Classic and Contemporary Poetry: Explained

Galway Kinnell’s "The Deconstruction of Emily Dickinson" is a poem that vividly critiques academic approaches to poetry, particularly the deconstructionist method applied to the works of Emily Dickinson. Through a fictionalized narrative, Kinnell explores themes of intellectual arrogance, the gap between scholarly interpretation and poetic essence, and the personal connection between reader and poet.

The poem begins with the speaker entering a lecture after it has ended, finding the professor addressing questions about Dickinson’s poetry. The professor is described as discussing her as a "victim of reluctant male publishers," immediately framing the academic’s perspective as one that might be oversimplifying or missing the essence of Dickinson’s work. The speaker then interjects, hoping to offer a more nuanced understanding of Dickinson’s self-imposed exile from publication, inspired by her awareness of the misalignment between her own profound insights and the literary tastes of her time.

As the speaker attempts to share Dickinson’s poem "Publication - is the Auction / Of the Mind of Man -," the professor interrupts with a verbose analysis. His explanation, laden with jargon about the "economy of the signifier" and "bourgeois commodification," exemplifies the kind of academic language that often obfuscates rather than clarifies. The professor’s focus on etymology and theoretical frameworks contrasts sharply with the speaker’s desire to honor Dickinson’s words directly.

The speaker’s internal monologue reveals a series of imagined retorts to the professor’s interruption, each progressively more assertive and confrontational. These fantasies illustrate the speaker’s frustration with the academic approach that seems to prioritize intellectual performance over genuine engagement with the poetry. The speaker imagines denouncing the professor for his pretentiousness and lack of historical context, particularly pointing out the historical weight of the word "auction" in Dickinson’s time, contrasting with the professor’s sterile etymological analysis.

However, in reality, the speaker meekly recites the poem "like a schoolboy called upon in class," his voice diminishing as he speaks. The women's initial enthusiasm for hearing the poem fades, suggesting their disappointment with the speaker's lack of assertiveness and the professor's continued dominance over the discussion. The professor’s closing remarks reduce the poem to an "ambivalent, self-subversive text," further emphasizing the disconnect between academic interpretation and the emotional and intellectual richness of the poetry itself.

In the poem’s conclusion, the speaker retreats inwardly, seeking solace and validation from Dickinson herself. He listens for her voice within him, hoping for a sign of approval or recognition for his attempt to defend her work. The imagined response from Dickinson—"Thanks - Sweet - countryman - for wanting - to Sing out - of Me - after all that Humbug"—captures the essence of what the speaker sought to achieve: a direct and heartfelt connection with the poet, unmarred by academic pretensions.

"The Deconstruction of Emily Dickinson" serves as a powerful critique of the ways in which academic analysis can sometimes obscure the true meaning and beauty of poetry. Kinnell’s narrative underscores the importance of listening to the poet’s words and intentions, rather than imposing external frameworks that may distort their original essence. Through the speaker’s internal struggle and eventual resignation, the poem highlights the enduring tension between scholarly interpretation and the pure, unmediated experience of poetry.

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