My favorite chapter in my dissertation, titled “Reading with a Tender Rapture,” explores the relationship between Ik Marvel, the sentimental narrator of Reveries of a Bachelor, and his readers. I examine fan letters written to Marvel (or to Donald Grant Mitchell, the author–readers often assumed that Ik was a real person), marginal annotations in copies of the books, and reimaginings of Reveries, including by Emily Dickinson. Reveries, one the most significant bestsellers in 19th C America, moved so many readers because of what I call “detached intimacy”–readers felt profound emotional identification with Ik Marvel, but at the same time could remain a safe distance from him, as reading is associated with reverie. I rather like the term “detached intimacy” and think that it might have wider application–for instance, perhaps many of the personal relationships formed through message boards, social networking applications, virtual worlds, etc. could be considered “detached intimacy,” existing in the space of the imagination.
Since I am interested in experimenting with text analysis tools and in bringing my attention to assumptions in my own argument that I might not otherwise be aware of, I fed my article “Reading with a Tender Rapture” (an improved version of my diss chapter) into TAPOR. Here are the results (using Glasgow stop words):
Word count:
| Summary: There are 3518 unique words other than those in the stop list, there are 8547 words other than those in the stop list. There are 16266 words in total including the stop words.
|
||
|---|---|---|
| Words | Distribution | Count |
| mitchell |  |
140 |
| reveries |  |
121 |
| ik |  |
108 |
| readers |  |
91 |
| reading |  |
80 |
| letters |  |
66 |
| bachelor |  |
56 |
| book |  |
54 |
| marvel |  |
50 |
| dickinson |  |
47 |
| reader | 44 | |
| carrie | 41 | |
| intimacy | 36 | |
| feeling | 36 | |
| mitchell’s | 35 | |
| author | 33 | |
| new | 33 | |
| sentimental | 33 | |
| women | 33 | |
| dream | 29 | |
| life | 28 | |
| detached | 28 | |
| letter | 26 | |
| press | 26 | |
| heart | 25 | |
| emily | 25 | |
| york | 24 | |
| papers | 24 | |
| donald | 24 | |
| fantasy | 24 | |
| work | 24 | |
| read | 24 | |
| university | 24 | |
| dreams | 23 | |
| narrator | 22 | |
| american | 21 | |
| grant | 21 | |
| real | 20 | |
| writing | 20 | |
| reverie | 20 | |
| relationship | 19 | |
| fantasies | 19 | |
| domestic | 19 | |
| fan | 18 | |
| man | 18 | |
| world | 18 | |
| literature | 18 | |
| distance | 17 | |
| sense | 16 | |
| ik’s | 16 | |
| men | 16 | |
| power | 16 | |
| suggests | 16 | |
| wrote | 16 | |
| love | 16 | |
| 1851 | 15 | |
| family | 15 | |
| correspondents | 15 | |
| literary | 15 | |
| just | 15 | |
| private | 15 | |
| according | 14 | |
| history | 14 | |
| edition | 14 | |
| america | 14 | |
| dreaming | 14 | |
| “the | 14 | |
| female | 14 | |
| like | 14 | |
| 1852 | 13 | |
| nineteenth-century | 13 | |
| books | 13 | |
| anonymous | 13 | |
| text | 13 | |
| male | 13 | |
| know | 13 | |
| home | 12 | |
| study | 12 | |
| experience | 12 | |
| young | 12 | |
| susan | 12 | |
| fans | 12 | |
| away | 12 | |
| father | 12 | |
| bachelor’s | 12 | |
| imagination | 11 | |
| make | 11 | |
| marvel’s | 11 | |
| feelings | 11 | |
| sympathy | 11 | |
| social | 11 | |
| ryan | 11 | |
| imaginative | 11 | |
| published | 11 | |
| personal | 11 | |
| “you” | 10 | |
| dickinson’s | 10 | |
| identity | 10 | |
| words | 10 | |
| wction | 10 | |
| write | 10 | |
| ideal | 10 | |
| pleasure | 10 | |
| culture | 10 | |
| lives | 10 | |
| wrst | 10 | |
| ohio | 10 | |
| old | 9 | |
| mother | 9 | |
| marriage | 9 | |
| thomas | 9 | |
| feb | 9 | |
| audience | 9 | |
| spinster | 9 | |
| embraced | 9 | |
| dreamer | 9 | |
| copy | 9 | |
| represented | 9 | |
| emotional | 9 | |
| form | 9 | |
| woman | 9 | |
| figure | 8 | |
| unmarried | 8 | |
| time | 8 | |
| romance | 8 | |
| describes | 8 | |
| austin | 8 | |
| responses | 8 | |
| bachelorhood | 8 | |
| ways | 8 | |
| rhetoric | 8 | |
| domesticity | 8 | |
| cultural | 8 | |
| enigma | 8 | |
| married | 8 | |
| children | 8 | |
| desire | 8 | |
| readers’ | 8 | |
| language | 8 | |
| thought | 8 | |
| making | 8 | |
| become | 8 | |
| evidence | 8 | |
| manhood | 8 | |
| authors | 8 | |
| control | 8 | |
| critics | 8 | |
| reality | 8 | |
| questions | 8 | |
| written | 8 | |
| public | 8 | |
| correspondent | 8 | |
| imagined | 8 | |
| 1886 | 7 | |
| “i | 7 | |
| library | 7 | |
| suggesting | 7 | |
| instance | 7 | |
| feel | 7 | |
| solitary | 7 | |
| snyder | 7 | |
| fiction | 7 | |
| otter | 7 | |
| self | 7 | |
| present | 7 | |
| identiwcation | 7 | |
| wanted | 7 | |
| different | 7 | |
| held | 7 | |
| great | 7 | |
| writers | 7 | |
| mary | 7 | |
| use | 7 | |
| “you | 7 | |
| leisure | 7 | |
| response | 7 | |
| example | 7 | |
| scribner’s | 7 | |
| creative | 7 | |
| antebellum | 7 | |
| charles | 7 | |
| texts | 7 | |
| metaphor | 7 | |
| instead | 7 | |
| focuses | 7 | |
| argues | 7 | |
| urbana | 7 | |
| vision | 6 | |
| uncle | 6 | |
| wife | 6 | |
| used | 6 | |
| particular | 6 | |
| hopes | 6 | |
| mind | 6 | |
| age | 6 | |
| 1853 | 6 | |
| audiences | 6 | |
| popular | 6 | |
| means | 6 | |
| little | 6 | |
| zboray | 6 | |
| henry | 6 | |
| barbara | 6 | |
| novels | 6 | |
| appeal | 6 | |
| early | 6 | |
| rhetorical | 6 | |
| values | 6 | |
| dec | 6 | |
| important | 6 | |
| patrick | 6 | |
| able | 6 | |
| oxley | 6 | |
| asserts | 6 | |
| understand | 6 | |
| characters | 6 | |
| “a | 6 | |
| suggest | 6 | |
| actual | 6 | |
| beautiful | 6 | |
| book’s | 6 | |
| boundaries | 6 | |
| using | 6 | |
| persona | 6 | |
| authority | 6 | |
| smallwood | 6 | |
| wnd | 6 | |
| needs | 6 | |
| ed | 6 | |
| conscious | 6 | |
| view | 6 | |
| thompson | 6 | |
| oct | 6 | |
| likewise | 6 | |
| william | 6 | |
| received | 6 | |
| inspired | 6 | |
| tom’s | 5 | |
| century | 5 | |
| ibid | 5 | |
| acknowledged | 5 | |
| imagining | 5 | |
| identiwed | 5 | |
| sent | 5 | |
| focus | 5 | |
| saw | 5 | |
| voice | 5 | |
| introduction | 5 | |
| marry | 5 | |
| uses | 5 | |
| art | 5 | |
| really | 5 | |
| connection | 5 | |
| shaped | 5 | |
| direct | 5 | |
| novel | 5 | |
| narrative | 5 | |
| melville | 5 | |
| long | 5 | |
| wants | 5 | |
| claimed | 5 | |
| future | 5 | |
| insisting | 5 | |
| perspective | 5 | |
| day | 5 | |
| wish | 5 | |
| notes | 5 | |
| compelling | 5 | |
| shared | 5 | |
| cabin | 5 | |
| possible | 5 | |
| friends | 5 | |
| image | 5 | |
| expression | 5 | |
| think | 5 | |
| james | 5 | |
| remain | 5 | |
| sensibility | 5 | |
| brings | 5 | |
| tension | 5 | |
| come | 5 | |
| mysterious | 5 | |
| nell | 5 | |
| romantic | 5 | |
| city | 5 | |
| describing | 5 | |
| beloved | 5 | |
| comments | 5 | |
| holton | 5 | |
| second | 5 | |
| brodhead | 5 | |
| editions | 5 | |
| packet | 5 | |
| reprint | 5 | |
| revised | 5 | |
| margins | 5 | |
| correspondence | 5 | |
| “by | 5 | |
| greater | 5 | |
| independence | 5 | |
| continued | 5 | |
| acts | 5 | |
| makes | 5 | |
| passage | 5 | |
| way | 5 | |
| wre | 5 | |
| true | 5 | |
| beinecke | 5 | |
| bible | 5 | |
| timon | 5 | |
| asserted | 5 | |
| virginia | 5 | |
| detachment | 5 | |
| everyday | 5 | |
| women’s | 5 | |
| deep | 5 | |
| hawthorne | 5 | |
| reviews | 5 | |
| 1850 | 5 | |
| yale | 5 | |
| set | 4 | |
| end | 4 | |
| samuel | 4 | |
| escapist | 4 | |
| past | 4 | |
| productive | 4 | |
| lecture | 4 | |
| presented | 4 | |
| address | 4 | |
| times | 4 | |
| message | 4 | |
| attention | 4 | |
| knot | 4 | |
| seen | 4 | |
| artistic | 4 | |
| truth | 4 | |
| terms | 4 | |
| dreamed | 4 | |
| moved | 4 | |
| signiwcant | 4 | |
| practices | 4 | |
| insisted | 4 | |
| became | 4 | |
| wgure | 4 | |
| model | 4 | |
| takes | 4 | |
| privacy | 4 | |
| constructed | 4 | |
| inner | 4 | |
| publishing | 4 | |
| karr | 4 | |
| authorship | 4 | |
| collection | 4 | |
| reveals | 4 | |
| close | 4 | |
| davies | 4 | |
| return | 4 | |
| cambridge | 4 | |
| spirit | 4 | |
| ultimately | 4 | |
| called | 4 | |
| conflict | 4 | |
| tone | 4 | |
| creation | 4 | |
| eyes | 4 | |
| face | 4 | |
| sons | 4 | |
| essay | 4 | |
| reviewer | 4 | |
| act | 4 | |
| author’s | 4 | |
| aunt | 4 | |
| illustrations | 4 | |
| shape | 4 | |
| annotations | 4 | |
| 1850s | 4 | |
| narrator’s | 4 | |
| took | 4 | |
| insists | 4 | |
| directly | 4 | |
| thoughts | 4 | |
| responded | 4 | |
| mode | 4 | |
| comes | 4 | |
| youth | 4 | |
| quite | 4 | |
| having | 4 | |
| mood | 4 | |
| pose | 4 | |
| create | 4 | |
| paper | 4 | |
| eye | 4 | |
| woman’s | 4 | |
| scenes | 4 | |
| manuscript | 4 | |
| richard | 4 | |
| practical | 4 | |
| fact | 4 | |
| remains | 4 | |
| ability | 4 | |
| touchstone | 4 | |
| lead | 4 | |
| elisha | 4 | |
| right | 4 | |
| single | 4 | |
| attempt | 4 | |
| experiences | 4 | |
| valentine | 4 | |
| based | 4 | |
| value | 4 | |
| brought | 4 | |
| illustrated | 4 | |
| relation | 4 | |
| poems | 4 | |
| appear | 4 | |
| examine | 4 | |
| sparked | 4 | |
| word | 4 | |
| works | 4 | |
| taste | 4 | |
| identities | 4 | |
| pen | 4 | |
| chicago | 4 | |
| society | 4 | |
| signiwcance | 4 | |
| represent | 4 | |
| approach | 4 | |
| alternative | 4 | |
| soul | 4 | |
| oxford | 4 | |
| meaning | 4 | |
| twenty-four | 4 | |
| establish | 4 | |
| “what | 4 | |
| machor | 4 | |
| [new | 4 | |
| wide | 4 | |
| assume | 4 | |
| todd | 4 | |
| behind | 3 | |
| fancies | 3 | |
| offered | 3 | |
| addressed | 3 | |
| critic | 3 | |
| slipping | 3 | |
| state | 3 | |
| calls | 3 | |
| included | 3 | |
| self-control | 3 | |
| french | 3 | |
| lived | 3 | |
| laid | 3 | |
| questioned | 3 | |
| “to | 3 | |
| elizabeth | 3 | |
| holds | 3 | |
| images | 3 | |
| shifts | 3 | |
| moving | 3 | |
| seven | 3 | |
| recover | 3 | |
| scene | 3 | |
| people | 3 | |
| central | 3 | |
| comfort | 3 | |
| imagine | 3 | |
| lose | 3 | |
| savvy | 3 | |
| professional | 3 | |
| body | 3 | |
| descriptions | 3 | |
| person | 3 | |
| conditions | 3 | |
| created | 3 | |
| step | 3 | |
| hopkins | 3 | |
| speak | 3 | |
| thrill | 3 | |
| represents | 3 | |
| dorothy | 3 | |
| potential | 3 | |
| habit | 3 | |
| contrasts | 3 | |
| challenges | 3 | |
| help | 3 | |
| happy | 3 | |
| explore | 3 | |
| 412 | 3 | |
| chapter | 3 | |
| complex | 3 | |
| sentimentalism | 3 | |
| haven | 3 | |
| bound | 3 | |
| studies | 3 | |
| objects | 3 | |
| contrast | 3 | |
| prose | 3 | |
| wondered | 3 | |
| scholarship | 3 | |
| interaction | 3 | |
| includes | 3 | |
| disciplinary | 3 | |
| excellent | 3 | |
| god | 3 | |
| moral | 3 | |
| saying | 3 | |
| promotes | 3 | |
| recommended | 3 | |
| interpretive | 3 | |
| documents | 3 | |
| consciousness | 3 | |
| large | 3 | |
| determine | 3 | |
| rare | 3 | |
| holland | 3 | |
| character | 3 | |
| compared | 3 | |
| common | 3 | |
| gilbert | 3 | |
| thinking | 3 | |
| articulated | 3 | |
| pacquet | 3 | |
| creators | 3 | |
| contends | 3 | |
| offer | 3 | |
| reflect | 3 | |
| group | 3 | |
| crucial | 3 | |
| interpretation | 3 | |
| evening | 3 | |
| apart | 3 | |
| personae | 3 | |
| offers | 3 | |
| pages | 3 | |
| members | 3 | |
| wnds | 3 | |
| marital | 3 | |
| wonder | 3 | |
| douglas | 3 | |
| davidson | 3 | |
| thank | 3 | |
| desires | 3 | |
| 1988 | 3 | |
| “i” | 3 | |
| ones | 3 | |
| david | 3 | |
| names | 3 | |
| region | 3 | |
| voyeur | 3 | |
| particularly | 3 | |
| giving | 3 | |
| articulate | 3 | |
| habits | 3 | |
| waldo | 3 | |
| sympathetic | 3 | |
| solitude | 3 | |
| exchange | 3 | |
| style | 3 | |
| voices | 3 | |
| testify | 3 | |
| interpreters | 3 | |
| constructing | 3 | |
| consider | 3 | |
| sharing | 3 | |
| john | 3 | |
| described | 3 | |
| account | 3 | |
| helen | 3 | |
| beyond | 3 | |
| hold | 3 | |
| maid | 3 | |
| sept | 3 | |
| effects | 3 | |
| conventional | 3 | |
| production | 3 | |
| peering | 3 | |
| forth | 3 | |
| functions | 3 | |
| husband | 3 | |
| 1854 | 3 | |
| magazine | 3 | |
| dear | 3 | |
| asserting | 3 | |
| rejected | 3 | |
| renaissance | 3 | |
| elijah | 3 | |
| best | 3 | |
| creating | 3 | |
| lorgnette | 3 | |
| reviewers | 3 | |
| dr | 3 | |
| suffering | 3 | |
| typical | 3 | |
| instruction | 3 | |
| dean | 3 | |
| unknown | 3 | |
| place | 3 | |
| dunn | 3 | |
| affection | 3 | |
| idealist | 3 | |
| o’brien | 3 | |
| becomes | 3 | |
| coming | 3 | |
| material | 3 | |
| advanced | 3 | |
| rivalry | 3 | |
| promoting | 3 | |
| period | 3 | |
| structures | 3 | |
| picture | 3 | |
| marked | 3 | |
| prompt | 3 | |
| katherine | 3 | |
| construct | 3 | |
| asked | 3 | |
| incorporated | 3 | |
| providing | 3 | |
| describe | 3 | |
| za | 3 | |
| examining | 3 | |
| friend | 3 | |
| house | 3 | |
| extent | 3 | |
| wars | 3 | |
| middle-aged | 3 | |
| contend | 3 | |
| easy | 3 | |
| developed | 3 | |
| support | 3 | |
| admired | 3 | |
| stimulated | 3 | |
| order | 3 | |
| project | 3 | |
| light | 3 | |
| bright | 3 | |
| typically | 3 | |
| label | 3 | |
| howells | 3 | |
| ambitions | 3 | |
| story | 3 | |
| attempts | 3 | |
| status | 3 | |
| preface | 3 | |
| expresses | 3 | |
| insight | 3 | |
| version | 3 | |
| remoteness | 3 | |
| description | 3 | |
| peer | 3 | |
| expressing | 3 | |
| emphasized | 3 | |
| living | 3 | |
| march | 3 | |
| better | 3 | |
| knew | 3 | |
| marginal | 3 | |
| grate” | 3 | |
| preserved | 3 | |
| hearts | 3 | |
| intensely | 3 | |
| musings | 3 | |
| excitement | 3 | |
| expressed | 3 | |
| 152 | 2 | |
| journal | 2 | |
| business | 2 | |
| flirt | 2 | |
| learning | 2 | |
| beneath | 2 | |
| 1922 | 2 | |
| priority | 2 | |
| timon’s | 2 | |
| relationships | 2 | |
| writes | 2 | |
| cathy | 2 | |
| mrs | 2 | |
| bertolini | 2 | |
| die | 2 | |
| autonomy | 2 | |
| drawn | 2 | |
| similar | 2 | |
| writer | 2 | |
| tabithy | 2 | |
| genius | 2 | |
| exchanges | 2 | |
| engage | 2 | |
| perspectives | 2 | |
| provides | 2 | |
| entries | 2 | |
| going | 2 | |
| creations | 2 | |
| spontaneous | 2 | |
| april | 2 | |
| fluidity | 2 | |
| playing | 2 | |
| wear | 2 | |
| astor | 2 | |
| volume | 2 | |
| dash | 2 | |
| placing | 2 | |
| vincent | 2 | |
| father’s | 2 | |
| admitted | 2 | |
| dunn’s | 2 | |
| broken | 2 | |
| ribbon | 2 | |
| objective | 2 | |
| melville’s | 2 | |
| strategy | 2 | |
| st | 2 | |
| shall | 2 | |
| relief | 2 | |
| analysis | 2 | |
| maintain | 2 | |
| wve | 2 | |
| character” | 2 | |
| identiwes | 2 | |
| ashes | 2 | |
| fig | 2 | |
| 1906 | 2 | |
| provide | 2 | |
| passions | 2 | |
| bell | 2 | |
| ithaca | 2 | |
| self-creating | 2 | |
| scribner | 2 | |
| enjoying | 2 | |
| self-fashioning | 2 | |
| produced | 2 | |
| aside | 2 | |
| transported | 2 | |
| continuing | 2 | |
| chastising | 2 | |
| warner | 2 | |
| union | 2 | |
| experiments | 2 | |
| title | 2 | |
| explains | 2 | |
| tour | 2 | |
| especially | 2 | |
| worried | 2 | |
| vacant | 2 | |
| invitation | 2 | |
| pleasant | 2 | |
| baltimore | 2 | |
| embodiment | 2 | |
| ideas | 2 | |
| assumed | 2 | |
| july | 2 | |
| illustration | 2 | |
| argue | 2 | |
| admiration | 2 | |
| critical | 2 | |
| assert | 2 | |
| tompkins | 2 | |
| bourgeois | 2 | |
| fasting | 2 | |
| intensiwed | 2 | |
| conventionally | 2 | |
| 1859 | 2 | |
| jackson | 2 | |
| distinguish | 2 | |
| textual | 2 | |
| playfully | 2 | |
| ground | 2 | |
| maintaining | 2 | |
| anatomies | 2 | |
| characterized | 2 | |
| watched | 2 | |
| mutuality | 2 | |
| belong | 2 | |
| darnton | 2 | |
| messenger | 2 | |
| higher | 2 | |
| josiah | 2 | |
| argued | 2 | |
| “home | 2 | |
| http | 2 | |
| discipline | 2 | |
| narrates | 2 | |
| reactions | 2 | |
| idea | 2 | |
| reveries’s | 2 | |
| exemplify | 2 | |
| sentimentality | 2 | |
| enclosed | 2 | |
| special | 2 | |
| 1931 | 2 | |
| producing | 2 | |
| simultaneously | 2 | |
| crafting | 2 | |
| “smoke | 2 | |
| hard | 2 | |
| increasing | 2 | |
| look | 2 | |
| spiro | 2 | |
| fans’ | 2 | |
| human | 2 | |
| hoped | 2 | |
| presumably | 2 | |
| vivid | 2 | |
| “fancy | 2 | |
| commentary | 2 | |
| pure | 2 | |
| harris | 2 | |
| determined | 2 | |
| macdonald | 2 | |
| henry’s | 2 | |
| massacre | 2 | |
| assumes | 2 | |
| earlier | 2 | |
| sway | 2 | |
| subtext | 2 | |
| aesthetics | 2 | |
| turn | 2 | |
| presumption | 2 | |
| contended | 2 | |
| reputation | 2 | |
| stimulate | 2 | |
| physical | 2 | |
| following | 2 | |
| shows | 2 | |
| deliberately | 2 | |
| pushed | 2 | |
| precisely | 2 | |
| “charles | 2 | |
| disturbed | 2 | |
| “morning | 2 | |
| enterprise | 2 | |
| appealed | 2 | |
| [the | 2 | |
| cherished | 2 | |
| criticized | 2 | |
| provided | 2 | |
| “love | 2 | |
| examined | 2 | |
| chariot | 2 | |
| 1989 | 2 | |
| spiritual | 2 | |
| “for | 2 | |
| equated | 2 | |
| passages | 2 | |
| boy | 2 | |
| 1849 | 2 | |
| sketches | 2 | |
| observer | 2 | |
| embracing | 2 | |
| 1986 | 2 | |
| good | 2 | |
| features | 2 | |
| 1985 | 2 | |
| 1984 | 2 | |
| poet | 2 | |
| associating | 2 | |
| invited | 2 | |
| inviting | 2 | |
| indecision | 2 | |
| flame | 2 | |
| punning | 2 | |
| reads | 2 | |
| near | 2 | |
| self-refashioning | 2 | |
| course | 2 | |
| nice | 2 | |
| noted | 2 | |
| “your | 2 | |
| wife’s | 2 | |
| friendship | 2 | |
| left | 2 | |
| opened | 2 | |
| challenging | 2 | |
| cornell | 2 | |
| valentines | 2 | |
| fitz-james | 2 | |
| fears | 2 | |
| try | 2 | |
| fantastic | 2 | |
| keeps | 2 | |
| ann | 2 | |
| serve | 2 | |
| gendered | 2 | |
| misty | 2 | |
| associated | 2 | |
| things | 2 | |
| imitates | 2 | |
| unlike | 2 | |
| man’s | 2 | |
| southern | 2 | |
| debate | 2 | |
| lines | 2 | |
| observed | 2 | |
| contexts | 2 | |
| marks | 2 | |
| i’m | 2 | |
| interpreter | 2 | |
| 27-05 | 2 | |
| ‘i | 2 | |
| powerful | 2 | |
| hand | 2 | |
| remember | 2 | |
| independent | 2 | |
| rapture | 2 | |
| profound | 2 | |
| carolina | 2 | |
| younger | 2 | |
| grate | 2 | |
| studying | 2 | |
| darley | 2 | |
| 1899 | 2 | |
| rest | 2 | |
| tear | 2 | |
| wne | 2 | |
| broad | 2 | |
| 250 | 2 | |
| protecting | 2 | |
| suspicion | 2 | |
| queechy | 2 | |
| fall | 2 | |
| enjoy | 2 | |
| 1897 | 2 | |
| energies | 2 | |
| mothers | 2 | |
| united | 2 | |
| enigma’s | 2 | |
| led | 2 | |
| tying | 2 | |
| maria | 2 | |
| idealized | 2 | |
| bridge | 2 | |
| strange | 2 | |
| lost | 2 | |
| position | 2 | |
| helped | 2 | |
| availability | 2 | |
| asterisks | 2 | |
| isaac | 2 | |
| amy | 2 | |
| invested | 2 | |
| measure | 2 | |
| symbols | 2 | |
| tender | 2 | |
| owned | 2 | |
| 1880s | 2 | |
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| say” | 2 | |
| share | 2 | |
| attraction | 2 | |
| addition | 2 | |
| lassrnly | 2 | |
| shaping | 2 | |
| “reveries” | 2 | |
| necessary | 2 | |
| kind | 2 | |
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| reflected | 2 | |
| bonds | 2 | |
| dewnes | 2 | |
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| selves | 2 | |
| aggie | 2 | |
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| 178 | 2 | |
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| 2 | ||
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| du | 2 | |
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| veil | 2 | |
| habbegger | 2 | |
| builds | 2 | |
| speciwc | 2 | |
| monthly | 2 | |
| matters | 2 | |
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| student’s | 2 | |
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| kindness | 2 | |
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| 1884 | 2 | |
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| johnson | 2 | |
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| henri | 2 | |
| cat | 2 | |
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| 00 | 2 | |
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| limited | 2 | |
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| dewne | 2 | |
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| competition | 2 | |
| minister | 2 | |
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| context | 2 | |
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| reveal | 2 | |
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| examination | 2 | |
| north | 2 | |
| need | 2 | |
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| christmas | 2 | |
| 2004-02-05t13 | 2 | |
| warner’s | 2 | |
| presumed | 2 | |
| understanding | 2 | |
| positing | 2 | |
| bachelors | 2 | |
| note | 2 | |
| aesthetic | 2 | |
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| modes | 2 | |
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| aware | 2 | |
| seek | 2 | |
| small | 2 | |
| “i/you” | 2 | |
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| success | 2 | |
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| marjory | 2 | |
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| illusion | 2 | |
| fervent | 2 | |
| rich | 2 | |
| statements | 2 | |
| comprehensive | 2 | |
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| enthusiastically | 2 | |
| entirely | 2 | |
| tears | 2 | |
| information | 2 | |
| sixteen | 2 | |
| touch | 2 | |
| strategies | 2 | |
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| resulted | 2 | |
| leads | 2 | |
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| “marvel” | 2 | |
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| gave | 2 | |
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| gender | 2 | |
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| child | 2 | |
| fraternity | 2 | |
| drawing | 2 | |
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| double | 2 | |
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| horses | 2 | |
| justify | 2 | |
| thirty | 2 | |
| enthusiasts | 2 | |
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| gentleman | 2 | |
| probably | 2 | |
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| “heart | 2 | |
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| laugh | 2 | |
| html | 2 | |
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| extensive | 2 | |
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| peter | 2 | |
| fascination | 2 | |
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| requires | 2 | |
| insistence | 2 | |
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| avoid | 2 | |
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| dozens | 2 | |
| markings | 2 | |
| pity | 2 | |
| activity | 2 | |
| ‘reveries | 2 | |
| popularity | 2 | |
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| birth | 2 | |
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| kindly | 2 | |
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| wilmington | 2 | |
| blithedale | 2 | |
| records | 2 | |
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| radway | 2 | |
| fantasizing | 2 | |
| inserting | 2 | |
| nature | 2 | |
| knot” | 2 | |
| daring | 2 | |
| established | 2 | |
| emotions | 2 | |
| money | 2 | |
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| captures | 2 | |
| loving | 2 | |
| martha | 2 | |
| parlor | 2 | |
| community | 2 | |
| returns | 2 | |
| sentimentalists | 2 | |
| enthusiastic | 2 | |
| acceptance | 2 | |
| circle | 2 | |
| spokesperson | 1 | |
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| angrily | 1 | |
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| primer | 1 | |
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| angeles | 1 | |
| wndings | 1 | |
| guiltless | 1 | |
| interest | 1 | |
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| resemblances | 1 | |
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| sentiment” | 1 | |
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| differently | 1 | |
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| casts | 1 | |
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| embrace | 1 | |
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| delicate | 1 | |
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| inwnitude | 1 | |
| disenchantment | 1 | |
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| joseph | 1 | |
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| relating | 1 | |
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| annoyance | 1 | |
| felix | 1 | |
| mitchell—and | 1 | |
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| matches—‘very | 1 | |
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| “scud | 1 | |
| selfhood | 1 | |
| controllable | 1 | |
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| feminist | 1 | |
| to—pshaw—what | 1 | |
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| self-disguise | 1 | |
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| obsessive | 1 | |
| contacting | 1 | |
| generously | 1 | |
| kings | 1 | |
| storm | 1 | |
| career | 1 | |
| separates | 1 | |
| prepared | 1 | |
| remained | 1 | |
| attractiveness | 1 | |
| begging | 1 | |
| interests | 1 | |
| m692 | 1 | |
| pretentiousness | 1 | |
| commended | 1 | |
| knitted | 1 | |
| concerned | 1 | |
| available | 1 | |
| artifacts | 1 | |
| heart-life | 1 | |
| type—no | 1 | |
| baker | 1 | |
| dressing | 1 | |
| how—and | 1 | |
| becket | 1 | |
| neil | 1 | |
| emphasizes | 1 | |
| 52–53 | 1 | |
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| “we | 1 | |
| ugly | 1 | |
| aggressive | 1 | |
| stone | 1 | |
| processes | 1 | |
| dedicated | 1 | |
| “[b]igotry | 1 | |
| rowing | 1 | |
| papa | 1 | |
| purpose | 1 | |
| “draw | 1 | |
| vicksburg | 1 | |
| cultures | 1 | |
| doff | 1 | |
| troubles | 1 | |
| our’s | 1 | |
| passivity | 1 | |
| possibilities | 1 | |
| authorial | 1 | |
| “lorgnette” | 1 | |
| notations | 1 | |
| retaining | 1 | |
| venture | 1 | |
| rights | 1 | |
| brown | 1 | |
| “languishing | 1 | |
| afwrming | 1 | |
| self-aware | 1 | |
| terriwed | 1 | |
| annotate | 1 | |
| ornate | 1 | |
| dream-work | 1 | |
| transformation | 1 | |
| calm | 1 | |
| 1850s—either | 1 | |
| “inherit | 1 | |
| urgings | 1 | |
| length | 1 | |
| 229–58 | 1 | |
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| partly | 1 | |
| library—why | 1 | |
| “virgin | 1 | |
| benedict | 1 | |
| pronounce | 1 | |
| walking | 1 | |
| watching | 1 | |
| reissued | 1 | |
| belle | 1 | |
| upset | 1 | |
| view—as | 1 | |
| wide-awake | 1 | |
| chief | 1 | |
| plus | 1 | |
| jewett | 1 | |
| “so | 1 | |
| excursions | 1 | |
| speaker | 1 | |
| others—a | 1 | |
| status-seeking | 1 | |
| “kind” | 1 | |
| husband’s | 1 | |
| savior | 1 | |
| reader-response | 1 | |
| ”3 | 1 | |
| coyly | 1 | |
| experimenting | 1 | |
| radical | 1 | |
| ”2 | 1 | |
| seal | 1 | |
| supervision | 1 | |
| fear | 1 | |
| victorian | 1 | |
| generic | 1 | |
| biography | 1 | |
| danger | 1 | |
| marvelish | 1 | |
| mount | 1 | |
| actively | 1 | |
| futures | 1 | |
| live | 1 | |
| heightened | 1 | |
| enhanced | 1 | |
| fourteen | 1 | |
| epistemology | 1 | |
| west | 1 | |
| depended | 1 | |
| comforts | 1 | |
| inspires | 1 | |
| polka | 1 | |
| meeting | 1 | |
| wife’ | 1 | |
| pastime | 1 | |
| “notches” | 1 | |
| sneak | 1 | |
| strongly | 1 | |
| wngers | 1 | |
| snowflake | 1 | |
| “dream | 1 | |
| frequently | 1 | |
| pulled | 1 | |
| 1850–1925 | 1 | |
| engrossed | 1 | |
| delight | 1 | |
| twine | 1 | |
| flourished | 1 | |
| lips | 1 | |
| wnally | 1 | |
| wnished | 1 | |
| iceberg | 1 | |
| patriarchal | 1 | |
| spector | 1 | |
| projected | 1 | |
| chooses | 1 | |
| xxi-xxii | 1 | |
| mentioned | 1 | |
| debt | 1 | |
| anything—but | 1 | |
| busiest | 1 | |
| 1790– | 1 | |
| yet—i | 1 | |
| leering | 1 | |
| seemingly | 1 | |
| diverse | 1 | |
| gregory | 1 | |
| working-day | 1 | |
| richly | 1 | |
| relatives | 1 | |
| meditation | 1 | |
| resistant | 1 | |
| performing | 1 | |
| wrestling | 1 | |
| sensitive | 1 | |
| winding | 1 | |
| conversation—is | 1 | |
| relaxes | 1 | |
| path | 1 | |
| acquainted | 1 | |
| “poor | 1 | |
| macintosh | 1 | |
| deliberate | 1 | |
| “writing | 1 | |
| complete | 1 | |
| discussed | 1 | |
| crossed | 1 | |
| modeled | 1 | |
| frequent | 1 | |
| counts | 1 | |
| ‘reveries’—and | 1 | |
| nichols | 1 | |
| predicted | 1 | |
| basis | 1 | |
| stopped | 1 | |
| choir | 1 | |
| elusiveness | 1 | |
| translated | 1 | |
| shakespeare | 1 | |
| ambivalent | 1 | |
| aspects | 1 | |
| generational | 1 | |
| remarkable | 1 | |
| “let | 1 | |
| amused | 1 | |
| arranged” | 1 | |
| him—or | 1 | |
| ‘chariot | 1 | |
| outside | 1 | |
| wedding | 1 | |
| integrated | 1 | |
| importance | 1 | |
| spring | 1 | |
| sacriwced | 1 | |
| inherent | 1 | |
| virtue | 1 | |
| patterns | 1 | |
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| “m” | 1 | |
| friend” | 1 | |
| frustrated | 1 | |
| product | 1 | |
| visions | 1 | |
| elide | 1 | |
| street | 1 | |
| ’—matches | 1 | |
| bride’s | 1 | |
| eat—69 | 1 | |
| forms | 1 | |
| registers | 1 | |
| reading—an | 1 | |
| formative | 1 | |
| dissociates | 1 | |
| traditional | 1 | |
| refashion | 1 | |
| develop | 1 | |
| michael | 1 | |
| sees | 1 | |
| succession | 1 | |
| replaces | 1 | |
| arthur | 1 | |
| boards | 1 | |
| indicating | 1 | |
| omit | 1 | |
| feminized | 1 | |
| paradoxically | 1 | |
| unwinding | 1 | |
| marshall | 1 | |
| convinces | 1 | |
| individual | 1 | |
| that’s | 1 | |
| trifling | 1 | |
| ‘good | 1 | |
| taps | 1 | |
| spectated | 1 | |
| superiority | 1 | |
| awake | 1 | |
| preoccupation | 1 | |
| declared | 1 | |
| online | 1 | |
| real-life | 1 | |
| produce | 1 | |
| silly | 1 | |
| rebellion | 1 | |
| borrowing | 1 | |
| bundle | 1 | |
| fancy—beyond | 1 | |
| awareness | 1 | |
| boyhood | 1 | |
| i/you | 1 | |
| “daintily | 1 | |
| meets | 1 | |
| [c | 1 | |
| senses | 1 | |
| 1974] | 1 | |
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| consciously | 1 | |
| late | 1 | |
| daylight | 1 | |
| manifest | 1 | |
| interactions | 1 | |
| commonly | 1 | |
| jennies | 1 | |
| replaced | 1 | |
| “noble” | 1 | |
| joys | 1 | |
| drops | 1 | |
| curiosity | 1 | |
| discounted | 1 | |
| merited | 1 | |
| nineteenth | 1 | |
| voiced | 1 | |
| illiterate—know | 1 | |
| reminiscences | 1 | |
| nineteen | 1 | |
| defy | 1 | |
| janice | 1 | |
| jerusalem | 1 | |
| collected | 1 | |
| pushing | 1 | |
| subverts | 1 | |
| remote | 1 | |
| praised | 1 | |
| household | 1 | |
| chamber | 1 | |
| us—or | 1 | |
| hesitations | 1 | |
| midwest | 1 | |
| term | 1 | |
| thesis | 1 | |
| renunciation | 1 | |
| recognize | 1 | |
| nathaniel | 1 | |
| so— | 1 | |
| allows | 1 | |
| disgrace | 1 | |
| “reverie” | 1 | |
| review | 1 | |
| “private | 1 | |
| goes | 1 | |
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| hopefully | 1 | |
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| 1840s | 1 | |
| heart—do | 1 | |
| gate | 1 | |
| printed | 1 | |
| original | 1 | |
| 47–70 | 1 | |
| essentialize | 1 | |
| freedom | 1 | |
| enoch | 1 | |
| laughed | 1 | |
| providential | 1 | |
| divisions | 1 | |
| shrew | 1 | |
| exploring | 1 | |
| me—dear | 1 | |
| neely | 1 | |
| liminal | 1 | |
| presuming | 1 | |
| 04 | 1 | |
| slowly | 1 | |
| “marvellous | 1 | |
| cultivated | 1 | |
| snarls—those | 1 | |
| stiff | 1 | |
| reduction | 1 | |
| contented | 1 | |
| witching | 1 | |
| ‘you’ | 1 | |
| stay—unless | 1 | |
| iconography | 1 | |
| backs | 1 | |
| refered | 1 | |
| knight” | 1 | |
| gazes | 1 | |
| hill | 1 | |
| self-awareness | 1 | |
| duty | 1 | |
| increases | 1 | |
| forwardness | 1 | |
| satirical | 1 | |
| furthermore | 1 | |
| twenties | 1 | |
| chapel | 1 | |
| practice | 1 | |
| regarded | 1 | |
| impact | 1 | |
| passes | 1 | |
| wction” | 1 | |
| actually | 1 | |
| color | 1 | |
| individualist | 1 | |
| femininity | 1 | |
| refers | 1 | |
| “seeking | 1 | |
| “‘you | 1 | |
| personally | 1 | |
| preceded | 1 | |
| declarations | 1 | |
| bias | 1 | |
| copies | 1 | |
| mary” | 1 | |
| “bad | 1 | |
| into—and | 1 | |
| communities | 1 | |
| blind | 1 | |
| “youthful | 1 | |
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| passionate | 1 | |
| drv | 1 | |
| recast | 1 | |
| [i] | 1 | |
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| retailored | 1 | |
| normative | 1 | |
| sensational | 1 | |
| decode | 1 | |
| asceticism | 1 | |
| rutgers | 1 | |
| america—among | 1 | |
| merging | 1 | |
| “daydream | 1 | |
| ’s | 1 | |
| stimulation | 1 | |
| succeed | 1 | |
| distracted | 1 | |
| tableau | 1 | |
| balance | 1 | |
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| tests | 1 | |
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| well—do | 1 | |
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| slide | 1 | |
| sacred | 1 | |
| holidays | 1 | |
| indulg[ing] | 1 | |
| recording | 1 | |
| assurance | 1 | |
| priveledge | 1 | |
| disappointment | 1 | |
| differ | 1 | |
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| references | 1 | |
| witty | 1 | |
| emphasizing | 1 | |
| narration | 1 | |
| encouraging | 1 | |
| miles | 1 | |
| commerce | 1 | |
| opera | 1 | |
| diary | 1 | |
| 1883 | 1 | |
| va | 1 | |
| striving | 1 | |
| designs | 1 | |
| yourself—bright | 1 | |
| imaginary | 1 | |
| snatched | 1 | |
| daintily | 1 | |
| piracies | 1 | |
| longer | 1 | |
| fandom | 1 | |
| proceeds | 1 | |
| hour | 1 | |
| stare | 1 | |
| commemorates | 1 | |
| house-keeping | 1 | |
| letter’s | 1 | |
| twentieth-century | 1 | |
| symbolic | 1 | |
| pertinent | 1 | |
| “fireside | 1 | |
| littell’s | 1 | |
| virtues | 1 | |
| gentle | 1 | |
| zone | 1 | |
| 850rb | 1 | |
| lap | 1 | |
| calling | 1 | |
| surface | 1 | |
| r4 | 1 | |
| 1888 | 1 | |
| glee | 1 | |
| abstraction | 1 | |
| crude | 1 | |
| disappointed | 1 | |
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| spurs | 1 | |
| reporting | 1 | |
| intellectually | 1 | |
| epitomizes | 1 | |
| hearts” | 1 | |
| skepticism | 1 | |
| volumes | 1 | |
| collaborative | 1 | |
| attractions | 1 | |
| “modern | 1 | |
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| fascinated | 1 | |
| stirred | 1 | |
| impressions | 1 | |
| marion | 1 | |
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| over—or | 1 | |
| steve | 1 | |
| pet | 1 | |
| investigate | 1 | |
| chastity | 1 | |
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| moored | 1 | |
| 218 | 1 | |
| “‘but | 1 | |
| 1860s | 1 | |
| generations | 1 | |
| 478–79 | 1 | |
| readers—appeared | 1 | |
| strangers | 1 | |
| meshes | 1 | |
| stories | 1 | |
| cover | 1 | |
| functioning | 1 | |
| works” | 1 | |
| dickens” | 1 | |
| renounce | 1 | |
| altogether | 1 | |
| busybodies—“some | 1 | |
| greetings | 1 | |
| class | 1 | |
| distancing | 1 | |
| romantically | 1 | |
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| “‘a | 1 | |
| arrangement | 1 | |
| coeur”—keepsakes | 1 | |
| cold | 1 | |
| wctions | 1 | |
| 212 | 1 | |
| —it | 1 | |
| traveling | 1 | |
| fantasizes | 1 | |
| delusional | 1 | |
| discomwting | 1 | |
| depending | 1 | |
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| feminization | 1 | |
| standard | 1 | |
| allowed | 1 | |
| clarence | 1 | |
| perusing | 1 | |
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| essayist | 1 | |
| stated | 1 | |
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| “reading | 1 | |
| intellectual | 1 | |
| situation | 1 | |
| comforting | 1 | |
| doing | 1 | |
| humiliation | 1 | |
| revision | 1 | |
| “reception | 1 | |
| ”70 | 1 | |
| rarely | 1 | |
| bonnets | 1 | |
| unrealized | 1 | |
| staging | 1 | |
| temporary | 1 | |
| instructing | 1 | |
| overrule | 1 | |
| teach | 1 | |
| follow | 1 | |
| convention | 1 | |
| haunted | 1 | |
| //etext | 1 | |
| discussion | 1 | |
| discovered | 1 | |
| “sentimental” | 1 | |
| “write | 1 | |
| qxd | 1 | |
| ”72 | 1 | |
| mere | 1 | |
| mobility | 1 | |
| polluted | 1 | |
| poring—with | 1 | |
| conventions | 1 | |
| indicates | 1 | |
| artiwcial | 1 | |
| humility | 1 | |
| free | 1 | |
| kindlier | 1 | |
| strata | 1 | |
| apologizing | 1 | |
| revelatory | 1 | |
| dedication | 1 | |
| comment | 1 | |
| self-made | 1 | |
| ashe’s | 1 | |
| regard | 1 | |
| half-fearing | 1 | |
| expect | 1 | |
| 1878 | 1 | |
| rewards | 1 | |
| monday | 1 | |
| ranks | 1 | |
| ”75 | 1 | |
| wrsthand | 1 | |
| issues | 1 | |
| inquire | 1 | |
| reminding | 1 | |
| defense | 1 | |
| observes | 1 | |
| longs | 1 | |
| signiwed | 1 | |
| box | 1 | |
| ‘write’—and | 1 | |
| israel | 1 | |
| 1987 | 1 | |
| beecher | 1 | |
| bow | 1 | |
| accompanying | 1 | |
| ’”64 | 1 | |
| charge | 1 | |
| objectionable | 1 | |
| subversive | 1 | |
| page | 1 | |
| machinations | 1 | |
| rereads | 1 | |
| twenty-three | 1 | |
| wnish | 1 | |
| implicitly | 1 | |
| hermetically | 1 | |
| fiction” | 1 | |
| education | 1 | |
| assumption | 1 | |
| 267–305 | 1 | |
| explicitly | 1 | |
| spirits | 1 | |
| transmuting | 1 | |
| short” | 1 | |
| kent | 1 | |
| wancé | 1 | |
| keys | 1 | |
| ”79 | 1 | |
| stages | 1 | |
| holton’s | 1 | |
| insolent | 1 | |
| disease | 1 | |
| distortions | 1 | |
| 1980 | 1 | |
| reject | 1 | |
| farewell | 1 | |
| indicated | 1 | |
| “reality” | 1 | |
| inculcate | 1 | |
| “sacred | 1 | |
| good-natured | 1 | |
| express | 1 | |
| told | 1 | |
| kindly—meditative | 1 | |
| owlish | 1 | |
| savoring | 1 | |
| june | 1 | |
| depend | 1 | |
| replicates | 1 | |
| wrst-person | 1 | |
| treats | 1 | |
| masculine | 1 | |
| ‘no’—but | 1 | |
| viewed—or | 1 | |
| cold-hearted | 1 | |
| matches | 1 | |
| spun | 1 | |
| issued | 1 | |
| eyes” | 1 | |
| remaining | 1 | |
| safe—there | 1 | |
| cousin | 1 | |
| mocked | 1 | |
| violation | 1 | |
| treaty | 1 | |
| reeling | 1 | |
| country | 1 | |
| centers | 1 | |
| difference | 1 | |
| reading” | 1 | |
| reliability | 1 | |
| cast | 1 | |
| completely | 1 | |
| tangle | 1 | |
| “enigma | 1 | |
| harsh | 1 | |
| dewned | 1 | |
| chocolate | 1 | |
| initiated | 1 | |
| hands | 1 | |
| testimonials | 1 | |
| dream-life | 1 | |
| claras | 1 | |
| sentiment | 1 | |
| “ludic | 1 | |
| 112 | 1 | |
| tempted | 1 | |
| prompted | 1 | |
| inscribe | 1 | |
| acknowledging | 1 | |
| purposeful | 1 | |
| offering | 1 | |
| “literary | 1 | |
| bob | 1 | |
| develops | 1 | |
| “companionable | 1 | |
| singular | 1 | |
| cigar—and | 1 | |
| emotion | 1 | |
| perceived | 1 | |
| 1893 | 1 | |
| 146–72 | 1 | |
| solely | 1 | |
| matched | 1 | |
| openly | 1 | |
| raises | 1 | |
| covered | 1 | |
| understands | 1 | |
| mask | 1 | |
| 1891 | 1 | |
| tomsville | 1 | |
| ignore | 1 | |
| enacted | 1 | |
| ”50 | 1 | |
| achieve | 1 | |
| implied | 1 | |
| she—like | 1 | |
| wild | 1 | |
| margaret | 1 | |
| feels | 1 | |
| it—when | 1 | |
| evoke | 1 | |
| giroux | 1 | |
| ”52 | 1 | |
| industry | 1 | |
| sets | 1 | |
| curiosity” | 1 | |
| fulwllment | 1 | |
| coeur | 1 | |
| self-education | 1 | |
| later | 1 | |
| representing | 1 | |
| sicherman | 1 | |
| seasons | 1 | |
| putnam’s | 1 | |
| “spirit” | 1 | |
| sealts | 1 | |
| ‘darlings | 1 | |
| named | 1 | |
| stratton-porter | 1 | |
| extravagant | 1 | |
| transgression | 1 | |
| instrument | 1 | |
| man—or | 1 | |
| ”54 | 1 | |
| mentor | 1 | |
| fanciful | 1 | |
| reminiscing | 1 | |
| remarking | 1 | |
| familial | 1 | |
| examples | 1 | |
| dickinsons | 1 | |
| healing | 1 | |
| attempting | 1 | |
| “working-day | 1 | |
| psychology | 1 | |
| presents | 1 | |
| possibility | 1 | |
| satirizes | 1 | |
| preserve | 1 | |
| predominantly | 1 | |
| improvisatrice | 1 | |
| certainly | 1 | |
| presence | 1 | |
| sincerity | 1 | |
| ”56 | 1 | |
| 1883] | 1 | |
| wishing | 1 | |
| [1852 | 1 | |
| bachelor-narrator | 1 | |
| “beautiful | 1 | |
| mass | 1 | |
| maidens | 1 | |
| roving | 1 | |
| wore | 1 | |
| transforming | 1 | |
| fraught | 1 | |
| talking | 1 | |
| despite | 1 | |
| ”58 | 1 | |
| uncovered | 1 | |
| treating | 1 | |
| justiwcation | 1 | |
| performance | 1 | |
| stirred”—and | 1 | |
| insert | 1 | |
| scrutiny | 1 | |
| proves | 1 | |
| absence | 1 | |
| ideality | 1 | |
| “sissy | 1 | |
| heart—of | 1 | |
| sensing | 1 | |
| ladies | 1 | |
| holborn | 1 | |
| glow | 1 | |
| wind | 1 | |
| arouse | 1 | |
| feminine | 1 | |
| playful | 1 | |
| impulsive | 1 | |
| adobeps4 | 1 | |
| evasions | 1 | |
| displacing | 1 | |
| implies | 1 | |
| salutation | 1 | |
| lava-like | 1 | |
| joined | 1 | |
| arm’s | 1 | |
| arguing | 1 | |
| “sea-coal | 1 | |
| evasive | 1 | |
| snuff | 1 | |
| legitimacy | 1 | |
| spilling | 1 | |
| perplexed | 1 | |
| madeline | 1 | |
| 1852] | 1 | |
| receive | 1 | |
| detailed | 1 | |
| gaining | 1 | |
| lonely | 1 | |
| continue | 1 | |
| bond | 1 | |
| “heart-letters | 1 | |
| empty | 1 | |
| rebuke | 1 | |
| “almost | 1 | |
| difwculty | 1 | |
| injunction | 1 | |
| strict | 1 | |
| canweld’s | 1 | |
| roles | 1 | |
| over—a | 1 | |
| scrutinized | 1 | |
| relational | 1 | |
| allen | 1 | |
| infused | 1 | |
| controlling | 1 | |
| given | 1 | |
| essentially | 1 | |
| fate | 1 | |
| masturbatory | 1 | |
| “who” | 1 | |
| “pinnacle” | 1 | |
| conception | 1 | |
| hoped-for | 1 | |
| projects | 1 | |
| give-and-take | 1 | |
| silence | 1 | |
| integrity | 1 | |
| kind-hearted | 1 | |
| slightly | 1 | |
| engaged | 1 | |
| world—do | 1 | |
| dewning | 1 | |
| looker | 1 | |
| merton | 1 | |
| 601–9 | 1 | |
| speciwcally | 1 | |
| carried | 1 | |
| musty | 1 | |
| psychological | 1 | |
| marveling | 1 | |
| “our | 1 | |
| reveries—and | 1 | |
| transitory | 1 | |
| substantial—and | 1 | |
| great-uncle | 1 | |
| imitations | 1 | |
| concur | 1 | |
| aspir[ing] | 1 | |
| claiming | 1 | |
| repudiates | 1 | |
| placed | 1 | |
| sad | 1 | |
| valued | 1 | |
| obedience | 1 | |
| formation | 1 | |
| iath | 1 | |
| overlooking | 1 | |
| creature | 1 | |
| gives | 1 | |
| producer | 1 | |
| collecting | 1 | |
| coincidence | 1 | |
| 220 | 1 | |
| moments | 1 | |
| current | 1 | |
| sympathies | 1 | |
| leon | 1 | |
| rust | 1 | |
| enabled | 1 | |
| moonlit | 1 | |
| produces | 1 | |
| truly | 1 | |
| maid” | 1 | |
| shifting | 1 | |
| thinker | 1 | |
| [knoxville | 1 | |
| critic] | 1 | |
| dutiful | 1 | |
| 215–56 | 1 | |
| outrage | 1 | |
| ”36 | 1 | |
| bounds | 1 | |
| did’nt | 1 | |
| articulates | 1 | |
| analogous | 1 | |
| addresses | 1 | |
| ”37 | 1 | |
| ditty | 1 | |
| discourage | 1 | |
| list | 1 | |
| dorothys | 1 | |
| griefs | 1 | |
| braver | 1 | |
| unwed | 1 | |
| “ike | 1 | |
| tenderhearted | 1 | |
| constructive | 1 | |
| ”38 | 1 | |
| disavowing | 1 | |
| associations | 1 | |
| “still | 1 | |
| mississippi | 1 | |
| claims | 1 | |
| sender | 1 | |
| expectation | 1 | |
| comfortably | 1 | |
| commodity | 1 | |
| autograph | 1 | |
| augosto | 1 | |
| lifesome | 1 | |
| separateness | 1 | |
| cognitive | 1 | |
| beholds | 1 | |
| ben-hur” | 1 | |
| labeling | 1 | |
| apparently | 1 | |
| tangible | 1 | |
| alienation | 1 | |
| recommend | 1 | |
| literally | 1 | |
| consumerist | 1 | |
| interact | 1 | |
| refuse | 1 | |
| gone | 1 | |
| “kept | 1 | |
| “reveal | 1 | |
| appropriate | 1 | |
| ‘boo’ | 1 | |
| reed | 1 | |
| impulse | 1 | |
| caused | 1 | |
| leisured | 1 | |
| walk | 1 | |
| [sentimental | 1 | |
| longevity | 1 | |
| genre | 1 | |
| uncertainties | 1 | |
| nina | 1 | |
| norton | 1 | |
| burn | 1 | |
| meditations | 1 | |
| “pleasure | 1 | |
| concrete | 1 | |
| “life | 1 | |
| attacking | 1 | |
| harshly | 1 | |
| commented | 1 | |
| “reveries | 1 | |
| lisa | 1 | |
| nurture-centered | 1 | |
| preferring | 1 | |
| dominant | 1 | |
| overcome | 1 | |
| scrutinizes | 1 | |
| referring | 1 | |
| ambition—and | 1 | |
| pleasure” | 1 | |
| 266 | 1 | |
| “work” | 1 | |
| susie—when | 1 | |
| 154 | 1 | |
| heat | 1 | |
| “secularized | 1 | |
| metaphorically | 1 | |
| womanhood | 1 | |
| bewts | 1 | |
| connected | 1 | |
| commoner | 1 | |
| elements | 1 | |
| “spinster | 1 | |
| twenty-nine | 1 | |
| cynical | 1 | |
| carries | 1 | |
| extended | 1 | |
| stage | 1 | |
| bloomian | 1 | |
| comfortable | 1 | |
| northampton | 1 | |
| single-mindedness | 1 | |
| “see | 1 | |
| “tangible | 1 | |
| recalled | 1 | |
| stylistic | 1 | |
| reclining | 1 | |
| two-way | 1 | |
| ardent | 1 | |
| hidden | 1 | |
| —readers | 1 | |
| songs | 1 | |
| years | 1 | |
| returning | 1 | |
| ‘signiwcance’ | 1 | |
| 1878] | 1 | |
| heal | 1 | |
| 2002] | 1 | |
| stowe’s | 1 | |
| pseud | 1 | |
| physiognomy | 1 | |
| berkeley | 1 | |
| dreamed-of | 1 | |
| urges | 1 | |
| kinderhook | 1 | |
| dying | 1 | |
| illuminated | 1 | |
| wrapped | 1 | |
| curmudgeon | 1 | |
| —yet | 1 | |
| valentine’s | 1 | |
| smoothing | 1 | |
| oxley’s | 1 | |
| worth | 1 | |
| temporarily | 1 | |
| readers” | 1 | |
| ”10 | 1 | |
| 1989] | 1 | |
| dwells | 1 | |
| self-expression | 1 | |
| railton | 1 | |
| suddenly | 1 | |
| contribute | 1 | |
| ”11 | 1 | |
| eat | 1 | |
| play | 1 | |
| controlled | 1 | |
| change | 1 | |
| spin | 1 | |
| participate | 1 | |
| “fans | 1 | |
| bobbs-merrill | 1 | |
| admirers | 1 | |
| possibilities—the | 1 | |
| pretend | 1 | |
| demonstrates | 1 | |
| depictions | 1 | |
| heave | 1 | |
| bros | 1 | |
| loneliness | 1 | |
| wisconsin | 1 | |
| interacting | 1 | |
| valid | 1 | |
| ”12 | 1 | |
| rapturous | 1 | |
| knowledge | 1 | |
| influential | 1 | |
| 53z | 1 | |
| knotted | 1 | |
| ps2404 | 1 | |
| skein | 1 | |
| howells’s | 1 | |
| 1978] | 1 | |
| helping | 1 | |
| jonathan | 1 | |
| efforts | 1 | |
| utterance | 1 | |
| sacriwce | 1 | |
| thereof | 1 | |
| defends | 1 | |
| nicely | 1 | |
| furnishes | 1 | |
| dissolve—and | 1 | |
| 1 | ||
| 350 | 1 | |
| ”15 | 1 | |
| urged | 1 | |
| speech | 1 | |
| separate | 1 | |
| debased | 1 | |
| necessity | 1 | |
| bachelor] | 1 | |
| whimsical | 1 | |
| marvel” | 1 | |
| puddings | 1 | |
| meditative | 1 | |
| effect | 1 | |
| attire | 1 | |
| side | 1 | |
| ”18 | 1 | |
| cummins’s | 1 | |
| radiant | 1 | |
| ”19 | 1 | |
| resources | 1 | |
| exchanging | 1 | |
| sorrow | 1 | |
| adored | 1 | |
| foolishness | 1 | |
| transforms | 1 | |
| heard | 1 | |
| renders | 1 | |
| fade | 1 | |
| conflicted | 1 | |
| you’ | 1 | |
| trim | 1 | |
| honesty | 1 | |
| evaluating | 1 | |
| anthracite | 1 | |
| dressed | 1 | |
| supports | 1 | |
| key | 1 | |
| 133 | 1 | |
| persistently | 1 | |
| augst | 1 | |
| “bachelor | 1 | |
| pawns | 1 | |
| gap | 1 | |
| mingled | 1 | |
| “foils | 1 | |
| //www | 1 | |
| below | 1 | |
| loved | 1 | |
| sung | 1 | |
| sucked | 1 | |
| schemes | 1 | |
| man—and | 1 | |
| existed | 1 | |
| lover | 1 | |
| enchantment | 1 | |
| brothers | 1 | |
| 249 | 1 | |
| “creative | 1 | |
| “read | 1 | |
| tinged | 1 | |
| careful | 1 | |
| affections | 1 | |
| —when | 1 | |
| lacked | 1 | |
| arranged | 1 | |
| long—he | 1 | |
| essence | 1 | |
| quotidian | 1 | |
| luring | 1 | |
| laughingly | 1 | |
| cloth | 1 | |
| rectitude | 1 | |
| delicious | 1 | |
| grifwn | 1 | |
| positions | 1 | |
| anybody | 1 | |
| glimpse | 1 | |
| 79 | 1 | |
| charged | 1 | |
| guide | 1 | |
| transcendence | 1 | |
| afraid | 1 | |
| breathed | 1 | |
| acrobat | 1 | |
| susie | 1 | |
| restore | 1 | |
| detect | 1 | |
| conceive | 1 | |
| uncritically | 1 | |
| rethinking | 1 | |
| indian | 1 | |
| pressed | 1 | |
| teasingly | 1 | |
| shed | 1 | |
| eloquently | 1 | |
| recognized | 1 | |
| dashes | 1 | |
| random | 1 | |
| economic | 1 | |
| moment | 1 | |
| million | 1 | |
| abstracts | 1 | |
| alderman | 1 | |
| him- | 1 | |
| annual | 1 | |
| warm-working | 1 | |
| equating | 1 | |
| paul | 1 | |
| verisimilitude | 1 | |
| “relaxed | 1 | |
| vintage | 1 | |
| cummins | 1 | |
| warmth | 1 | |
| seventeenyear-old | 1 | |
| labor | 1 | |
| white | 1 | |
| “‘have | 1 | |
| answering | 1 | |
| emily’s—and | 1 | |
| breeds | 1 | |
| bystanders | 1 | |
| enjoyed | 1 | |
| heart—an | 1 | |
| enforce—over | 1 | |
| newspaper | 1 | |
| somber | 1 | |
| imaginings | 1 | |
| softness | 1 | |
| embark | 1 | |
| unwind | 1 | |
| roam | 1 | |
| responsibilities | 1 | |
| writing—comes | 1 | |
| realize | 1 | |
| sold | 1 | |
| gay | 1 | |
| locations | 1 | |
| chafed | 1 | |
| you’ll | 1 | |
| concurred | 1 | |
| say | 1 | |
| blurted | 1 | |
| melancholic | 1 | |
| distant | 1 | |
| correspondent’s | 1 | |
| reply | 1 | |
| wide-ranging | 1 | |
| met | 1 | |
| initials | 1 | |
| fashionable | 1 | |
| sensual | 1 | |
| unexampled | 1 | |
| judge | 1 | |
| style—quotation | 1 | |
| charm | 1 | |
| instruments | 1 | |
| “disciplinary | 1 | |
| mcgillqueen’s | 1 | |
| ideals | 1 | |
| “sweet | 1 | |
| self-delusion | 1 | |
| narratives | 1 | |
| “somebody’s | 1 | |
| satisfy | 1 | |
| “serious” | ||
Some observations:
- variations of the word “read” are frequent of course
- “letter” appears more than book–presumably b/c I’m writing about fan letters, but I also think the discourse of the letter–two people connecting to each other–is the mode of detached intimacy
- terms of sentiment–intimacy, feeling, heart–appear frequently
- there seems to be a tension between relationship (19) and distance (17), as well as between “dreams” and the “real”
- “new” appears 33 times–reflecting the sense of renewal that comes from reading, as well as the significance of New York
- women (33) appear more than men (16), although man (18) appears more than woman (9)–maybe I make a bigger deal out of reading producing a “new man”?
- power, control are fairly prominent
So I think it would be pretty interesting to have a contrasts tool, so that you could see the weighting of antonyms: man/woman, dream/reality, etc. I’m also realizing how important it is to view words incontext–“new” could mean fresh, but it could also be used to modify “york”
TAPOR does allow you to list word pairs. Here are those that appear more than once. I find it interesting that “her own” (20) and “his own” (14) appear frequently, reflecting the desire to craft an identity (“the self,” 9) ; “i am,” 6) o outf the experience of reading.
| Summary: There are 11994 unique word pairs , and there are 16623 word pairs in total. 10213 word pairs occurred once and 1044 word pairs occurred twice.
|
|
|---|---|
| Word Pairs | Counts |
| of the | 91 |
| in the | 63 |
| ik marvel | 46 |
| of a | 38 |
| as a | 38 |
| and the | 38 |
| the book | 35 |
| mitchell s | 35 |
| to the | 34 |
| a bachelor | 33 |
| that the | 33 |
| their own | 29 |
| of reveries | 28 |
| with the | 26 |
| reveries of | 25 |
| that she | 25 |
| from the | 25 |
| to ik | 24 |
| new york | 24 |
| to be | 23 |
| mitchell papers | 23 |
| emily dickinson | 23 |
| detached intimacy | 23 |
| the bachelor | 23 |
| the author | 22 |
| rather than | 21 |
| donald grant | 21 |
| grant mitchell | 21 |
| by the | 21 |
| of reading | 21 |
| as the | 21 |
| her own | 20 |
| that he | 20 |
| in a | 17 |
| on the | 17 |
| the reader | 16 |
| ik s | 16 |
| university press | 16 |
| fan letters | 15 |
| is a | 15 |
| in which | 15 |
| i have | 14 |
| his own | 14 |
| for the | 14 |
| nineteenth century | 14 |
| according to | 14 |
| of his | 13 |
| even as | 13 |
| his readers | 13 |
| of feeling | 13 |
| the heart | 12 |
| bachelor s | 12 |
| in his | 12 |
| as well | 12 |
| well as | 12 |
| in her | 12 |
| of mitchell | 12 |
| marvel s | 12 |
| the letters | 12 |
| as he | 11 |
| to donald | 11 |
| edition of | 11 |
| such as | 11 |
| sense of | 10 |
| dickinson s | 10 |
| the letter | 10 |
| suggests that | 10 |
| as she | 10 |
| a man | 10 |
| that mitchell | 10 |
| of an | 10 |
| as if | 10 |
| with ik | 10 |
| reveries and | 10 |
| to mitchell | 10 |
| of her | 10 |
| it was | 10 |
| at the | 10 |
| the narrator | 10 |
| it is | 9 |
| with mitchell | 9 |
| the power | 9 |
| the text | 9 |
| and that | 9 |
| the sentimental | 9 |
| in this | 9 |
| but also | 9 |
| dream life | 9 |
| s reveries | 9 |
| of ik | 9 |
| the self | 8 |
| just as | 8 |
| with a | 8 |
| university of | 8 |
| one of | 8 |
| such a | 8 |
| power of | 8 |
| that i | 8 |
| 1852 mitchell | 8 |
| study of | 8 |
| she is | 8 |
| 1851 mitchell | 8 |
| history of | 8 |
| their letters | 8 |
| the world | 8 |
| as they | 8 |
| to reveries | 8 |
| was the | 8 |
| the same | 8 |
| the dream | 8 |
| as an | 8 |
| and how | 8 |
| reading and | 8 |
| a sense | 8 |
| of my | 8 |
| that is | 8 |
| not only | 8 |
| reading in | 8 |
| a book | 8 |
| in reveries | 8 |
| copy of | 7 |
| of your | 7 |
| and i | 7 |
| him to | 7 |
| it as | 7 |
| author and | 7 |
| bachelor narrator | 7 |
| marvel urbana | 7 |
| and to | 7 |
| ryan and | 7 |
| you are | 7 |
| in their | 7 |
| be a | 7 |
| is the | 7 |
| about the | 7 |
| of this | 7 |
| by a | 7 |
| the ideal | 7 |
| of their | 7 |
| of emily | 7 |
| carrie to | 7 |
| to his | 7 |
| urbana ohio | 7 |
| a sentimental | 7 |
| which the | 7 |
| focuses on | 7 |
| for instance | 7 |
| was a | 7 |
| scribner s | 7 |
| writing to | 6 |
| him and | 6 |
| with his | 6 |
| reveries in | 6 |
| century america | 6 |
| i am | 6 |
| an anonymous | 6 |
| between the | 6 |
| uncle tom | 6 |
| her father | 6 |
| so that | 6 |
| in my | 6 |
| mitchell reveries | 6 |
| for a | 6 |
| at least | 6 |
| dreams of | 6 |
| the real | 6 |
| able to | 6 |
| readers and | 6 |
| a spinster | 6 |
| book s | 6 |
| all the | 6 |
| and more | 6 |
| the mother | 6 |
| next to | 6 |
| to a | 6 |
| through the | 6 |
| we can | 6 |
| that ik | 6 |
| mitchell and | 6 |
| readers in | 6 |
| in nineteenth | 6 |
| from a | 6 |
| letters and | 6 |
| the wrst | 6 |
| a woman | 6 |
| of american | 6 |
| to make | 6 |
| a letter | 6 |
| in reading | 6 |
| to him | 6 |
| feb 1852 | 6 |
| book and | 6 |
| themselves to | 6 |
| the novel | 6 |
| fantasy and | 6 |
| was not | 6 |
| that they | 6 |
| readers as | 6 |
| 14 feb | 6 |
| of letters | 6 |
| they were | 6 |
| the ways | 5 |
| s cabin | 5 |
| dickinson to | 5 |
| women s | 5 |
| i had | 5 |
| in books | 5 |
| reading acts | 5 |
| the margins | 5 |
| reveries was | 5 |
| to me | 5 |
| to her | 5 |
| the narrative | 5 |
| what he | 5 |
| than a | 5 |
| to put | 5 |
| that reading | 5 |
| feeling and | 5 |
| suggesting that | 5 |
| when he | 5 |
| you and | 5 |
| introduction to | 5 |
| relationship with | 5 |
| mitchell the | 5 |
| and thomas | 5 |
| letters in | 5 |
| the history | 5 |
| wants to | 5 |
| upon the | 5 |
| letters of | 5 |
| barbara ryan | 5 |
| the relationship | 5 |
| the reverie | 5 |
| city grate | 5 |
| e c | 5 |
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| than the | 5 |
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| narrator and | 5 |
| many readers | 5 |
| might be | 5 |
| tom s | 5 |
| how they | 5 |
| of detached | 5 |
| writing in | 5 |
| wanted to | 5 |
| to become | 5 |
| the 1850s | 5 |
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| a city | 5 |
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| female readers | 5 |
| you have | 5 |
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| themselves as | 5 |
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| that reveries | 5 |
| c w | 5 |
| american literature | 5 |
| mitchell was | 4 |
| since they | 4 |
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| them and | 4 |
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| a fantasy | 4 |
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| the personal | 4 |
| old maid | 4 |
| of domestic | 4 |
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| relationship between | 4 |
| could be | 4 |
| reveries mitchell | 4 |
| found in | 4 |
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| by reading | 4 |
| mitchell in | 4 |
| into a | 4 |
| she wrote | 4 |
| authors and | 4 |
| ik and | 4 |
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| have written | 4 |
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| on his | 4 |
| women and | 4 |
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| susan warner | 4 |
| reverie of | 4 |
| the work | 4 |
| by his | 4 |
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| and you | 4 |
| life of | 4 |
| how and | 4 |
| rhetoric of | 4 |
| and a | 4 |
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| anonymous to | 4 |
| because he | 4 |
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| at once | 4 |
| will be | 4 |
| reader is | 4 |
| of bachelor | 4 |
| a young | 4 |
| charles scribner | 4 |
| to create | 4 |
| and his | 4 |
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| ways in | 4 |
| attempt to | 4 |
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| in america | 4 |
| reading the | 4 |
| published reviews | 4 |
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| would be | 4 |
| ik the | 4 |
| the rhetoric | 4 |
| is not | 4 |
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| write to | 4 |
| much as | 4 |
| which i | 4 |
| he is | 4 |
| authority of | 4 |
| to their | 4 |
| although the | 4 |
| twenty four | 4 |
| letter to | 4 |
| 1853 mitchell | 4 |
| and detachment | 4 |
| work and | 4 |
| s sons | 4 |
| to have | 4 |
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| a great | 3 |
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| love for | 3 |
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| he wants | 3 |
| of domesticity | 3 |
| privacy and | 3 |
| voice of | 3 |
| them to | 3 |
| his bachelorhood | 3 |
| of women | 3 |
| of evidence | 3 |
| through their | 3 |
| and author | 3 |
| even in | 3 |
| william dean | 3 |
| in 1886 | 3 |
| how the | 3 |
| what is | 3 |
| view of | 3 |
| and donald | 3 |
| do you | 3 |
| the way | 3 |
| this passage | 3 |
| york charles | 3 |
| a love | 3 |
| and dickinson | 3 |
| mitchell as | 3 |
| ik to | 3 |
| wars are | 3 |
| experience of | 3 |
| on to | 3 |
| what if | 3 |
| whether mitchell | 3 |
| the typical | 3 |
| to describe | 3 |
| manuscript library | 3 |
| descriptions of | 3 |
| reader of | 3 |
| mitchell for | 3 |
| of sentimental | 3 |
| as his | 3 |
| own fantasies | 3 |
| one to | 3 |
| on what | 3 |
| such an | 3 |
| their reading | 3 |
| who is | 3 |
| offers a | 3 |
| readers to | 3 |
| a dreamer | 3 |
| rare book | 3 |
| comes from | 3 |
| identiwcation and | 3 |
| how he | 3 |
| represented by | 3 |
| a rhetorical | 3 |
| for private | 3 |
| marital status | 3 |
| seemed to | 3 |
| of hearts | 3 |
| her letter | 3 |
| haven yale | 3 |
| of that | 3 |
| along with | 3 |
| dec 1851 | 3 |
| or her | 3 |
| public and | 3 |
| with their | 3 |
| twentieth century | 3 |
| book that | 3 |
| and have | 3 |
| heart of | 3 |
| her valentine | 3 |
| karr authors | 3 |
| peering at | 3 |
| helen davies | 3 |
| i and | 3 |
| dean howells | 3 |
| his work | 3 |
| in ik | 3 |
| readers read | 3 |
| the picture | 3 |
| s sentimental | 3 |
| of family | 3 |
| margins of | 3 |
| zboray and | 3 |
| the private | 3 |
| to see | 3 |
| time to | 3 |
| as ik | 3 |
| self control | 3 |
| him as | 3 |
| out the | 3 |
| life in | 3 |
| across the | 3 |
| ohio 12 | 3 |
| back to | 3 |
| has no | 3 |
| beinecke rare | 3 |
| we will | 3 |
| book history | 3 |
| focus on | 3 |
| for carrie | 3 |
| she has | 3 |
| they used | 3 |
| and mitchell | 3 |
| laid away | 3 |
| the fan | 3 |
| approach to | 3 |
| to prompt | 3 |
| there is | 3 |
| s and | 3 |
| fiction in | 3 |
| waldo dunn | 3 |
| in order | 3 |
| return to | 3 |
| reality yet | 3 |
| that his | 3 |
| instance in | 3 |
| an important | 3 |
| actual readers | 3 |
| themselves in | 3 |
| the early | 3 |
| feeling that | 3 |
| a relationship | 3 |
| and reader | 3 |
| i you | 3 |
| read and | 3 |
| the american | 3 |
| pen name | 3 |
| these letters | 3 |
| the boundaries | 3 |
| and questioning | 3 |
| power to | 3 |
| at ik | 3 |
| intimacy and | 3 |
| persona and | 3 |
| new haven | 3 |
| manhood and | 3 |
| a mother | 3 |
| not be | 3 |
| s readers | 3 |
| o brien | 3 |
| other readers | 3 |
| the children | 3 |
| press 1988 | 3 |
| the emotional | 3 |
| away in | 3 |
| that it | 3 |
| reveries that | 3 |
| questions about | 3 |
| otter and | 3 |
| description of | 3 |
| if i | 3 |
| intimacy with | 3 |
| and social | 3 |
| young woman | 3 |
| slipping knot | 3 |
| for her | 3 |
| letters readers | 3 |
| to establish | 3 |
| a reader | 3 |
| s letter | 3 |
| during the | 3 |
| touchstone for | 3 |
| family members | 3 |
| in antebellum | 3 |
| i do | 3 |
| and audiences | 3 |
| middle class | 3 |
| to reading | 3 |
| heart and | 3 |
| your books | 3 |
| this book | 3 |
| letter as | 3 |
| attempts to | 3 |
| thomas reading | 3 |
| reading reveries | 3 |
| are laid | 3 |
| insisted that | 3 |
| 12 dec | 3 |
| his dream | 3 |
| in describing | 3 |
| all of | 3 |
| and why | 3 |
| your reveries | 3 |
| the end | 3 |
| early twentieth | 3 |
| middle aged | 3 |
| of authorship | 3 |
| by which | 3 |
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| see the | 3 |
| had been | 3 |
| life the | 3 |
| did you | 3 |
| letters with | 3 |
| the young | 3 |
| s spirit | 3 |
| him by | 3 |
| yet the | 3 |
| yale university | 3 |
| form of | 3 |
| them into | 3 |
| wction in | 3 |
| in contrast | 3 |
| were able | 3 |
| a vision | 3 |
| to use | 3 |
| to remain | 3 |
| easy slipping | 3 |
| he could | 3 |
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| an easy | 3 |
| you to | 3 |
| only in | 3 |
| not have | 3 |
| reader response | 3 |
| continued to | 3 |
| conflict between | 3 |
| with him | 3 |
| he had | 3 |
| four letters | 3 |
| what would | 3 |
| because they | 3 |
| 2004 02 | 3 |
| dream of | 3 |
| the inner | 3 |
| habit of | 3 |
| over a | 3 |
| to it | 3 |
| what a | 3 |
| become a | 3 |
| my own | 3 |
| while the | 3 |
| and creators | 3 |
| and children | 3 |
| and dream | 3 |
| own dreams | 3 |
| wife and | 3 |
| the bible | 3 |
| a real | 3 |
| susan gilbert | 3 |
| a deep | 3 |
| readers did | 3 |
| unmarried woman | 3 |
| bible it | 3 |
| the more | 3 |
| james machor | 3 |
| as readers | 3 |
| which reveries | 3 |
| the beinecke | 3 |
| relationship in | 3 |
| of love | 3 |
| figure 2 | 3 |
| the tension | 3 |
| figure 1 | 3 |
| his heart | 3 |
| in its | 3 |
| examine how | 3 |
| or he | 3 |
| an alternative | 3 |
| and manuscript | 3 |
| represent the | 3 |
| it or | 3 |
| of identity | 3 |
| to men | 3 |
| herself in | 3 |
| the metaphor | 3 |
| might have | 3 |
| intimacy since | 3 |
| by ik | 3 |
| saying that | 3 |
| yet i | 3 |
| reader and | 3 |
| what she | 3 |
| some of | 3 |
| for their | 3 |
| and self | 3 |
| in part | 3 |
| own reveries | 3 |
| and feeling | 3 |
| hopes of | 3 |
| a more | 3 |
| century american | 3 |
| order to | 3 |
| and mary | 3 |
| for dickinson | 3 |
| contend that | 3 |
| my wars | 3 |
| scenes of | 3 |
| end of | 3 |
| more than | 3 |
| my heart | 3 |
| letters that | 3 |
| its readers | 3 |
| you read | 3 |
| of fantasy | 3 |
| habits of | 3 |
| made in | 3 |
| the act | 3 |
| tension between | 3 |
| and writing | 3 |
| be the | 3 |
| with your | 3 |
| packet of | 3 |
| on a | 3 |
| if it | 3 |
| by reveries | 3 |
| that you | 3 |
| to write | 3 |
| her in | 2 |
| you who | 2 |
| age and | 2 |
| his or | 2 |
| book as | 2 |
| what one | 2 |
| or is | 2 |
| marvel and | 2 |
| would have | 2 |
| that marvel | 2 |
| american renaissance | 2 |
| many women | 2 |
| fitz james | 2 |
| words that | 2 |
| their fantasies | 2 |
| c 16 | 2 |
| asserting their | 2 |
| wgure who | 2 |
| and susan | 2 |
| which you | 2 |
| book with | 2 |
| through a | 2 |
| as barbara | 2 |
| responses in | 2 |
| as mitchell | 2 |
| into that | 2 |
| should be | 2 |
| while three | 2 |
| in general | 2 |
| fantasy that | 2 |
| out that | 2 |
| reader can | 2 |
| they incorporated | 2 |
| james o | 2 |
| cathy davidson | 2 |
| elijah s | 2 |
| press 1999 | 2 |
| sent mitchell | 2 |
| punning on | 2 |
| when mitchell | 2 |
| in writing | 2 |
| out a | 2 |
| press 1993 | 2 |
| victor nell | 2 |
| a self | 2 |
| responded to | 2 |
| commentary on | 2 |
| his fans | 2 |
| domestic wction | 2 |
| susan k | 2 |
| group of | 2 |
| example the | 2 |
| ideal so | 2 |
| reveals his | 2 |
| he would | 2 |
| him into | 2 |
| of leisure | 2 |
| john todd | 2 |
| and from | 2 |
| and ashes | 2 |
| s pose | 2 |
| that literature | 2 |
| love knot | 2 |
| the title | 2 |
| a model | 2 |
| for them | 2 |
| reveries so | 2 |
| s anatomies | 2 |
| literary passions | 2 |
| all women | 2 |
| if you | 2 |
| plays with | 2 |
| and one | 2 |
| the word | 2 |
| and instead | 2 |
| the better | 2 |
| relationship as | 2 |
| reveries to | 2 |
| own desires | 2 |
| her family | 2 |
| asserts her | 2 |
| as one | 2 |
| be no | 2 |
| model of | 2 |
| relationship was | 2 |
| as women | 2 |
| a copy | 2 |
| he read | 2 |
| how actual | 2 |
| fluidity of | 2 |
| correspondents all | 2 |
| consciousness and | 2 |
| through your | 2 |
| but by | 2 |
| for literary | 2 |
| reveries s | 2 |
| i always | 2 |
| men embraced | 2 |
| she doesn | 2 |
| d mitchell | 2 |
| the literature | 2 |
| reading are | 2 |
| johns hopkins | 2 |
| and gentleness | 2 |
| to peer | 2 |
| with emily | 2 |
| dunn the | 2 |
| editions in | 2 |
| the packet | 2 |
| literature was | 2 |
| doesn t | 2 |
| 05t13 49 | 2 |
| preface to | 2 |
| make a | 2 |
| he made | 2 |
| a dream | 2 |
| henry s | 2 |
| to explore | 2 |
| heart which | 2 |
| j macdonald | 2 |
| out of | 2 |
| which we | 2 |
| book a | 2 |
| she read | 2 |
| yale collection | 2 |
| snyder argues | 2 |
| a middle | 2 |
| dr j | 2 |
| support her | 2 |
| harper s | 2 |
| the pure | 2 |
| have examined | 2 |
| pushed away | 2 |
| their readers | 2 |
| s ability | 2 |
| a snug | 2 |
| she also | 2 |
| a lecture | 2 |
| the rest | 2 |
| of fan | 2 |
| carrie s | 2 |
| by mitchell | 2 |
| structures of | 2 |
| not the | 2 |
| macdonald oxley | 2 |
| were so | 2 |
| represented themselves | 2 |
| to take | 2 |
| baltimore johns | 2 |
| the correspondents | 2 |
| book to | 2 |
| have the | 2 |
| more comprehensive | 2 |
| harvard university | 2 |
| to what | 2 |
| saw it | 2 |
| a little | 2 |
| least twenty | 2 |
| shaped their | 2 |
| really was | 2 |
| to justify | 2 |
| which was | 2 |
| a history | 2 |
| mary saracino | 2 |
| and amy | 2 |
| contends that | 2 |
| ik by | 2 |
| interpreters and | 2 |
| reveries from | 2 |
| them the | 2 |
| about themselves | 2 |
| daintily arranged | 2 |
| to recover | 2 |
| readers claimed | 2 |
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| by examining | 2 |
| whether ik | 2 |
| after publishing | 2 |
| uses a | 2 |
| josiah holland | 2 |
| readers wanted | 2 |
| contrasts the | 2 |
| thus she | 2 |
| readers who | 2 |
| in history | 2 |
| questioning whether | 2 |
| life she | 2 |
| while still | 2 |
| the great | 2 |
| moved by | 2 |
| illustrated edition | 2 |
| but still | 2 |
| version of | 2 |
| seen by | 2 |
| 1931 edition | 2 |
| that her | 2 |
| emerson and | 2 |
| claimed that | 2 |
| they have | 2 |
| characters mitchell | 2 |
| examination of | 2 |
| 16 sept | 2 |
| mass produced | 2 |
| produced by | 2 |
| the audience | 2 |
| and negotiated | 2 |
| to study | 2 |
| ryan next | 2 |
| reveries are | 2 |
| from mitchell | 2 |
| yet in | 2 |
| experiences of | 2 |
| the example | 2 |
| to home | 2 |
| you is | 2 |
| 1906 edition | 2 |
| that seemed | 2 |
| long time | 2 |
| how readers | 2 |
| modes of | 2 |
| desire for | 2 |
| dickinson marked | 2 |
| s the | 2 |
| a group | 2 |
| into and | 2 |
| were that | 2 |
| who has | 2 |
| and both | 2 |
| published the | 2 |
| could assume | 2 |
| a world | 2 |
| put on | 2 |
| have such | 2 |
| male sentimentalists | 2 |
| if she | 2 |
| didn t | 2 |
| equated with | 2 |
| he wrote | 2 |
| of what | 2 |
| remains a | 2 |
| had such | 2 |
| your eye | 2 |
| writers and | 2 |
| friend and | 2 |
| you will | 2 |
| through reading | 2 |
| bachelor or | 2 |
| which to | 2 |
| marginalia readers | 2 |
| to judge | 2 |
| nice matches | 2 |
| life as | 2 |
| k harris | 2 |
| face and | 2 |
| the home | 2 |
| in addition | 2 |
| attraction to | 2 |
| identity and | 2 |
| to another | 2 |
| because she | 2 |
| all that | 2 |
| saracino zboray | 2 |
| sentimental economy | 2 |
| study the | 2 |
| characters in | 2 |
| put into | 2 |
| value on | 2 |
| dream world | 2 |
| bachelor with | 2 |
| herself from | 2 |
| enigma to | 2 |
| other wction | 2 |
| to food | 2 |
| this sense | 2 |
| is still | 2 |
| sentimental literature | 2 |
| for my | 2 |
| private use | 2 |
| wrote reveries | 2 |
| you i | 2 |
| letters received | 2 |
| 5 for | 2 |
| audience as | 2 |
| eyes at | 2 |
| chicago press | 2 |
| know that | 2 |
| the public | 2 |
| dickinson and | 2 |
| difwcult to | 2 |
| a mysterious | 2 |
| as it | 2 |
| to think | 2 |
| advanced in | 2 |
| which she | 2 |
| blithedale romance | 2 |
| the feelings | 2 |
| tender rapture | 2 |
| values of | 2 |
| author in | 2 |
| to control | 2 |
| we cannot | 2 |
| where the | 2 |
| that their | 2 |
| that for | 2 |
| to understand | 2 |
| for me | 2 |
| the united | 2 |
| incorporated the | 2 |
| self refashioning | 2 |
| can t | 2 |
| control over | 2 |
| the creative | 2 |
| ik represented | 2 |
| s are | 2 |
| 53 enigma | 2 |
| kind of | 2 |
| to my | 2 |
| view them | 2 |
| in ryan | 2 |
| each other | 2 |
| have no | 2 |
| distinguish between | 2 |
| s manual | 2 |
| day world | 2 |
| dreamer and | 2 |
| the desire | 2 |
| and leisure | 2 |
| full of | 2 |
| their lives | 2 |
| reader in | 2 |
| 1 home | 2 |
| own personae | 2 |
| fantasy detached | 2 |
| s heart | 2 |
| letter in | 2 |
| by feeling | 2 |
| of wre | 2 |
| wide wide | 2 |
| s style | 2 |
| identify with | 2 |
| reviewer for | 2 |
| the idealist | 2 |
| only that | 2 |
| j zboray | 2 |
| wife s | 2 |
| many things | 2 |
| beloved author | 2 |
| to which | 2 |
| s insistence | 2 |
| man for | 2 |
| to ground | 2 |
| feeling while | 2 |
| and comfort | 2 |
| the touchstone | 2 |
| some readers | 2 |
| name of | 2 |
| construct their | 2 |
| nell smith | 2 |
| i in | 2 |
| du coeur | 2 |
| creative writers | 2 |
| assume that | 2 |
| her copy | 2 |
| beyond the | 2 |
| sort of | 2 |
| say if | 2 |
| tone of | 2 |
| from her | 2 |
| not as | 2 |
| imagination in | 2 |
| opportunity to | 2 |
| book even | 2 |
| the future | 2 |
| i was | 2 |
| dickinson family | 2 |
| dickinson new | 2 |
| to draw | 2 |
| melville s | 2 |
| held by | 2 |
| but what | 2 |
| for you | 2 |
| playing with | 2 |
| and with | 2 |
| which a | 2 |
| her work | 2 |
| a text | 2 |
| and whether | 2 |
| charles henri | 2 |
| attempted to | 2 |
| present themselves | 2 |
| try to | 2 |
| of i | 2 |
| and for | 2 |
| explore the | 2 |
| reading by | 2 |
| american fiction | 2 |
| mitchell a | 2 |
| practices as | 2 |
| charles astor | 2 |
| feelings and | 2 |
| put a | 2 |
| the need | 2 |
| of donald | 2 |
| can be | 2 |
| constructed in | 2 |
| reading is | 2 |
| like many | 2 |
| work basket | 2 |
| deep sense | 2 |
| reading see | 2 |
| a few | 2 |
| bachelor in | 2 |
| of these | 2 |
| over his | 2 |
| precisely because | 2 |
| lead to | 2 |
| that fasting | 2 |
| your heart | 2 |
| his very | 2 |
| 27 05 | 2 |
| warner s | 2 |
| ideal and | 2 |
| a particular | 2 |
| self creating | 2 |
| is now | 2 |
| facing the | 2 |
| presumed to | 2 |
| works of | 2 |
| smoke flame | 2 |
| protect their | 2 |
| lived experiences | 2 |
| on her | 2 |
| both a | 2 |
| balanced sentimental | 2 |
| revised edition | 2 |
| with this | 2 |
| of elijah | 2 |
| he did | 2 |
| a husband | 2 |
| perhaps most | 2 |
| william thompson | 2 |
| we examine | 2 |
| david leverenz | 2 |
| you know | 2 |
| different perspectives | 2 |
| bachelor new | 2 |
| be seen | 2 |
| wilmington n | 2 |
| the thrill | 2 |
| an unmarried | 2 |
| his audience | 2 |
| fantasies of | 2 |
| 2 by | 2 |
| this story | 2 |
| s correspondents | 2 |
| pleasure in | 2 |
| behind the | 2 |
| dream selves | 2 |
| an 1886 | 2 |
| they could | 2 |
| reveries had | 2 |
| them aside | 2 |
| s distance | 2 |
| speak for | 2 |
| literary world | 2 |
| america in | 2 |
| like to | 2 |
| the feeling | 2 |
| aware of | 2 |
| dunn s | 2 |
| wrote i | 2 |
| produced fantasies | 2 |
| working day | 2 |
| henri lassrnly | 2 |
| with its | 2 |
| so much | 2 |
| resulted from | 2 |
| so i | 2 |
| used him | 2 |
| reveries could | 2 |
| in book | 2 |
| and therefore | 2 |
| mode of | 2 |
| if we | 2 |
| reading as | 2 |
| the conventional | 2 |
| man he | 2 |
| and of | 2 |
| man s | 2 |
| a savvy | 2 |
| have a | 2 |
| on reading | 2 |
| into his | 2 |
| she expresses | 2 |
| an author | 2 |
| za mitchell | 2 |
| fantasies and | 2 |
| relation to | 2 |
| 38 dunn | 2 |
| or she | 2 |
| the you | 2 |
| second revised | 2 |
| reading itself | 2 |
| its own | 2 |
| looked at | 2 |
| in it | 2 |
| of work | 2 |
| a tender | 2 |
| four from | 2 |
| virginia edu | 2 |
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| passage is | 2 |
| asserted their | 2 |
| valentine message | 2 |
| a reverie | 2 |
| spinster aunt | 2 |
| from domesticity | 2 |
| dreamed of | 2 |
| stimulate feeling | 2 |
| depth of | 2 |
| their dreams | 2 |
| between mitchell | 2 |
| in particular | 2 |
| of being | 2 |
| was an | 2 |
| as heart | 2 |
| domesticity in | 2 |
| 1988 2 | 2 |
| how did | 2 |
| flame and | 2 |
| his distance | 2 |
| mitchell not | 2 |
| mitchell wrote | 2 |
| him for | 2 |
| imagining ik | 2 |
| set up | 2 |
| in promoting | 2 |
| his personal | 2 |
| a beautiful | 2 |
| at me | 2 |
| the debate | 2 |
| but insisting | 2 |
| mrs josiah | 2 |
| chariot of | 2 |
| 49 27 | 2 |
| seven and | 2 |
| mitchell uses | 2 |
| quite a | 2 |
| testify that | 2 |
| or was | 2 |
| language that | 2 |
| darnton the | 2 |
| rhetorical strategy | 2 |
| these fan | 2 |
| into their | 2 |
| statements of | 2 |
| follow up | 2 |
| monthly magazine | 2 |
| letters to | 2 |
| yet mitchell | 2 |
| them through | 2 |
| yet dickinson | 2 |
| collection of | 2 |
| elijah to | 2 |
| when the | 2 |
| student s | 2 |
| hopkins university | 2 |
| sacred works | 2 |
| women the | 2 |
| mitchell had | 2 |
| s continued | 2 |
| sentimental essay | 2 |
| feeling for | 2 |
| and making | 2 |
| an intimacy | 2 |
| would the | 2 |
| martha nell | 2 |
| but you | 2 |
| if he | 2 |
| g mitchell | 2 |
| and articulate | 2 |
| the authority | 2 |
| and melville | 2 |
| they detected | 2 |
| engages in | 2 |
| of enthusiasts | 2 |
| come to | 2 |
| 1886 edition | 2 |
| my literary | 2 |
| published in | 2 |
| up to | 2 |
| donald g | 2 |
| can also | 2 |
| while most | 2 |
| the critic | 2 |
| could really | 2 |
| that dickinson | 2 |
| were written | 2 |
| control of | 2 |
| as marvel | 2 |
| he might | 2 |
| himself as | 2 |
| dickinson 1 | 2 |
| mitchell new | 2 |
| otter melville | 2 |
| dickinson 2 | 2 |
| timon s | 2 |
| wrote back | 2 |
| even greater | 2 |
| suggest the | 2 |
| the form | 2 |
| also imaginative | 2 |
| attention to | 2 |
| though mitchell | 2 |
| of its | 2 |
| we might | 2 |
| reveries offered | 2 |
| oliver optic | 2 |
| captures the | 2 |
| morning noon | 2 |
| the fantasies | 2 |
| boundaries of | 2 |
| lay down | 2 |
| ik just | 2 |
| s reverie | 2 |
| their hearts | 2 |
| why they | 2 |
| they assumed | 2 |
| found it | 2 |
| n c | 2 |
| that was | 2 |
| n d | 2 |
| readers into | 2 |
| of him | 2 |
| by peering | 2 |
| included in | 2 |
| reading to | 2 |
| his fantasies | 2 |
| my father | 2 |
| their responses | 2 |
| with an | 2 |
| the appeal | 2 |
| typical reader | 2 |
| heart as | 2 |
| how she | 2 |
| to suggest | 2 |
| many other | 2 |
| of texts | 2 |
| a distance | 2 |
| literary messenger | 2 |
| were drawn | 2 |
| them as | 2 |
| the reading | 2 |
| these documents | 2 |
| s life | 2 |
| mitchell 56 | 2 |
| them a | 2 |
| great cat | 2 |
| dozens of | 2 |
| written by | 2 |
| and region | 2 |
| s perspective | 2 |
| of bachelorhood | 2 |
| many of | 2 |
| mary kelley | 2 |
| can determine | 2 |
| one who | 2 |
| wnds that | 2 |
| the student | 2 |
| who can | 2 |
| and snyder | 2 |
| 05 00 | 2 |
| the fluidity | 2 |
| this is | 2 |
| example of | 2 |
| imagination to | 2 |
| lecture tour | 2 |
| which reading | 2 |
| the lorgnette | 2 |
| i could | 2 |
| bachelors manhood | 2 |
| s reading | 2 |
| meaning to | 2 |
| an unknown | 2 |
| domestic novels | 2 |
| new monthly | 2 |
| reveries readers | 2 |
| as some | 2 |
| a happy | 2 |
| chapter of | 2 |
| astor bristed | 2 |
| it could | 2 |
| metaphor for | 2 |
| themselves from | 2 |
| between reader | 2 |
| or a | 2 |
| women sent | 2 |
| we see | 2 |
| the actual | 2 |
| artistic expression | 2 |
| what i | 2 |
| who could | 2 |
| as characters | 2 |
| feb 1853 | 2 |
| values she | 2 |
| love of | 2 |
| like ik | 2 |
| crucial to | 2 |
| ik for | 2 |
| between domestic | 2 |
| effects of | 2 |
| and even | 2 |
| the methodological | 2 |
| that your | 2 |
| for more | 2 |
| is almost | 2 |
| and artistic | 2 |
| the wre | 2 |
| ann douglas | 2 |
| he thought | 2 |
| he said | 2 |
| metaphor of | 2 |
| and six | 2 |
| and control | 2 |
| without having | 2 |
| north carolina | 2 |
| as interpreters | 2 |
| marvel as | 2 |
| letters mitchell | 2 |
| and feelings | 2 |
| when i | 2 |
| press 1984 | 2 |
| ik while | 2 |
| my fancy | 2 |
| brings his | 2 |
| to explain | 2 |
| letters see | 2 |
| have been | 2 |
| a metaphor | 2 |
| solitude and | 2 |
| is carrie | 2 |
| ik described | 2 |
| husband and | 2 |
| austin dickinson | 2 |
| and twenty | 2 |
| and men | 2 |
| but he | 2 |
| ronald j | 2 |
| up his | 2 |
| for what | 2 |
| ik it | 2 |
| the wife | 2 |
| you rhetoric | 2 |
| ik is | 2 |
| as carrie | 2 |
| jane tompkins | 2 |
| him in | 2 |
| s comments | 2 |
| his identity | 2 |
| celebration of | 2 |
| if his | 2 |
| 1886 as | 2 |
| directly to | 2 |
| why readers | 2 |
| but not | 2 |
| state of | 2 |
| the whole | 2 |
| reveries yet | 2 |
| and reputation | 2 |
| not feel | 2 |
| her feelings | 2 |
| imagined in | 2 |
| letters represent | 2 |
| breathed forth | 2 |
| thompson s | 2 |
| of home | 2 |
| and reality | 2 |
| and shaped | 2 |
| understand and | 2 |
| embodiment of | 2 |
| feeling to | 2 |
| of chicago | 2 |
| embraced reveries | 2 |
| snyder bachelors | 2 |
| for his | 2 |
| s new | 2 |
| a necessary | 2 |
| richard brodhead | 2 |
| upon mitchell | 2 |
| in what | 2 |
| southern literary | 2 |
| press 1989 | 2 |
| from their | 2 |
| life is | 2 |
| that once | 2 |
| over her | 2 |
| less than | 2 |
| it seems | 2 |
| evidence of | 2 |
| methodological difwculties | 2 |
| imagine themselves | 2 |
| scene of | 2 |
| women often | 2 |
| male and | 2 |
| women who | 2 |
| detachment from | 2 |
| into an | 2 |
| by writing | 2 |
| of youth | 2 |
| could make | 2 |
| beneath the | 2 |
| readers letters | 2 |
| literature and | 2 |
| and many | 2 |
| self and | 2 |
| in many | 2 |
| tie them | 2 |
| sway of | 2 |
| that one | 2 |
| themselves into | 2 |
| new editions | 2 |
| hearts and | 2 |
| american romance | 2 |
| did not | 2 |
| imagination and | 2 |
| to mrs | 2 |
| the living | 2 |
| an excellent | 2 |
| i wish | 2 |
| to each | 2 |
| machor introduction | 2 |
| asserts that | 2 |
| that might | 2 |
| reveries for | 2 |
| reading with | 2 |
| w to | 2 |
| noon and | 2 |
| that these | 2 |
| and intimacy | 2 |
| readers sent | 2 |
| narrator while | 2 |
| s identity | 2 |
| own imaginative | 2 |
| wish to | 2 |
| dreams the | 2 |
| and in | 2 |
| through my | 2 |
| it focuses | 2 |
| and private | 2 |
| action in | 2 |
| is both | 2 |
| text to | 2 |
| more on | 2 |
| the name | 2 |
| to support | 2 |
| only the | 2 |
| heart so | 2 |
| the subtext | 2 |
| create their | 2 |
| that so | 2 |
| self fashioning | 2 |
| greater value | 2 |
| i cannot | 2 |
| readers found | 2 |
| reading practices | 2 |
| a touchstone | 2 |
| and imaginative | 2 |
| bright to | 2 |
| in marriage | 2 |
| carrie asserts | 2 |
| world say | 2 |
| his copy | 2 |
| ways of | 2 |
| the century | 2 |
| thoughts of | 2 |
| even though | 2 |
| the meshes | 2 |
| male reader | 2 |
| but it | 2 |
| to passages | 2 |
| whereas the | 2 |
| interaction between | 2 |
| his persona | 2 |
| insists that | 2 |
| and out | 2 |
| and perhaps | 2 |
| he uses | 2 |
| knot that | 2 |
| mitchell wilmington | 2 |
| addition i | 2 |
| so well | 2 |
| as part | 2 |
| argue that | 2 |
| a voyeur | 2 |
| if not | 2 |
| takes on | 2 |
| to readers | 2 |
| how reveries | 2 |
| to believe | 2 |
| and coming | 2 |
| as we | 2 |
| needs to | 2 |
| a work | 2 |
| whether the | 2 |
| 48 mitchell | 2 |
| world and | 2 |
| antebellum america | 2 |
| his face | 2 |
| many times | 2 |
| he will | 2 |
| there will | 2 |
| beautiful words | 2 |
| expressing her | 2 |
| his wrst | 2 |
| united states | 2 |
| and karr | 2 |
| kindness and | 2 |
| and their | 2 |
| the fantasy | 2 |
| imagined themselves | 2 |
| argued the | 2 |
| the lamplighter | 2 |
| zboray have | 2 |
| continuing a | 2 |
| gender marital | 2 |
| cigar and | 2 |
| aunt tabithy | 2 |
| feel like | 2 |
| led to | 2 |
| he or | 2 |
| their attraction | 2 |
| to uncle | 2 |
| wide world | 2 |
| dickinson suggests | 2 |
| chicago university | 2 |
| marvellous aroma | 2 |
| to speak | 2 |
| identity in | 2 |
| the wide | 2 |
| katherine snyder | 2 |
| in letters | 2 |
| acceptance of | 2 |
| this correspondent | 2 |
| i m | 2 |
| and creative | 2 |
| the sway | 2 |
| inner life | 2 |
| dreamed up | 2 |
| eye of | 2 |
| enigma s | 2 |
| he seemed | 2 |
| the lived | 2 |
| souvenirs du | 2 |
| going to | 2 |
| her desire | 2 |
| the very | 2 |
| bachelor sentimentalism | 2 |
| s own | 2 |
| belong to | 2 |
| work made | 2 |
| dreams and | 2 |
| sept 1853 | 2 |
| ithaca cornell | 2 |
| in private | 2 |
| that readers | 2 |
| be equated | 2 |
| america new | 2 |
| dickinson this | 2 |
| was published | 2 |
| presented at | 2 |
| dream relationship | 2 |
| through which | 2 |
| will not | 2 |
| describes how | 2 |
| real readers | 2 |
| questioned whether | 2 |
| they read | 2 |
| use of | 2 |
| such questions | 2 |
| 02 05t13 | 2 |
| intimacy as | 2 |
| literature of | 2 |
| self conscious | 2 |
| you might | 2 |
| point and | 2 |
| of readers | 2 |
| s idealism | 2 |
| on their | 2 |
| antebellum american | 2 |
| body of | 2 |
| around the | 2 |
| something to | 2 |
| does not | 2 |
| at different | 2 |
| as its | 2 |
| kinds of | 2 |
| to shape | 2 |
| consider for | 2 |
| helped to | 2 |
| shifts in | 2 |
| marvel a | 2 |
| readers identify | 2 |
| what extent | 2 |
| books 250 | 2 |
| popular literature | 2 |
| to imagine | 2 |
| as emily | 2 |
| cornell university | 2 |
| of course | 2 |
| a narrator | 2 |
| and fiction | 2 |
| response in | 2 |
| embraced by | 2 |
| marvel n | 2 |
| the christmas | 2 |
| reveries but | 2 |
| mitchell himself | 2 |
| claimed the | 2 |
| were inspired | 2 |
| father s | 2 |
| sentimental language | 2 |
| then i | 2 |
| one from | 2 |
| sentimental values | 2 |
| if ik | 2 |
| the making | 2 |
| the dickinson | 2 |
| intimacy through | 2 |
| to others | 2 |
| i can | 2 |
| it all | 2 |
| the two | 2 |
| but my | 2 |
| from which | 2 |
| from his | 2 |
| scholarship on | 2 |
| with another | 2 |
| appealed to | 2 |
| historical study | 2 |
| own heart | 2 |
| from him | 2 |
| own in | 2 |
| experiments in | 2 |
| cat massacre | |
Lisa Spiro's Research Notes: Bachelor 2.0 Project 