Taking Off Emily Dickinson's Clothes
First, her tippet made of tulle,
easily lifted off her shoulders and laid
on the back of a wooden chair.
And her bonnet,
the bow undone with a light forward pull.
Then the long white dress, a more
complicated matter with mother-of-pearl
buttons down the back,
so tiny and numerous that it takes forever
before my hands can part the fabric,
like a swimmer's dividing water,
and slip inside.
You will want to know
that she was standing
by an open window in an upstairs bedroom,
motionless, a little wide-eyed,
looking out at the orchard below,
the white dress puddled at her feet
on the wide-board, hardwood floor.
The complexity of women's undergarments
in nineteenth-century America
is not to be waved off,
and I proceeded like a polar explorer
through clips, clasps, and moorings,
catches, straps, and whalebone stays,
sailing toward the iceberg of her nakedness.
Later, I wrote in a notebook
it was like riding a swan into the night,
but, of course, I cannot tell you everything -
the way she closed her eyes to the orchard,
how her hair tumbled free of its pins,
how there were sudden dashes
whenever we spoke.
What I can tell you is
it was terribly quiet in Amherst
that Sabbath afternoon,
nothing but a carriage passing the house,
a fly buzzing in a windowpane.
So I could plainly hear her inhale
when I undid the very top
hook-and-eye fastener of her corset
and I could hear her sigh when finally it was unloosed,
the way some readers sigh when they realize
that Hope has feathers,
that reason is a plank,
that life is a loaded gun
that looks right at you with a yellow eye.
easily lifted off her shoulders and laid
on the back of a wooden chair.
And her bonnet,
the bow undone with a light forward pull.
Then the long white dress, a more
complicated matter with mother-of-pearl
buttons down the back,
so tiny and numerous that it takes forever
before my hands can part the fabric,
like a swimmer's dividing water,
and slip inside.
You will want to know
that she was standing
by an open window in an upstairs bedroom,
motionless, a little wide-eyed,
looking out at the orchard below,
the white dress puddled at her feet
on the wide-board, hardwood floor.
The complexity of women's undergarments
in nineteenth-century America
is not to be waved off,
and I proceeded like a polar explorer
through clips, clasps, and moorings,
catches, straps, and whalebone stays,
sailing toward the iceberg of her nakedness.
Later, I wrote in a notebook
it was like riding a swan into the night,
but, of course, I cannot tell you everything -
the way she closed her eyes to the orchard,
how her hair tumbled free of its pins,
how there were sudden dashes
whenever we spoke.
What I can tell you is
it was terribly quiet in Amherst
that Sabbath afternoon,
nothing but a carriage passing the house,
a fly buzzing in a windowpane.
So I could plainly hear her inhale
when I undid the very top
hook-and-eye fastener of her corset
and I could hear her sigh when finally it was unloosed,
the way some readers sigh when they realize
that Hope has feathers,
that reason is a plank,
that life is a loaded gun
that looks right at you with a yellow eye.
Billy Collins
I would really like to find the time to use the replacement calisthenics on this piece. Or if nothing else write a draft of a similar idea. I admire the work Collins has done, here. Dickinson seemed so proper that it’s twisted to see her in this light. I would like to find something completely unexpected and twisted to write about, something that would blow somebody’s mind to read. From this point on I strive to write like Billy Collins. (;
Brandy,
ReplyDeleteYay for Billy Collins writing about Emily Dickinson and undressing her!
For one, I really enjoy this title... simply because I love Emily Dickinson :) To be honest, that is what drew me to this piece; prime example of what Dr. Davidson was saying last Thursday about the title being a free advertisement- turns out he knows what he is talking about after all.ha-ha.
Anyway, on to Collins's poem:
I just absolutely love this whole idea of the narrator intimately telling/describing a recounted memory of watching (in a voyeuristic manner)EMILY DICKINSON undressing. Fabulous. Especially because the narrator is also making the readership voyeurs as well. I think rhetoric of the piece also does a nice job of encapsulating sensual imagery as this scene is, more or less, being "undressed". It's seem to be a kind of ironic meta-textual moment for me- which is freaking awesome.
To critique Collins, for a second, however, the last stanza feels a little displaced. I'm not exactly sure what is going on now, or what the narrator is explaining to me... because it seems the narrator is really speaking about the material or about the aesthetic, or even about Dickinson... so I would ask, what's up with this? What is really going on here?
I think it would be a great idea to try and improv' this piece... or to practice a recursive method on this poem. :) I want to see you do this!!