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The tensed poem, "Before I got my eye put out," shows Dickinson struggling with the post-rupture reduction of multiple time-zones to the crucial two: Before and After. All other moments must be crowded into the bare two categories, "Before" and "After," rather than appear in the and then's of even sequencing.

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In addition to her poems of a philosophic present, the gnomic mixture of tenses into a single complex formation clustered around a catastrophe, as in a single-quatrain poem about having said a normal goodbye to a person who, shortly afterward, died

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Dickinson's melodrama of imagining her own posthumous state fades (thought it never disappears) in favor of looking on things from "God's" vantage point, from which life and death are seen under the rubric of timeless moral vision.

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This late poem shows what a strong hold chromatic sequence retained on Dickinson's imagination; she would rather run it backward in fantasy than lose it altogether. n spite of such evasions, death makes sequence meaningless

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Dickinson's emotional crises, in which a soul of intense sensitivity, hoping to find stability in religion or love, is brought to grief by some unidentifiable calamity, sometimes represented as an inner death, which leads almost to madness

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"I felt a Funeral in my Brain," written in a posthumous voice. It ought to find a terminus to its sequence, because it retells the break as the speaker's funeral

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Dickinson writes many poems recounting fracture of all serene or predictable forms of serial plot.

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Dickinson's chromatic scale, which aims to exhaust each possibility within seriality, bares the hidden anxiety behind its construction

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Her compulsion to a chromatic form of thinking is what Dickinson herself called, in an early poem, "Notching the fall of the even sun" ["Bound--a trouble--"; "240"; 1861]

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Her work has been called metaphysical, philosophical, theological

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Her early poems tend to believe not only that all roads have an end, but also that "all roads" have "A 'Clearing' at the end"

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Dickinson's emotional crises, in which a soul of intense sensitivity, hoping to find stability in religion or love, is brought to grief by some unidentifiable calamity, sometimes represented as an inner death, which leads almost to madness

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Her main themes are based on how she dwells much on nature's appearances, death's certainty, and an uncertain immortality

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Her structures she channels our reactions, adjusts our pace to hers

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Dickinson's invention of structures mimic the structure of life as she at any moment conceives it.