McNeil attempts an understanding of Dickinson by casting a diverse net of critical theories. Specifically, Derrida's theory of "difference," de Man's on "the artist," and Freud's on primary words; "dualism" philosophy; "the Orphic" poetic tradition; poets from Poe to Eliot to Ginsbergall are used as hooks to snag the ever elusive Emily. But just as she eluded her mentor, Higginson, over a century ago, Dickinson eludes contemporary critics. Though McNeil's modern anatomized reading of the poems is the exact opposite of Higginson's Victorianly obtuse rendering, it is as ineffective in capturing the truth of Dickinson's poetic genius. Dickinson is ultimately contorted by the pressure to say something different about her oft-cited themesthemes previously and more distinctly interpreted by others. Domenica Paterno, Lehman Coll., CUNY, Bronx, N.Y.