vivian R. Pollak. Philadelphia: University of Pennsylvania Press, 2017. ix + 355 pp. $55.00 cloth. A 2017 headline reads: “Merriam-Webster tweets definition of ‘snowflake,’ which is somehow a political act” (PenzeyMoog). To scholars of the written word, the premise that dictionary definitions can be political will not seem outrageous. But the tweet did carry more than a little dramatic irony. It explained that the use of snowflake as an epithet, generally hurled by conservatives at left-wing activists championing diversity, has a deeper history. “In Missouri in the early 1860s,” Merriam-Webster wrote in a complementary article, “a ‘snowflake’ was a person who was opposed to the abolition of slavery—the implication of the name being that such people valued white people over black people” (Merriam-Webster). As Jessica Goldstein has shown, lay definitions on UrbanDictionary.com quickly made note of the revelation. [End Page 92] Above older definitions disparaging social justice advocates, a new, 2017 definition by a user named Lascaux Othello appeared: “Snowflake. Referring to someone, usually the Alt-Right, . . . whose immense white fragility causes a meltdown when confronted with the most minute deviation from orthodox White Supremacy. They often cry bloody murder when expected to give the most modest expression of basic human decency” (Othello). With a nod to the work of Robin DiAngelo, the definition makes snowflake the sign of “white fragility”: “a state” of “insulation” from “race-based stress,” characteristic of white communities in North America, “in which even a minimum amount of racial stress becomes intolerable, triggering a range of defensive moves” (DiAngelo 54). Characterized throughout the 2016 election and in its aftermath as an emblem of liberalism’s addiction to empathy and individuality, the snowflake has, in an amusing turn, been historicized as a rather on-the-nose symbol for the trolls most likely to use it. Yet the more immediate irony of the epithet, as a strategy for demeaning the left, should not be lost on us. No one has bemoaned the resilient sentimentalism of liberalism more than leftist scholars themselves. From Lauren Berlant’s Cruel Optimism (2011) and Sianne Ngai’s Ugly Feelings (2005) to Susan Stryker’s 1994 manifesto on “transgender rage,” the Gay Shame movement’s resistance to the commercialization of LGBT Pride as exemplified by Halperin and Traub, and Wendy Brown’s critique of tolerance discourse in Regulating Aversion (2006), the imperative to sympathize has been a subject of critique for a long time. Citing Harriet Beecher Stowe’s best-seller as a prime example, Berlant observes in The Female Complaint: The Unfinished Business of Sentimentality (2008) that, while sentimental literature might elicit “fantasies” of political solidarity in readers, “the forces of distortion in the world of feeling politics that the citation of Uncle Tom puts into play are as likely to justify ongoing forms of domination as they are to give form and language to impulses toward resistance” (40–41). Such literature sets a low bar, in other words, by which fantasies of justice tend to become an end in and of themselves. And yet, against this familiar critique, a movement in scholarship un-allergic to the moniker of the sentimentalist has also been experiencing a resurgence as of late. Here, in a form of what Michel Foucault calls “reverse discourse,” a certain snowflakery is being recuperated (101).1 The new scholarship invested in reclaiming sentiment continues to derive momentum from literature of the eighteenth century and antebellum period—eras in which sentimentalism served as a crucible for public opinion and revolutions in governmentality. Ramesh Mallipeddi’s Spectacular Suffering thus encourages scholars “to loosen the grip of ideological critique” in order “to engage more fully with sentimental mediations of slave suffering” (23). To dismiss sentimental appeals for political recognition [End...

Review: Our Emily Dickinsons: American Women Poets and the Intimacies of Difference by Vivian R. Pollak

Review: Our Emily Dickinsons: American Women Poets and the Intimacies of Difference by Vivian R. Pollak

Our Emily Dickinsons: American Women Poets and the Intimacies of Difference

June 01 2017 Our Emily Dickinsons: American Women Poets and the Intimacies of Difference Our Emily Dickinsons: American Women Poets and the Intimacies of Difference. By Vivian R.Pollak. (Philadelphia: University of Pennsylvania Press, 2016. Pp. 368. $55.00 cloth; $55.00 e-book.) Rebecca Morgan Frank Rebecca Morgan Frank Rebecca Morgan Frank is the Jacob Ziskind Poet in Residence at Brandeis University. Her third collection of poetry, “Sometimes We're All Living in a Foreign Country,” is forthcoming from Carnegie Mellon University Press in October 2017. Search for other works by this author on: This Site Google Scholar Author and Article Information Rebecca Morgan Frank Rebecca Morgan Frank is the Jacob Ziskind Poet in Residence at Brandeis University. Her third collection of poetry, “Sometimes We're All Living in a Foreign Country,” is forthcoming from Carnegie Mellon University Press in October 2017. Online Issn: 1937-2213 Print Issn: 0028-4866 © 2017 by The New England Quarterly2017The New England Quarterly The New England Quarterly (2017) 90 (2): 280–283. https://doi.org/10.1162/TNEQ_r_00613 Cite Icon Cite Permissions Share Icon Share Facebook Twitter LinkedIn MailTo Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Search Site Citation Rebecca Morgan Frank; Our Emily Dickinsons: American Women Poets and the Intimacies of Difference. The New England Quarterly 2017; 90 (2): 280–283. doi: https://doi.org/10.1162/TNEQ_r_00613 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAll JournalsThe New England Quarterly Search Advanced Search This content is only available as a PDF. © 2017 by The New England Quarterly2017The New England Quarterly Article PDF first page preview Close Modal You do not currently have access to this content.

IMAGERY ANALYSIS ON EMILY DICKINSONS POETRY

This research was conducted to figure out the imagery and its meanings in the five poetry of Emily Dickinson. This research was regarded on a descriptive-qualitative study. The researcher applied documentation technique in collecting the data. In data analysis, psychoanalytic approach by Kristeva was used. The results of the research showed that there were sixty-two types of imagery foundin the five poetry of Emily Dickinson, for instance; fifty-one visual, one auditory, one olfactory, three tactile, one organic and five kinesthetics. In addition, the five poetry of Emily Dickinson had something to do with the themes and meanings of humans livesand their relationship with their God that symbolized and illustrated by things, and personally regarded on the reflections of Emily Dickinsons life.

Our Emily Dickinsons: American Women Poets and the Intimacies of Difference by Vivian R. Pollak

Reviewed by: Our Emily Dickinsons: American Women Poets and the Intimacies of Difference by Vivian R. Pollak Linda Anderson Our Emily Dickinsons: American Women Poets and the Intimacies of Difference, by Vivian R. Pollak. Philadephia: University of Pennsylvania Press, 2017. 355pp. $55.00 cloth; $55.00 ebook. The title of Vivian R. Pollak’s intriguing, expansive, and innovative book inevitably echoes Susan Howe’s ground-breaking publication from 1985, My Emily Dickinson. However, both the change in the possessive pronoun and the pluralisation of the subject are crucial. If Howe’s Dickinson reaches heroically, by means of poetry, beyond “worldly chronology” and lives her life primarily through language, Pollak’s Dickinson is a more regressive poetic figure, impossible to separate from the myths of her life and her gender, from the fearful and perhaps even “shameful” legacy of her isolation.1 Indeed, for Pollak, being curious about Dickinson’s life and being unable to separate her life and work has distinguished many of the most important twentieth-century women poets, who have interpreted her in markedly different ways. There is no single tradition that can be assimilated and handed on; instead there are different associations and versions that suit the different poets’ own psychological and professional needs. It is in Pollak’s words a “‘spasmodic’ literary history,” its lack of continuity also following, of course, the peculiar publishing history of Dickinson’s poetry itself (p. 3). One of Pollak’s great strengths in Our Emily Dickinsons: American Women Poets and the Intimacies of Difference is her capacity to find different angles or “slants” to tell her story; the other is the depth of her historical [End Page 503] and archival research. Hence, the introduction foregrounds Muriel Rukeyser, whose changing response to Dickinson is little documented but whose intermittent comments in both The Life of Poetry (1949) and her biography of J. Willard Gibbs help Pollak establish important themes and anxieties. Rukeyser asks whether it is possible to overdo separateness and self-sufficiency as a poet and what happens if we return Dickinson to the historical and social context of her life. Pollak picks up this line of inquiry. Instead of eschewing biography, Pollak wants to use it—so long as it is historically accurate—to help establish connections between women poets and their critics and probe the extent of Dickinson’s own, often muffled, associations. The focus in the first two chapters on nineteenth-century literary figures is surprising given the book’s orientation to the twentieth century; however, they explore the importance of Dickinson’s own associations and provide us with much original insight through the exploration of an almost forgotten contemporary and writer, Helen Hunt Jackson, who battled with Dickinson about the publication of her work, and Mabel Loomis Todd, who succeeded in bringing Dickinson posthumously into print in the 1890s and whose story is intimately bound up with Dickinson’s. History may have reviled Todd’s editing practices, but the fact that this first shaping of Dickinson’s life and reputation takes place within an entangled web of familial and other attachments adds a density and complexity to our knowledge of Dickinson and her work. Pollak asks repeatedly what the role of biographical detail is and what happens when we place it beside the myths and versions that get created through others’ needs. She questions, is there ever any life that is unconnected to others’ lives or that can be told without the interventions and constructions of others? The ability to follow threads, whether they belong to life or writing, and let the details themselves call up associations and trace a story is a key feature of this book. Telling the story of one poet’s connection with Dickinson often cannot be done without invoking other poets nor can it be done without thinking about the nature of the complex patterning of intimacy and identity in any particular poet’s life. For Marianne Moore, for instance, who never pretended she was not curious about others’ lives, Dickinson could help justify her own “peculiar” life choices. Both in discussing Moore and in her chapter on Elizabeth Bishop, Pollak incorporates new research and writes with sensitivity about the complex...

Our Emily Dickinsons: American Women Poets and the Intimacies of Difference by Vivian R. Pollak

Our Emily Dickinsons: American Women Poets and the Intimacies of Difference by Vivian R. Pollak

MUSHROOMING: resistance and creativity in sigmund freud and emily dickinson

This paper explores Sigmund Freud's use of metaphor, taking as its focus a footnote in The Interpretation of Dreams (1900). In a development of this footnote, Freud employs the figure of the mushroom in order to illustrate the limit presented by dream interpretation. Whilst commentators have discussed this footnote, few have explored the significance of the mushroom image itself. I explore both Freud's use of metaphorical language and also Emily Dickinson's use of the mushroom image. The poet's treatment of metaphor resonates with Freud's, illuminating his use of the mushroom figure. Through close readings and examinations of various theoretical perspectives, I consider the relationship between interpretative resistance and creativity in psychoanalysis.

Emily dickinson: “she don't go nowhere”, or a nineteenth-century recluse's guide to cross-culturalism

This article examines the cross-cultural and cross-class experiences recorded in Emily Dickinson's writings about two women with whom she had contact despite her extremely reclusive lifestyle. One of the women, domestic servant, Margaret Maher, an Irish worker who served in the Dickinson home for thirty years, also left written accounts. Her writing about Dickinson and the working conditions she experienced within the Dickinson household will make possible an understanding of the relationship between mistress and servant. The conditions faced by nineteenth-century domestics illustrate the difficulties and opportunities presented to women in a society that demanded their labour yet refused to grant them status. Maggie Maher's position reflected the situation of many competent Irish servants in New England households. Her devoted service provided significant assistance to Dickinson's literary work, as well as primary source material about the daily life of New England gentry.

Emily dickinson: “she don't go nowhere”, or a nineteenth-century recluse's guide to cross-culturalism

Emily dickinson: “she don't go nowhere”, or a nineteenth-century recluse's guide to cross-culturalism

Dream of emily dickinson as immaterial surf breaking

(1997). Dream of emily dickinson as immaterial surf breaking. Psychological Perspectives: Vol. 35, No. 1, pp. 41-41.

To "See—Comparatively": Emily Dickinsons Use of Simile

To "See—Comparatively": Emily Dickinsons Use of Simile

The "Undiscovered Continent": Emily Dickinson and the Space of the Mind

THE "UNDISCOVERED CONTINENT": EMILY DICKINSON AND THE SPACE OF THE MIND / Suzanne Juhasz Soto! Explore thyself! Therein thyself shalt find The "Undiscovered Continent"— No Settler had the mind. The "Undiscovered Continent" is one of Emily Dickinson's descriptions of the mind. Another from a letter to her friend Mrs. Holland, is "the Landscape of the Spirit."1 Poem and prose statement indicate both the centrality of her exploration of self and also how the place where it occurred, the mind, was conceived of as actual, substantial, there. "Continent," "Landscape"—these words grant spatial dimensions to the mind, the setting for Dickinson's most significant experience. The fact that Dickinson lived primarily in the mind is not a new observation. It has long been acknowledged as a factor central to her biography and art. Sometimes it is seen as a sign of her participation in European literary romanticism in general, in American transcendentalism , specifically. Sometimes, from another kind of critical perspective, it becomes a symptom of her peculiarity as a writer and woman, even of hermadness. Forfeministcritics, who view her solitude, her retreat to her house and to her room as strategy rather than debility, as an act occasionedby her social andpsychological situation as a womanwho also wanted to be a poet, the actuality of the mind as a place in which to live—in which to achieve control over one's experience, in which to experience thoroughly—is important for our understanding of this enterprise. In this paper I look at the place itself, the landscape of the spirit, as Dickinson's poems about the mindreveal it. Its characteristics as an environment shed light upon the nature of the activity that took place within its perimeters and also upon thewoman who created this situation for herself. As I have argued in my book on American women poets, Naked and Fiery Forms, to be a woman poet in our society is a "double-bind situation," one of conflict and strain.2 "Woman" and "poet" connote opposite and contradictory qualities and roles. In her article, "A Room of Her Own: Emily Dickinson as Woman Artist," Barbara Williams corroborates this point of view. "To be a woman—a vocation and an art, quite literally, in the nineteenth century—meant that one had to deny self; 86 ¦ The Missouri Review and to be a poet, as Emily Dickinson defined it, meant a lifetime of spiritual exploration to the end of self-discovery."3 Dickinson's solitude may well have been an escape, but it was also a solution. Given her temperament—her passionate intensity, her extreme sensitivity, her stubborn dedication to her sense of vocation; given the fate that awaited heras a normalwoman ofherclass and era—ahome, a husband, a family, a position in society; her decision to dwell, as Jean Mudge phrases it, "in her highly imaginative, eclectically informed, cosmos-encompassing, quick clever mind,"4 was in fact what enabled her to be the poet that she became. It gave her control over her own experience: she could select, apportion, focus, examine, explore, satiate herself exactly as she wished and needed to do, such that poetry could result. In the outer world, this manner of control would have been impossible. It gave her, as well, the possibility for complete and thorough experience, for risk, intensity, range and depth, that as a woman she could never have achieved in the world at large. She could notwander across the continent, like Whitman; but she could move freely in the "undiscovered continent," the mind. In describing themind as a settingforsignificantactivity, Dickinson's poetic language is characterized by an elaborate spatial vocabulary. Specifically, terms drawn from architecture, geography and space-travel define a location that is enclosed, private, yet changeable in dimension, that can alter suddenly and violently, that can become vast and limitless. Dickinson frequently refers to the caverns and corridors (777, 670), windows and doors (303, 657), even cellars (1182) of the mind. Because her external life was lived within one, then another, house in Amherst, Massachusetts, and, as the years progressed, within one room, her bedroom, itis appropriate thatshe employ this particular setoffigurative correspondences to describe the other place in which she lived. Yet...

Ourselves behind ourself: Crisis in the life of emily dickinson

Abstract Reprinted from the Harvard Library Bulletin, Volume X, Number I (Winter 1936) by permission. © 1956 The President and Fellows of Harvard College.

Reviews

Journal Article Reviews Get access PROBLEMS AND ROLES OF THE AMERICAN ARTIST AS PORTRAYED BY THE AMERICAN NOVELIST , by Tony Tanner . Published for the British Academy by Oxford University Press , 1971 ; pp. 23 ; 30p. SOME ASPECTS OF THE AMERICAN SHORT STORY , by W. E. Allen . Published for the British Academy by Oxford University Press , 1973 ; pp. 18 ; 30p. UNIVERSITY OF MINNESOTA PAMPHLETS ON AMERICAN WRITERS: CARL SANDBURG , by Gay Wilson Allen ; THEODORE DREISER , by W. M. Frohock ; RANDALL JARRELL , by M. L. Rosenthal . University of Minnesota Press/Oxford University Press , 1973 ; pp. 48 each; 47p each. SIX AMERICAN POETS FROM EMILY DICKINSON TO THE PRESENT ,edited by Allen Tate . Minnesota University Press/Oxford University Press , 1972 ; pp. 267 ; £4. SEVEN AMERICAN LITERARY STYLISTS FROM POE TO MAILER ,edited by George T. Wright . Minnesota University Press/Oxford University Press , 1973 ; pp. 318 ; £5.25. ANGUS EASSON ANGUS EASSON Search for other works by this author on: Oxford Academic Google Scholar Notes and Queries, Volume 23, Issue 1, January 1976, Pages 29–30, https://doi.org/10.1093/nq/23-1-29 Published: 01 January 1976

A Circumference of Emily Dickinson

EMILY DICKINSON'S best poems come from an awe of change, and her feeling about change makes the characteristic movement of many poems a terrible passage or journey from one state to another. Her special vocabulary of awe, particularly the word circumference, has been examined in several studies since Charles Anderson's Emily Dickinson's Poetry: Stairway of Surprise,' but circumference and other distinctive words and images with symbolic meaning for her ought to be understood in their connection with the journey. Because I could not stop for Death, for instance, or Our journey had advanced, indicate in their opening lines that the experience of each poem is a journey through time, and the journey is her image of change. It is also an image of a separation between the self and what the self desires-a separation that causes fear. To get across this gap is to go through terror, but it is a passage that must be made before the desire can be realized. An ambiguous cluster of desire, separation, terror, and transition, the journey in Dickinson's poetry is where the meanings are. Her poems often begin with a tiny object like a bee or child in a familiar scene, and progress outward, upward, away, into the large and vast, eternity and immortality. We-Bee and I -live by the quaffing2 climaxes in her special term noonNoon-our last Cup-just before death occurs. The bee in flight, quaffing or imbibing, is an image of absorption of air, oxygen, power, joy, and time. Intoxication produces images of swelling and puffing out, expanding away, growth, and finally

Audio‐visual aids

THE ROLE OF LISTENING IN MANAGEMENT. Lecture by Ralph G. Nichols. 1/2 track tape. 3 3/4 IPS. 55 minutes. Available to members of the Merchants and Manufacturers Association and to certain educational institutions. Cost: $6.00. Available through Los Angeles Merchants and Manufacturers Association, 725 South Spring Street, Los Angeles 14, California. THE LECTRON MARK V AUTOMATIC REAR PROJECTION UNIT. A wall mounted teaching machine. Cost: $695.00 plus student units and varying costs of tapes and slides. Produced by and available through Lectron Corporation of America, 9929 West Silver Spring Road, Milwaukee 18, Wisconsin. NORMAN THOMAS REMINISCES. 33 1/3 RPM. 12 inch record. Produced by Spoken Arts under direction of Dr. Arthur Luce Klein. Cost: $5.95. Available through Spoken Arts, Inc., 95 Valley Road, New Rochelle, New York. JEFFERSON DAVIS DECLARES SECESSION. 1943. 16mm. 1/2 reel. 9 minutes. Sound. Black and white. Prepared in cooperation with the Audio‐Visual Committee of the National Council for the Social Studies. Not for sale. New print instructional license fee for 3 years: $15.00, for 5 years: $17.50. Available through Teaching Film Custodians, Inc., 25 West 43rd Street, New York City 36, New York. SHAKESPEARE'S THEATRE. 16 mm. 1 reel. 12 1/2 minutes. Sound. Color. Prepared in cooperation with the National Council of Teachers of English. Not for sale. License fee for obtaining film for use for 3 years: $100.00, for 5 years; $120.00. Available through Teaching Film Custodians, Inc., 25 West 43rd Street, New York 36, New York. SIOBHAN MCKENNA READS IRISH FAIRY TALES. 33 1/3 RPM. 12 inch record. Produced by Spoken Arts under direction of Dr. Arthur Luce Klein. Cost: $5.95. Available through Spoken Arts, Inc., 95 Valley Road, New Rochelle, New York. EMLYN WILLIAMS AS CHARLES DICKENS. 33 1/3 RPM. 12 inch record. Produced by Spoken Arts under direction of Dr. Arthur Luce Klein. Cost: 15.95. Available through Spoken Arts, Inc., 95 Valley Road, New Rochelle, New York. POEMS BY EMILY DICKINSON. 33 1/3 RPM. 12 inch record. Produced by National Council of Teachers of English. Reading by Lucyle Hook; narration by Henry W. Wells. Available through N. C. T. E., 508 South Sixth Street, Champaign, Illinois. Cost $5.95. SIX SHAKESPEAREAN PLAYS: THE TAMING OF THE SHREW. 33 1/4 RPM. 2 12 inch record album, Stereo or Monaural. Cost: $8.90 (through the Shakespeare Recording Society, Inc.); $11.90 (retail.) MACBETH. 33 1/4 RPM. 2 12 inch record album, Stereo or Monaural. Cost: $8.90 (through the Shakespeare Recording Society, Inc.); $11.90 (retail). MEASURE FOR MEASURE. 33 1/3 RPM. 3 12 inch record album, Stereo or Monaural. Cost: $11.80 (through the Shakespeare Recording Society, Inc.); $17.85 (retail). THE WINTER'S TALE. 33 1/3 RPM. 3 12 inch record album, Stereo or Monaural. Cost: $11.80 (through the Shakespeare Recording Society, Inc.); $17.85 (retail). ROMEO AND JULIET. 33 1/3 RPM. 3 12 inch record album, Stereo or Monaural. Cost: $11.80 (through the Shakespeare Recording Society, Inc.); $17.85 (retail). OTHELLO. 33 1/3 RPM. 3 12 inch record album, Stereo or Monaural. Cost: $11.80 (through the Shakespeare Recording Society, Inc.); $17.85 (retail). Available from Shakespeare Recording Society, Inc., 461 Eighth Avenue, New York 1, New York.