Faderman uses the letters between poet Emily Dickinson and her friend and later sister-in-law Sue Gilbert to show how love between women, understood as nonsexual romantic friendship, was accepted as normal at the time, and only later thought of as deviant:
Emily's love letters to Sue were written in the early 1850s. Bianchi's [Martha Dickinson Bianchi, her niece] editions appeared in 1924 and 1932. Because Bianchi was Sue's daughter, she wished to show that Emily relied on Sue, that Sue influenced her poetry, and that the two were the best of friends. But working during the height of the popularization of Sigmund Freud, she must have known to what extent intense friendship had fallen into disrepute. She therefore edited out all indications of Emily's truly powerful involvement with her mother.
Following is an excerpt of the examples of censorship that Faderman cites: The 1924/1932 editions of Dickinson's letters include a letter dated June 11, 1852, from Emily, saying:
...Susie, forgive me darling, for every word I say, my heart is full of you, yet when I seek to say something to you not for the world, words fail me. I try to bring you nearer...
The original letter reads:
...Susie, forgive me darling, for every word I say, my heart is full of you, none other than you in my thoughts, yet when I seek to say something to you not for the world, words fail me. If you were here— and Oh that you were, my Susie, we need not talk at all, our eyes would whisper for us, and your hand fast in mine we would not ask for language... I try to bring you nearer...
Those who favor the homosexual interpretation might argue that Dickinson would feel no need to censor any sort of relationship in a private love letter, even if the relationship was taboo at the time. Faderman's position is that the originals were not destroyed because they were not taboo at the time.
