Bravo to Christopher Looby for recognizing the importance of these diaries and bringing them to our attention. Higginson's thoughts and feelings about war and the men under his command unfold to portray a quiet hero. Against the dual backdrops of military horror and social conflict, Higginson's discussions of his men and his relationships with them are sensitive and surprising. Letters to his family offer an interesting glimpse of family roles while underscoring Higginson's essential humantity.

Looby's notes provide thoughtful comment. Stunning job. This is an excellent book.

Several years ago I urged John Seelye to edit this work for Penguin. A couple of years after that, he asked me to do it instead, and I did. This is a remarkable book about a literate Yankee (Higginson "discovered" the poet Emily Dickinson) who "discovers" the South. It's also "about" Black soldiers in a white war, white officers in a Black regiment, self-discovery, rivers, and hope. Much of the imagery and characterization in the movie GLORY seems to have been lifted from this book: it is, after all, a first-hand narrative of war by an idealist sorely tested by politics and physical hardship. Higginson's writing of the book is in part his attempt to deal with what today we would call Post-Traumatic-Stress Disorder, and it is no wonder that the tone sometimes reminds the reader of Hemingway's "Big Two-Hearted River." Because the teller of this story emerges as an interesting person per se, this edition includes some of his other essays, ranging from his fascination with slave rebellion to his appreciation for poetry.

Howard Meyer is to be commended for his efforts at rescuing T. W. Higginson from the dustbin of history. All Americans, and especially African Americans, should know something of him. Clergyman, historian, author, early women's rights supporter, abolitionist, Colonel in the Union Army, T.W.H is a man worth knowing about - a true intellectual man of action. I have read Meyer's earlier works on T.W.H and benefited from them.

While browsing at a brick & mortar bookstore yesterday evening I came across Mr. Meyer's new book and casually fanned through it. I was horrified to see that the only (I think) photograph published within the book is that of a young college-age Wentworth, with unattractively long hair, and the look of an idle popinjay: imagine, if you will, a combination of Oscar Wilde and Virginia Woolf (and actually more of the latter). Howard, what in God's name were you thinking of?

To potential readers: purchase the book and learn about a man of high caliber who not only talked the talk but walked the walk. If you agree with me about the photograph, excise it and mail it back to the publisher. Mr. Meyer's editor may thereby profit from the experience.

If you want to read Emily Dickinson's poetry in their original form and you want to discover the incredible vitality of this poet's intellect, imagination, and artistic skill, don't buy this book. The poems in this collection are "improved" versions of the original poems which can be found in other available editions. Moreover, the selections include most of ED's least interesting work. When ED died two people selected some of her poems and prepared them for publication by adding punctuation, altering words, and even omitting words, lines, and whole stanzas so that the polite readers of her day would find ED's poems more palatable and less offensive.

Emily Dickinson lived her life in a solitary room; a place where she found amazing insight writing letters an poems. She marks her verses with simple phrases that show the reader a vision and not its personal interpretation. In some cases she puts into words what most of us attempt to capture with our thoughts. This extraordinary skill is a mark of only the best poets, but not all can write consistently as Emily can. Despite the mellow tone of the majority of her work, Emily still captures the flavor of life without compromising its tranquility. Emily never suffers from redundant confusion and her poems reflect a love for solitary beauty.

Just as a prism breaks up light into a band of colors - red, orange, yellow, green, blue, indigo and violet - and their infinite gradations, so do Emily Dickinson's poems become, as it were, a prism which captures the white light of reality, a reality which as it flows through the prism of her poem explodes into a multiplicity of meanings.

It is the rich suggestiveness of her poems, a suggestiveness which generates an incredible range of meanings, that prevents us from ever being able to say (to continue the metaphor) that a given poem is 'about red' or 'about blue,' because her poems, as US critic Robert Weisbuch has observed, are in fact about _everything_. This is what makes her so unique, and this is why she appeals to every kind of reader (or certainly to open-minded ones) and even to children.

Emily Dickinson's poetry is one of the wonders of the world.