Natural Magic: Emily Dickinson, Charles Darwin, and the Dawn of Modern Science IV

When Dickinson returned to Amherst in 1848 at the age of seventeen, she gradually settled into what was to become her adult life. In 1851, there was a spectacular display of the aurora borealis that awed the entire town. At the time, Emily and her friends speculated on mysterious natural forces. They thought that telepathy, as described in Jane Eyre, could be some sort of electrical phenomenon. By 1855, the fortunes of her father, Edward, had improved. He was able to buy back the Dickinson Homestead, and the family returned to it. At that time, her older brother, Austin, was away from home. He eventually became a lawyer and worked at his father's law firm in Amherst. Thereafter, Emily, her mother, father and younger sister, Lavinia, lived at the Homestead. Austin later moved to a house next door. Her mother became ill after the move, and Emily disliked doing the housework.

One of Dickinson's poetic inspirations was Elizabeth Barrett Browning, particularly Aurora Leigh. She also subscribed to Atlantic Monthly, where in 1860 she would have read Asa Gray's review of On the Origin of Species, which was the first in the U.S. So far in the book, Bergland is emphasizing the theory of evolution as a confirmation of the relatedness of organisms, which accords with Dickinson's view in her poems. However, Bergland seems to be downplaying the actual process of natural selection, which can be quite grim. On the other hand, Bergland does a good job explaining how neither Darwin nor Dickinson were anthropocentric in their views of nature. Neither of them seem to have adopted the rigid, ideological tree that I mentioned before, which presents a developmental hierarchy with Homo sapiens at the top.

Even so, I think that Bergland is stretching things a little by emphasizing the similarities between Dickinson and Darwin. Dickinson's poems tend to interweave elements of the personal with elements of the natural world and the mystical. Darwin's work is specifically scientific and attempts to develop biological theories from the observations that he made. Bergland dutifully reports that it was Darwin who first discovered carnivorous plants, and that he spent years studying them. For all of her enjoyment of plants and natural phenomena, Dickinson's projects had little to do with scientific knowledge. Darwin's projects involved more than scientific discovery in the sense that he carefully calculated how to present his ideas in an environment in which he knew that some of his colleagues would be hostile because of their religious implications – he did in fact lose several friends. However, Darwin had a soft side, and at times he seems to have been almost paralyzed by the enormity of his findings. To this day, I don't think that many people can face them straight on.

It may not be Bergland's fault, because there doesn't seem to be much information available, but so far in the book I haven't developed much of a sense of how people who knew Dickinson perceived her. Her family life seems to have been satisfactory, though it was clearly patriarchal. Obviously, Emily was extremely introverted, and her mother and Lavinia may also have been. Emily developed a close friendship with Susan Gilbert, who read some of her poems and offered advice. But, after, Susan married her brother and lived next door, the relationship seemed to decline. Austin and Susan had large parties, which Emily avoided. There is also speculation in this book and elsewhere about Emily's sexuality. There don't seem to be clear answers, though several of her poems seem to be of a sexual nature.

I should finish this book within two more posts. Although it is entertaining to see Dickinson within the context of scientific progress during the nineteenth century, I prefer to see her as a talented artist who developed her craft in privacy and to very high standards. To some extent, this makes her immediate social environment, which seems a little insipid, of somewhat lesser importance than Bergland suggests. Dickinson seems to me a lot more like Vivian Maier, who developed very high proficiency as a street photographer completely in private, than Charles Darwin, who had few discernible artistic tendencies.