From Publishers Weekly
The most glaring difference between the work of Emily Dickinson and this novel "in the style of" the belle of Amherst can be simply put: offered the real McCoy, the reader never wonders if his time is being wasted. Fuller brings an unmistakable talent for research and an ear for language to her first book, but she doesn't demonstrate much purpose. Here, she simulates entries and poems in a diary "kept" by Dickinson from 1867 to 1868, then "annotates" these with factual material and published verse. While her use of language is reasonably convincing, she doesn't interpret Dickinson's life with much imagination. Essentially, she unravels Dickinson's correspondences and Dickinson research, then threads her findings into diary entries. For example, Emily reports returning a copy of Nicholas Nickleby to her sister-in-law, although she does not comment upon it; the appended note reveals that the book is part of the Dickinson family library now at Harvard. Elsewhere, this Emily schoolgirlishly appraises Aurora Leigh ; comments on newspaper items; and, unavoidably, issues passionate declarations about poetry and cryptic statements about those she loves. If anything, Fuller has made an already circumscribed life seem even narrower. Illustrations not seen by PW.
Copyright 1993 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.
From Library Journal
A translator of Russian poetry, Fuller sets herself a difficult task in this fictional diary of Dickinson's life in the years 1867-68, since the work must mimic the richly metaphorical and highly idiosyncratic style that characterizes Dickinson's poetry and prose. The book is constructed as a scholar's analysis, containing commentary and references to Dickinson's life and work after the diary entries. Fuller, however, rarely manages to echo Dickinson's style or make the reader believe that she would have written this diary. The entries read not as those of an utterly unique mind but rather as those of a typical 19th-century housewife, complete with discussions of cooking, sewing, and ailing parents. This is equally true of the 25 poems that Fuller has inserted as Dickinson's long-lost work. A sincere and attractively designed book, this is nevertheless too deeply flawed to be recommended.
- Ellen Finnie Duranceau, MIT Lib.Copyright 1993 Reed Business Information, Inc.
--This text refers to an out of print or unavailable edition of this title.