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The images of the manuscripts of Emily Dickinson are reproduced courtesy of the libraries and individuals noted here and the Harvard University Press.
The President and Fellows of Harvard College claim the sole ownership of and sole right of literary rights and copyrights therein to the texts of Emily Dickinson. The poems are published in THE POEMS OF EMILY DICKINSON, Thomas H. Johnson, ed., Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1951, 1955, 1979, 1983 by the President and Fellows of Harvard College. The letters and prose fragments are published in THE LETTERS OF EMILY DICKINSON edited by Thomas H. Johnson. Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1958, 1986 by the President and Fellows of Harvard College. Reprinted by permission of the Trustees of Amherst College.
I gratefully acknowledge the assistance of John Lancaster, Curator of Special Collections, Amherst College Library; Daria D'Arienzo, Curator of Special Collections, Amherst College; Leslie Morris, Curator of Manuscripts, Houghton Library, Harvard University; Roberta Zonghi, Curator, Rare Books, Boston Public Library; Patricia Willis, Curator, Yale Collection of American Literature, The Beinecke Rare Book and Manuscript Library, Yale University Library; Ralph W. Franklin, Director, The Beinecke Rare Book and Manuscript Library, Yale University Library; Rodney Phillips, Curator, Special Collections, The Henry W. and Albert A. Berg Collection of English and American Literature, New York Public Library; Mark R. Farrell, Curator, Robert H. Taylor Collection, Department of Rare Books and Special Collections, Princeton University Library; Derick Dreher, Curator of Manuscripts, The Rosenbach Museum & Library; Elizabeth E. Fuller, Librarian, The Rosenbach Museum & Library; Jason A. Staloff, Curatorial Assistant, The Rosenbach Museum & Library; Phillip Cronenwett, Head of Special Collections, Dartmouth College Library; and Daniel Lombardo, Curator, the Jones Library, Inc. Without the cooperation of these individuals and institutions, this archive of Dickinson's fragments and related texts could not have been completed. In addition to permitting me to examine the original manuscripts of all of the documents included here, they responded to my questions about the history and contents of their collections and permitted images of the manuscripts in their collections to be reproduced here. At the ninth hour, Margaret R. Dakin, Archives and Special Collections Specialist, Amherst College, provided newly prepared scans of the Dickinson manuscripts housed in that collection; the superior quality of these images adds greatly to the value of the electronic archive. I am also indebted to Cindy Dickinson, who provided the image of the desk from the Dickinson Homestead and permitted me to reproduce it. Finally, I send heartfelt thanks to Donald Oresman, who generously granted my request to include a Dickinson manuscript from his private collection in this work.
From the outset this archive has been a collaborative project. The first incarnation of Radical Scatters could not have been completed without the help of the staff at the University of Michigan Press and the Humanities Text Initiative, University of Michigan. I am particularly indebted to Susan Whitlock, editor, the University of Michigan Press; John Price-Wilkin, Head, Digital Library Production Services, University of Michigan; Christina Powell, Coordinator, Humanities Text Initiative, University of Michigan; Nigel Kerr, SGML Systems Librarian, University of Michigan; and Alan Pagliere, SGML Technologist, University of Michigan for their unstinting help in translating my largely theoretical ideas concerning the representation of Dickinson's late fragments into a new and ever-changing medium — the digital archive — that could accommodate them. I am grateful to Patrick Bryant (Georgia State University) for his rigorous approach to the diplomatic transcription of documents and to Andy Rogers for his innovative design work for this initial version. The second and fuller incarnation of Radical Scatters owes its existence largely to the collaborative efforts of the directors and staff of the Center for Digital Research in the Humanities at the University of Nebraska–Lincoln. Katherine L. Walter and Kenneth M. Price, Co-directors of the CDRH, were instrumental in moving the site physically from the University of Michigan to the University of Nebraska–Lincoln, and for moving it conceptually from the 20th- to the 21st century. My debt to them is immense. Similarly, I am deeply grateful to Karin Dalziel and Zach Bajaber for their beautiful redesign of the archive and to Laura Weakly for her meticulous and inspired encoding of its contents.
I have relied upon generous assistance from numerous textual and Dickinson scholars. I am especially grateful to D. C. Greetham and W. Speed Hill, both of whom responded to requests for bibliographical advice; to Jana Dambrogio, for her work on the Emily Dickinson MSS Condition Survey (Houghton Library, Harvard University); to Martha Nell Smith and Ellen Hart for their assistance in identifying editorial notations on Dickinson's manuscripts and, more generally, for their willingness to share their ideas about Dickinson's manuscripts with me; and to Susan Howe and Jerome J. McGann, whose vision and encouragement sustained me during the many years of work committed to this project. My indebtedness to the scholarship of Thomas H. Johnson, Jay Leyda, and Ralph W. Franklin is too deep for a simple acknowledgment and is inscribed everywhere in this project.
My research was supported by a grant from the Bibliographical Society of America (1997), by two research grants from Georgia State University (1996, 1998), and by a research grant from D'Youville College (2006). "'Most Arrows': Autonomy and Intertextuality in Emily Dickinson's Late Fragments" was originally published in Text 10 (1997): 41–72, and permission to reproduce the essay here was kindly granted by the editor, W. Speed Hill, and by the University of Michigan Press. A version of "'A Woe of Ecstasy': On the Electronic Editing of Emily Dickinson's Late Fragments" was published by the Emily Dickinson Journal 16.2 (2007): 25–52, and permission to reproduce the essay here was kindly granted by the Johns Hopkins University Press. A few texts by Dickinson typeset in lieu of facsimile reproduction are reprinted by permission of the copyright holders from THE POEMS OF EMILY DICKINSON, Thomas H. Johnson, ed., Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1951, 1955, 1979, 1983 by the President and Fellows of Harvard College; and from THE LETTERS OF EMILY DICKINSON edited by Thomas H. Johnson. Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1958, 1986 by the President and Fellows of Harvard College. Reprinted by permission of the Trustees of Amherst College.