It may be the dream of every author to discover the one word that says it all. For Dickinson, the dash—invariably ambiguous, often inscrutable—comes close to that all-inclusive unutterable word. Paul Crumbley's study of the manuscripts caused him to devise something of a translator's guide to the dash. While this is an intriguing approach, it seems rather that her bounteous mark of punctuation, her signature mark as a poet, matters because it exists, not because of how it does. It may simply be a twitch of sorts and to suggest that it had the same sort of intentionality as her words is to make meaning where even Dickinson herself can be found speechless.