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07 May 2026

Absence disembodies — so does Death

Absence disembodies — so does Death
Hiding individuals from the Earth
Superstition helps, as well as love —
Tenderness decreases as we prove —

       F904, J860, 1865, sheet 8


(Note: I wrote the following essay based on the word "Superposition" in this poem where "Superstition" should have been. It has been brought to my attention by a sharp-eyed reader that this is incorrect. I made the mistake of cutting and pasting the poem from an online source without checking with the most recent source, Christanne Miller's "Poems As She Preserved Them." There are several versions online that say "superposition," but I'm going to assume they all came from one erroneous source. I like the poem better with "superposition," but oh well. It did seem like an odd left-field word. I've changed the poem back to say "Superstition," but I haven't changed the essay because I like the discussion of Superposition in the comment section. So be it. Sometimes a mistake can lead to a revelation.)


This poem is chewy like a jawbreaker. (Do you remember those? The good ones had a tart but sweet center that made all of the hard work worth it, not unlike this poem.)

Death, like any absence, takes the body away from us. This leaves us in anguish. But "superposition" and love both help us deal with this pain. 

Love is something we each have our own deep feeling for. I guess if I had to define it I would say it is the summation of feeling we have built up for a particular person. But the problem is that it's often iffy whether or not that feeling comes from attachment or concern. It's slippery.

Superposition though? What is that?

Superposition, I take it, is a position above the position, like an overlay. It is a position removed from the position of presence, left behind in the imagination. (Now days the term "superposition" is used in Quantum Mechanics, but not back in Dickinson’s time.*)

One possibility for superposition here is that you hold both the present and the past (your memory with the other person) at once. Hope might be in there too, the possibility of seeing them again someday. There may also be the idea that you are connected together in some kind of immortal sphere, beyond time. The emphasis in the second line of "Earth" helps us see "superposition" as something beyond the earth, a view from above.

The wonder is that Dickinson goes into such far out territory with this one word, as if summing up an entire theoretical understanding. It's tantalizing.

I think the clue to what superposition means can be found in the final line. 

Tenderness decreases as we prove —

When we are with someone, when we "prove" our connection through presence, then our tenderness for the other person lessens. That line alone gives us a lot to chew on. It's like the final layer of the jawbreaker, the hardest one yet. It's a line full of irony, like "Absence makes the heart grow fonder." But "tender" is a better word here than "fonder," and one that clues us into the "superposition." 

Tenderness is one of those words that shifts as you look at it. Tenderness means sensitivity. But what causes sensitivity? Pain. When we feel pain we therefore become sensitive to the pain of others. 

This is, I think, the superposition. We are in pain due to loss and therefore become more tender toward others. Conversely then, when the beloved is near we are, unfortunately, less tender. We may be in a state of bliss, but because we are, we are less aware. 

When you see that the corresponding gain of tenderness is in proportion to loss, it helps. There is a painful, but beautiful exchange.There’s a sour dramatic irony there, no doubt, but it's one that still leaves us, in the end, with something sweet too.

      -/)dam Wade l)eGraff


Schrodinger's cat, like Emily, in a superposition


* Quantum superposition is, according to Google, a fundamental principle in quantum mechanics where a photon exists in multiple states or configurations simultaneously. Instead of being in one definite state, a quantum object exists in a linear combination of all possible states, described by a wave function, until a measurement causes it to "collapse" into a single, observed result.

The poem uses "Superposition" then almost prophetically in the way that it resembles the language of quantum physics. Uncertainty sustains Love. Proof collapses possibility.

17 comments:

  1. A trip! Some supplementary notes:

    Absence disembodies — so does Death
    Hiding individuals from the Earth

    -- The dead are only hiding. Also interesting is that absence hides individuals from the Earth. Like, Emily (or you) = Earth.

    Superposition helps, as well as love —

    -- Superposition! For this to resolve the disembodiement problem, it seems like we have to get to something like quantum metaphysics. Nuts! Also, love is not defined as quantum metaphysics, but they are substitutable.

    Tenderness decreases as we prove —

    -- Tenderness (with all of the cool double-sidedness that Adam points out) decreases what? Disembodiment? Or the helping powers of love and superposition? I think both. That would be the superimposed answer. It must be so.

    I dunno. Superposition seems like such a unifying concept for ED's poems. Like she's written the poetry of superposition.

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  2. great supplementary notes, Nate. Dig the earth as you, and death as hidden ideas. Superposition as "resolve the disembodiment problem" in relation to quantum mechanics is anachronistic, but awesome.

    I read "tenderness" itself is what is being decreased by proving. But your take of the line is intriguing.

    The poetry of superposition. Good title.

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  3. Not Quantum Physics. Quantum Meta-Physics. Like, Emily's philosophy of poetic reality has superposition baked in. Like, we don't seed to shrink down to subatomic particles for ordinary things to be fundamentally non-intuitive-to-the-point-of-impossible-seeming.

    The Emily-as-Earth thing gets us back to that "Her sovereign People" bizz about the people-ish fallibility of Nature. And I think also to a Whitmanian self.

    I dunno. It's crazy how she make these little knots of poetry so wide open. We can rock up in the post-atomic age and see superposition, and and recognize it immediately for what it couldn't have been, and everything still checks out.

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  4. The final line of this poem (“Tenderness decreases as we prove —”) sent me scrambling to find an earlier poem of Dickinson’s, which at first I recalled only vaguely.

    Something about love decreasing in a constant ratio? I had a memory of Dickinson incongruously applying mathematical terms to affairs of the heart.

    So I searched for Emily Dickinson poems with the word “ratio” in them (there are a number of them, all interesting). And I found it! It’s F78, “As by the dead we love to sit.”

    The first stanza of this poem is about the feeling of heightened attachment to the newly dead. But then the second stanza of this early poem surprises its readers with a prediction that this attachment may well decrease over time:

    In broken mathematics
    We estimate our prize
    Vast—in its fading ratio
    To our penurious eyes!

    I recommend reading F78 too, as an echo of this one written six years later.

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  5. Once again your encyclopedic memory comes to serve.
    Broken mathematics indeed. That "vast" seems to point to both the prize and the fading. There is a difference in 6 years, part of the ratio no doubt...

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  6. So funny, but it troubles me when I reread what I wrote and see that I recommended the early poem as an “echo” of the later one...

    HOW CAN THE EARLIER POEM BE AN ECHO OF THE ONE SIX YEARS LATER? says the voice in my head. (Apparently the voice in my head is really hard on me.)

    So may I please amend the end of my comment to suggest that the early one is the original cry in the canyon. And F904 the echo.

    Yeah, “vast” works as a classic “sliding modifier” in this poem, doesn’t it, Adam? It’s a term I believe you invented, and which I find invaluable to keep in mind when reading Dickinson. What’s amazing — I believe you pointed this out many poems ago — is that she makes the noun(s) being modified work either way. That’s what makes me think it has to be intentional. Are there other poets who do this? It’s such a powerful technique in the way it keeps us guessing between alternate readings of the same words, opening a space for contradiction and multitudes, that is, life.

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    1. Hey Tom. Amended. (Though I think in a poetry of superposition you could have reverse echoes?)

      I agree it is very helpful to tune into that "sliding modifier" thing when reading Dickinson. (Yes, my term, though maybe there's another one out there, some fancy Latin or Greek term I don't know about. At any rate, there needed to be a name for it and now that you've used it, it's official.) I also agree that Dickinson does it so often that it must be on purpose. A few times might be an accident, but dozens, no. It does make her poems very tough to pin down, but also opens them up as you say. (Like a Superposition!) Other poets make this move, though most often it's an entire line that modifies the sentence below or above.

      A great example of this is in Terrance Hayes' poem, The Golden Shovel, where the phrase "a shadow knocked straight" modifies the lines before and after it. Hayes uses enjambment and line break to pull this off. Here are the lines...

      "Standing in the middle of the street last night we

      watched the moonlit lawns and a neighbor strike
      his son in the face. A shadow knocked straight

      Da promised to leave me everything"

      One shadow knocked straight in turn knocks another one straight, all accomplished with one line that you have to read twice. Hayes, it should be said, is a huge fan of Dickinson.

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  7. reading in the Miller edition, the ideas here feel connected to the preceding poem on that sheet, “A Doubt if it be Us.” The line, “That makes the living possible / While it suspends the lives.”

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    1. Thanks, Adam. That's super helpful to see the poem on the same sheet's connection. I think I see the connection you are making. Can you elaborate?

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    2. To mean, it seems like Emily is grappling with the same subject matter in each poem - coming at it from a slightly different angle - more direct at first "Just do what one needs to do to keep on living" - then more obtusely, "Superposition - finding a way to keep my loss present and hovering above daily life - even if it means being less PRESENT." The Superposition suspends the memory of the departed 'in the air,' to be omnipresent, while this process also "suspends the life" of those who remain.

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    3. funnily enough .... this connection appeared to me as I was digging through to find this poem in the published editions - before I noticed that it was in fact YESTERDAY's covered poem on the blog.

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  8. Are you sure about the word “Superposition”? I just noticed that my Franklin edition says “Superstition”, and I checked Miller too — it has “Superstition” as well.

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    1. Oh wow, that's a big difference! Yeah, since I don't have access to the original MS I'm going to have to go with Miller's scholarship here, since it is the newest.

      Sometimes there is more than one version of the poem, but I have no reason to suspect so here. Too bad, I loved "superposition."

      "Superstition" has an archness to it, but not as interesting to think about!

      Thank you so much for bringing it to our attention.

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    2. I changed the poem, but left the essay alone. In the future I will double check with the Miller first.

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  9. Superposition was not really fitting in the Dickinson universe but I loved all the discussion here. It sent me scrambling to the online resources on quantum physics and Schrodinger's cat. Thank you for the education and thank you for leaving the essay and comments unchanged!!! But I like the word superstition also. I think it means faith here. Emily equating superstition with faith can also inspire heated discussions I think. I think she's saying love and faith help us to deal with the beloved's absence. The extreme hurt and tenderness we feel heals over time and love and faith remain.

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    1. You're welcome and thank you for the nod of confidence. I was very tempted to take the whole essay down, but didn't want to lose Nate, Tom and Adam's comments.

      You may be right about superstition meaning faith. I took it to mean that our irrational beliefs help us deal with loss. But maybe in the 1800s it didn't yet have the connotation of irrational belief. Interestingly the etymology of the word superstition is formed from super- (meaning "above," "over," or "upon") and stare (meaning "to stand"). Combined, they literally translate to "standing over" or "standing on top of," so it's actually pretty close to superposition.

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    2. The history of the word superstition is pretty interesting! Wikipedia has a good discussion of it. https://en.wikipedia.org/wiki/Superstition

      I think Dickinson is probably using the word here as an arch term for faith. In many poems she contemplates the unknowability of the afterlife, including an upcoming poem, F907, which ends with these lines,

      Parting with a World
      We have understood, for better
      Still to be explained.

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