Dirda, Michael. 9 Sept. 2010.

Traditional narratives of the period leading up to the Civil War are invariably framed in geographical terms. The sectional descriptors of the North, South, and West, like the wartime categories of Union, Confederacy, and border states, mean little without reference to a map of the United States. In Abolitionist Geographies, Martha Schoolman contends that antislavery writers consistently refused those standard terms.

Is this poem called something else?

Wineapple, Brenda. A review of  Reviewed by Judith Thurman in , 4 Aug. 2008.

Mayer, Nancy. May-Aug 2005 [free].

A selective list of online literary criticism for the nineteenth-century American poet Emily Dickinson, with links to reliable biographical and introductory material and signed, peer-reviewed literary criticism

Are you referring to Circle of Life?

ed. Karen Ford. Excerpts of literary criticism from scholarly authorities on Dickinson. Includes a biography of Emily Dickinson and individual discussion of the many of her most famous poems. at Univ. of Illinois.

Marcellin, Leigh-Anne Urbanowicz.   5, 2 (Fall 1996) pp 107-12 [substantial excerpt, muse].

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Article from the 1891 magazine, written by her friend and "discoverer," Thomas Wentworth Higginson. "Few events in American literary history have been more curious than the sudden rise of Emily Dickinson into a posthumous fame only more accentuated by the utterly recluse character of her life and by her aversion to even a literary publicity."

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In the third stanza we see reminders of the world that the speaker is passing from, with children playing and fields of grain. Her place in the world shifts between this stanza and the next; in the third stanza, “We passed the Setting Sun—,” but at the opening of the fourth stanza, she corrects this—“Or rather – He passed Us –“—because she has stopped being an active agent, and is only now a part of the landscape.

Emily Dickinson | Poetry Foundation

A one page summary of Dickinson's biography, themes, techniques, and questions about selected poems, from Prof. Mark Canada. Academic web site.

The long dash forces the reader to pause.... it interrupts the rhyme scheme.

Sympathy and Privacy in the Postwar African American White-Life Novel

Gilson, Annette. Gilson discusses the image of circularity in the poetry of John Ashbery and Emily Dickinson. 44, 4 (Winter 1998) pp 484-505 [free at jstor, click "Preview" or "Read Online"].

Morris, Timothy.   60, 1(March 1988) pp 26-41 [jstor, preview or purchase].

Memoir, Cultural Theory, and the University Today

John C. Charles argues that these fictions have been overlooked because they deviate from two critical suppositions: that black literature is always about black life and that when it represents whiteness, it must attack white supremacy. The authors are, however, quite sympathetic in the treatment of their white protagonists, which Charles contends should be read not as a failure of racial pride but instead as a strategy for claiming creative freedom, expansive moral authority, and critical agency.

Shattuck, Roger.   20 June 1996 [first half of article only, nyreview].

East Experiment Station671 North Pleasant StreetAmherst, MA 01003

In this poem, Dickinson’s speaker is communicating from beyond the grave, describing her journey with , personified, from life to afterlife. In the opening stanza, the speaker is too busy for Death (“Because I could not stop for Death—“), so Death—“kindly”—takes the time to do what she cannot, and stops for her.