In 1985, the American poet and essayist Susan Howe deftly jettisoned any pretensions to objectivity in the field of literary analysis with her ground-breaking critical work My Emily Dickinson. The possessive pronoun in Howe’s title says it all: when a writer’s work goes out to its readers, it reignites in any number of imaginative and emotional contexts. What rich and varied screens we project onto everything we read.