The Gardens of Emily Dickinson (review)

It is one of the few uncontested facts of Emily Dickinson's life—that she loved her gardens. But as Judith Farr points out in her stunningly presented new book, the gardens of Emily Dickinson can refer to more than the physical habitats for her much beloved flowers. Recognizing the metaphysical potential of gardens, Dickinson often treats them as metaphors for the soul and the heavens. Dickinson's recurring use of floral imagery is not coincidental; it allowed her to explore that theme that engaged her most, her self-proclaimed "flood subject": immortality. Through sharp close readings, an in-depth study of horticulture, some biographical analysis, and beautiful illustrations of plant life as well as contemporaneous artwork, Farr convincingly argues that Dickinson's flowers served both as muses for her poetry and as cherished companions throughout her life. Much in the same way that Farr interprets the visual arts as a complement to Dickinson's poetry in The Passion of Emily Dickinson, she contends in this work that through extensive botanical research, Dickinson's oftentimes abstruse imagery can be elucidated. Farr is joined by Louise Carter, a professional landscape gardener and horticulturalist, who contributes a chapter that details the species of flowers that Dickinson grew and provides instructions for how to grow them yourself.

In the introduction, Farr claims that her book's topic is actually Dickinson's "several gardens": "the actual spaces where Dickinson cultivated her plants and flowers, the imaginative realm of her poems and letters . . . and the ideal Garden of Paradise" (1). She then begins a cursory biography of the poet, concentrating on her lifelong occupation of gardening. It is here Farr begins her occasional dispute with such critics as Domhnall Mitchell who argues that Dickinson gardened to sustain her aristocratic status. Farr seems a bit defensive, but makes a convincing argument that Dickinson pursued gardening for reasons other than to differentiate herself from the lower classes.

Farr's focus in the first chapter, "Gardening in Eden," is the flower as a symbol of immortality and resurrection. In addition to compelling close readings, Farr relies on much of the work she has already done in The Passion of Emily Dickinson to understand Dickinson's floral imagery within the context of nineteenth^.-century artwork. While this discussion is notable, it seems awkwardly situated. Similarly, after returning to her close readings, she strays from her purpose to engage in a lengthy debate about the identity of "Master." While this mystery is pertinent to Dickinson studies, Farr's extensive allotment of time and effort to it is superfluous and even distracting, especially to the general readers and gardeners to whom Farr is purportedly writing (in addition to scholars).

Chapter Two, "The Woodland Garden," puts forth the thesis that Dickinson's gardening pastime, though it has long been overlooked by critics, is integrally related to her parallel concerns with life, death, and beauty.

In Chapter Three, "The Enclosed Garden," Farr contends that while much attention has been paid to the visual and auditory senses as poetic influences, not enough has been made of Dickinson's interest in scent. Evidently, the species of flowers that Dickinson grew in her conservatory were mostly those with strong fragrances.

Chapter Four, "The Garden in the Brain," reiterates Farr's thesis that Dickinson's poetic flowers stand for something more than sentimental tokens. She returns to her method of comparing Dickinson's poems to contemporaneous paintings in order to appreciate the Victorians' respect for all that nature can evoke.

Chapter Five, "Gardening with Emily Dickinson," was written by Louise Carter, who speculates about the plants that Dickinson grew. She recognizes that Dickinson, an experimental gardener, must have been a knowledgeable horticulturalist. Carter provides a thorough catalog of Dickinson's plants while including directions for how to grow them. However, because the chapter is written more like an essay than an instruction manual and because it expects a certain degree of familiarity, it will probably only be helpful...