¹ The Oxford English Dictionary defines metaphor in the first instance as: 1. A figure of speech in which a name or descriptive word or phrase is transferred to an object or action different from, but analogous to, that to which it is literally applicable; an instance of this, a metaphorical expression.

² A supplementary document containing images from the three films can be viewed at http://dx.doi.org/S0021875813001953.

³ Bayley and Hanna, email conversation, 8 June 2013.

⁴ Ashworth, Joan, Textures of Reality International Animation Symposium (London: National Film Theatre Programme, Feb. 2004)Google Scholar.

⁵ Quoted in Connors, Kathleen and Bayley, Sally, eds., Eye Rhymes: Sylvia Plath's Art of the Visual (Oxford: Oxford University Press, 2007), 69Google Scholar.

⁶ Quoted in Connors and Bayley, 69.

⁷ Bayley and Hanna, email conversation, 29 May 2013.

⁸ Sylvia Plath: Collected Poems, ed. Hughes, Ted (London: Faber & Faber, 1981), 303Google Scholar.

⁹ Machosky, Brenda, ed., Thinking Allegory Otherwise (Stanford: Stanford University Press, 2010)Google Scholar.

¹⁰ Angus Fletcher, “Thinking Allegory,” in Machosky, 10.

¹¹ We are indebted to Tom Simmons for reminding us of this essential structure of thought and representation in the work of Plath, Dickinson and Crane.

¹² Sylvia Plath: Collected Poems, 331.

¹³ The Letters of Emily Dickinson, ed. Johnson, Thomas H. and Ward, Theodora (Cambridge, MA: The Belknap Press of Harvard University Press, 1958)Google Scholar, L 268, hereafter cited by letter number parenthetically in the text.

¹⁴ Connors and Bayley, 112.

¹⁵ Bayley and Hanna, email conversation, 18 May 2013. Much of the thinking around this idea of offscreen worlds comes from this discussion.

¹⁶ Sylvia Plath Mss. II, Lilly Library, Indiana University (c.1945–46). See also Connors and Bayley, 70–73.

¹⁷ Sylvia Plath: Collected Poems, 304.

¹⁸ Attali, Jacques, Noise: The Political Economy of Music, trans. Massumi, B. (Minneapolis: University of Minnesota Press, 1985), 6Google Scholar.

¹⁹ McFarland, Thomas, “The Place beyond the Heavens: True Being, Transcendence, and the Symbolic Indication of Wholeness,” Boundary 2, 7, 2 (Winter 1979), 283–317CrossRefGoogle Scholar, 284.

²⁰ The Poems of Emily Dickinson: The Variorum Edition, ed. Franklin, R. W. (Cambridge, MA: Belknap Press, 1998)Google Scholar. Citation by poem number. Hereafter the number of the poem will be cited in the text in parentheses.

²¹ McFarland, “The Place beyond the Heavens,” 284–85, calls this the “meontic mode”: what in forms of art is not there in reality, what can only be imagined.

²² Browne, Thomas, Sir Thomas Browne's Works: Religio medici. Pseudodoxia epidemica, books 1–4 (London: William Pickering, 1835), 21Google Scholar.

²³ A definition provided by McGilchrist, Iain in The Master and His Emissary: The Divided Brain (New Haven: Yale University Press, 2009), 116Google Scholar.

²⁴ Bianchi, Martha Dickinson, Emily Dickinson Face to Face (Boston: Houghton Mifflin Company, 1932), 66Google Scholar.

²⁵ Ralph Waldo Emerson, “Nature,” in Nature; Addresses and Lectures (1849), available at www.emersoncentral.com/natureand.html.

²⁶ Plath, Sylvia, Crossing the Water, Ariel (New York: Harper Perennial, 1981), 190Google Scholar.

²⁷ Paul Hillier, liner notes to Harmonia Mundi, CD HMU 807408 (2007); Simmons, Bayley and Hanna email discussion, 16 June 2013.

²⁸ Cited by Howe, Susan in “These Flames and Generosities of the Heart: Emily Dickinson and the Illogic of Sumptuary Values,” in Howe, , The Birth-Mark: Unsettling the Wilderness in American Literary History (Middletown, CT: Wesleyan University Press, 1993)Google Scholar; PEPC edn (2005) available at http://writing.upenn.edu/library/Howe.

²⁹ Small, Judy Jo, Positive as Sound: Emily Dickinson's Sound (Athens and London: University of Georgia Press, 1990), 36Google Scholar.

³⁰ McGilchrist, 116.

³¹ Ibid., 115–17.

³² Gordon, Lyndall, Lives Like Loaded Guns (London: Virago Press 2010), 82Google Scholar.

³³ Saltz, Laura, “The Magnetism of a Photograph: Daguerrotypy and Margaret Fuller's Conception of Gender and Sexuality,” ESQ: A Journal of the American Renaissance, 56, 2 (2010), 106–34, 110CrossRefGoogle Scholar.

³⁴ Heginbotham, Eleanor Elson, Reading the Fascicles of Emily Dickinson: Dwelling in Possibilities (Columbus: Ohio State University Press, 2003), xGoogle Scholar.

³⁵ Crane, Hart, Complete Poems and Selected Letters, ed. Hammer, Langdon (New York: The Library of America, 2006), 33–34Google Scholar.

³⁶ “A Letter to Harriet Monroe,” 1926, in ibid., 165–69.

³⁷ Reed, Brian, Hart Crane: After His Lights (Tuscaloosa: University of Alabama Press, 2006), 98–123Google Scholar. Reed references John Unterecker's biography Voyager: A Life of Hart Crane (New York: Farrar, 1969) to describe Hart Crane's practice of composing phrases whilst listening to musical 78s that he played loudly and repetitively on his Victrola.

³⁸ Crane, 33–34.

³⁹ Shakespeare, William, Shakespeare's Sonnets, ed. Duncan-Jones, Katherine, Shakespeare, Arden:Third Series (2007)Google Scholar.

⁴⁰ Crane, 128.

⁴¹ McGilchrist, The Master and His Emissary, 73.