Meditations on life, literature, and curiosity amid the shadows In her fourth essay collection, award-winning author Marianne Boruch explores the possibilities of hope even in darkness. Through poetry, the silence of Trappist monks, the pandemic moment, the Wright brothers’ quirky stab at flight, treasured knickknacks, and more, this book celebrates the weird, the mundane, the overlooked, and the promise of a future. Though each essay is distinct, foraging fresh ways into Louise Glück, W. H. Auden, Elizabeth Bishop, Robert Frost, Marianne Moore, Sylvia Plath, John Berryman, Langston Hughes, and more, they are all connected through the thread of Emily Dickinson’s comment that her fate was to “sing, as a Boy does by the Burying Ground . . .” Even in times filled with horror, we find beauty. Maybe we can sing in the blackest of nights. Thoughtful and expressive, this collection provides solace and humor for readers in a world where both are often in short supply.

"In her fourth essay collection, beloved poet and essayist Marianne Boruch digs down into a series of thought experiments that explore and revere poetry, language, and all manner of oddities"--

Emily Dickinson is an unlikely patron saint for all who seek or wrestle with God. Looking closely at twenty-five poems, this intimate portrait and personal reflection shows how Dickinson can guide us, through belief and doubt alike, toward God. Many have thought that Dickinson, one of America's greatest poets, rejected religion. Yet the poems that unfold her soul can inspire ours, offering fresh answers to ultimate questions about life and death, faith and doubt, Jesus and God. In chapters on belief, prayer, mortality, immortality, and beauty, Kristin LeMay traces the dimensions of Dickinson's spiritual life and tells the story of her own search for God between the lines of the poems that Dickinson called "hymns." Praise for I Told My Soul to Sing “Exuberant and captivating. A shimmering jewel of a book.” –Dinty W. Moore “Through her deep engagement with Dickinson’s poems—by turn prayers, partners, revelations, songs—LeMay has written a book that is, in Dickinson’s words, ‘the Heart’s portrait – every Page a Pulse,’ every page a kind of faith.” – Sarah Sentilles, author of Breaking Up with God: A Love Story “Part spiritual autobiography, part homage to Dickinson’s inexhaustible poetic genius, and part exuberant close readings of the astonishing poems in which she wrestles with questions of faith and belief, I Told My Soul to Sing is a valuable study of the poet’s heterodox imagination. LeMay does not shackle Dickinson to a procrustean bed of doctrine and piety, dilute the poet’s astringent ironies, or flatten the provocative ambiguities. She has a gift for choosing unfamiliar poems from the canon and for judiciously quoting and interpreting them. A smart, seriously playful, winning, and readable commentary on a quintessentially elusive, thorny, and linguistically daring American poet.” – Herbert Leibowitz, editor, Parnassus: Poetry in Review “LeMay’s implied reader is someone attracted to religious faith, but even an atheist can enjoy this book’s provocative illuminations of spiritual longing, fear, and anger, in which questions cut deeper than answers.” – Mark Halliday, poet, author of Keep This Forever and Stevens and the Interpersonal “A brilliant analysis of the bond between life and poetry, written with sensitivity and talent.” – François Bovon, Frothingham Professor of the History of Religion Emeritus, Harvard Divinity School

New in Paperback 2004. Probably the most comprehensive work on the American art song ever available, this book considers the lives and contributions of 144 significant composers in the field, including many for whom information has been extremely scarce. Most composers' entries consist of a biographical sketch; a brief discussion of his or her song writing characteristics (with emphasis on performers' concerns); a partial or complete listing of annotated songs; recording information; and the composer's individual bibliography. Song annotations include poet, publisher, date of composition (when known), voice type, range, duration, tempo indication, mood, subject matter, vocal style, special difficulties, general impression, artists who have recorded the song, and any other pertinent information. Thirty composers whose contributions are deemed of lesser import are summarized in brief essays. Appendixes include a supplement of recommended songs; a listing of American song anthologies and their contents; and the most recent information regarding publishers cited in the guide. There is also a general discography, a general bibliography, and indexes for both titles and poets. Documenting the most important 110 years in the development of American art song, this book is an indispensable tool for singers, teachers, coaches, accompanists, and libraries.

Music is a vital element in the poems and prose of Emily Dickinson but, despite its importance, the function of music as a literary technique in her work has not yet been fully explored; what information exists is scarce and scattered. The significance of the musical terminology and imagery in Dickinson's poetry and prose are thoroughly explored in this book. It considers the music of Dickinson's life and times and how it influenced her writing, how she combined music and poetry to create her own style, several important nineteenth century reviews for what they reveal about the musical quality of her work, and her use of Protestant hymns as a model for her poetry. It also provides insights into musical interpretations of her poetry as related to the author by some fifty modern-day composers and arrangers, and discusses musical reflections of her poems and letters.