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Emily Dickinson

We never know how high we are

Fiction | Poem | Adult | Published in 1880

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Further Reading & Resources

Related Poems

Im Nobody! Who are you?” by Emily Dickinson (ca 1861)

Like “We never know how high we are,” this poem is something of a puzzle. Dickinson upends conventions about what it means to be a somebody and a nobody. In Dickinson’s world, the two switch places. It’s greater to be nobody than somebody. A nobody is a somebody, and a somebody is a nobody. This poem spotlights the depth of Dickinson's trickiness and subversiveness. Read alongside "We never know how high we are," this poem helps demonstrate why a straightforward interpretation of heroism is hard to pull off. As with a nobody and a somebody, a hero can be a number of things.

The Brain—is wider than the Sky” by Emily Dickinson (ca 1862)

This poem supports a reading of “We never know how high we are” in which Dickinson casts off the warping cubits. In “The Brain—is wider than the Sky,” Dickinson declares that the human mind is larger than the sky, deeper than the sea, and equal to the weight of God. What lifts a person to great heights isn’t their stature but their brain. To live like a king, a person must build their mental powers, not their reputations. Only those incapable of building up their brains find themselves warped by physical limitations.

The Man-Moth” by Elizabeth Bishop (1946)

Elizabeth Bishop is a well-known American poet. This poem often pops up in poetry anthologies intended for children. A typo in a New York Times article inspired the title and topic. Instead of “mammoth,” the article wrote “man-moth.” Bishop turns the man-moth into a creature who tries to scale buildings and reach great heights. Like Bishop’s man-moth, Dickinson’s hero aims to ascend to higher terrain. Similar to Dickinson’s humans, Bishop’s man-moth confronts constraint and warping.

Further Literary Resources

Thus Spoke Zarathustra by Friedrich Nietzsche (1883)

The German philosopher Friedrich Nietzsche is famous for his concept of the ubermensch or, in English, “superman.” For Nietzsche, the ideal goal for a person is to free themselves from the laws and conventions of society and lead a boundless, daring, and adventurous life. Nietzsche’s superman connects to Dickinson’s hero, who isn’t afraid to cast aside the cubits, live like a king, and reach the sky.

My Emily Dickinson by Susan Howe (1985)

Susan Howe’s study of Dickinson removes her from the realm of an oppressed woman and treats her isolation from society as a form of empowerment. Howe sees Dickinson in the context of poets like Robert Browning and stringent early American figures like Jonathan Edwards. Howe thinks of Dickinson’s poetry as a continuation of the trials and tribulations of the Puritans and the wilderness that they had to navigate. With Howe’s work, “We never know how we are” becomes a poem about predestination and fate.

Sexual Personae by Camille Paglia (1990)

Camille Paglia devotes considerable space to Emily Dickinson in her study of Western artists, culture, and sexuality. Like Susan Howe, Paglia contests the “conventional feminist critique” of Dickinson. Paglia doesn’t present Dickinson as “hemmed in on all sides by respectability and paternalism” but as an aggressive, sadistic, brutal force. In Paglia's interpretation, Dickinson isn’t a victim but a predator who doesn’t think twice about subjecting God and Jesus to “contemptuous witticisms.” With Paglia’s reading in mind, Dickinson comes across as a startling antihero not all confined by physical limitations.

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