If reading Emily Dickinson in manuscript,in print,and now in digital forms,but all stillin English,is reading her“in translation,”what might that mean?Her audiences have always been reading Dickinson in translation,as in a sense she did herself.She started by writing down and by reading aloud the poems she was imagining.Definitional overdetermination of“translate”by keeping in mind only the most frequently used connotations might well elide the fact that moving her writings from handwritten manuscripts to print erases and/or occludes some of her textual and poetic strategies.As Dickinson dwelled in“Possibility,”so might we in thinking about translation and the multiple ramifications of its meanings,being mindful that moving her work from scribal embodiment to typographical is a form of translation,and thereby take even more pleasure in her exciting poetics.After critically reviewing different definitions of“translate,”Martha Nell Smith provides an analytical overview of some differences between reading Dickinson’s writings in manuscript and print,and then between print and in digital form,where photographic surrogates of her manuscripts can be carefully perused.Doing so,Professor Smith encourages readers to take pleasure in all of the different features this various forms of presentation make possible.Also,Smith provides theoretical premises and analytical distinctions between the various presentations of several high quality,scrupulous,scholarly digital Dickinsons,revealing their possibilities and limitations. If reading Emily Dickinson in manuscript, in print, and now in digital forms, but all stillin English, is reading her “in translation,” what might that mean? Her audiences have always been reading Dickinson in translation, as in a sense she did herself.She started by writing down and by reading aloud the poems she was imagining.Definitional overdetermination of “translate ” by keeping in mind only the most frequently used connotations might well elide the fact that moving her writings from handwritten manuscripts to print erases and / or occludes some of her textual and poetic strategies. As Dickinson dwelled in “Possibility,” so might we in thinking about translation and the multiple ramifications of its meanings, being mindful that moving her work from scribal embodiment to typographical is a form of translation, and thus take more pleasure in her exciting poetics. After critically reviewing different definitions of “translate, ” Martha Nell Smith provides an analysis overview of some di fferences between reading Dickinson’s writings in manuscript and print, and then between print and in digital form, where photographic surrogates of her manuscripts can be carefully perused. Doing so, Professor Smith encourages readers to take pleasure in all of the different features this various forms of presentation make possible.Also, Smith provides theoretical premises and analytical distinctions between the various presentations of several high quality, scrupulous, scholarly digital Dickinsons, revealing their possibilities and limitations.