In this book, the poems bear the numbering of both scholars: Thomas Johnson (J) and Ralph Franklin (Fr). An effort has been made to preserve the punctuation, especially the dashes, and the capitalization used by the poetess. As Emily Dickinson wrote and rewrote her poems, resulting in multiple versions of a single poem, we wanted to present them according to the differences between the two collections (Johnson, 1955 / Franklin, 1999). As a poetess, Emily Dickinson possesses all the elements that classify her as one of the major poets today. This is why her influence on the significant poets of the following years is undeniable. 

In her poems, we find the exceptional idea, the original way of thinking, the uniquely perceptive view of situations, people, and nature, the ability to create vivid imagery while simultaneously revealing the hidden, the impeccable form, the adherence to meter, the internal rhythm, the personal style, the subversive perspective, the breaking of clichés, the universal theme, the classical and the modern.

Punctuation, capitalization, dashes, and ambiguities are her trademark - and each has the meaning and seal she desires. The community in which she lived her whole life knew her primarily as an eccentric figure and notable botanist. However, quietly, internally, yet screaming within her silence, she lived as she wrote - and vice versa, intensely, with everything in an extreme degree: passions, joys, sorrows, bitterness, expectations, betrayals, despair, exultation, and the pains of people and things. M.D. (From the edition)
Each of her short poems will take the reader's breath away with its sharpness and eerie beauty. The elegant white booklet from "Gialos" editions, featuring 87 of Dickinson's poems (excluding the different versions of the same poem, which the translator Maria Damoli included), is adorned with two colored pages at the beginning and end - perhaps an unintentional tribute to the purple violets that, unique amidst her beloved white, adorned her funeral. Such a "shroud" suits a poetess who, like many of her fellow female compatriots, had an obsession with death.

Translating Dickinson is more than a difficult task. Maria Damoli seeks rhythmic and melodic Greek poems, worthy of the original, without compromising form and style. When she succeeds, as is the case with the majority of the translated poems in this volume, the result inspires respect. When she struggles, she tends to prioritize form, aiming for a final beautiful poem in Greek, rather than literal fidelity - if one can conceive of such strict distinctions in Dickinson's poetry.