Emily Dickinson

I went to Heaven

I WENT to heaven,—
'T was a small town,

ruby lighting

Not golden streets—a single ruby light source. Heaven as intimate chamber, not grand architecture.

Lit with a ruby,
Lathed with down.
Stiller than the fields
At the full dew,
Beautiful as pictures
No man drew.
People like the moth,
Of mechlin, frames,

mechlin lace

Mechlin is Belgian bobbin lace, delicate and expensive. The people aren't just moth-like—they're dressed in the finest materials.

Duties of gossamer,
And eider names.

almost contented

The poem's turn. After describing heaven, she admits she could only be *almost* happy there—a stunning reversal.

Almost contented
I could be
'Mong such unique
Society.
Source Wikipedia Poetry Foundation

Reading Notes

Heaven as Disappointment

Dickinson reimagines heaven as a small town—the opposite of the vast, glorious New Jerusalem promised in Revelation. This isn't satire; it's domestic reduction. Her heaven has the scale and stillness of Amherst, Massachusetts, where she spent her entire life.

The poem builds through increasingly fragile materials: down, dew, gossamer, eider. Each image is softer than the last. The people are compared to moths (drawn to that ruby light), their duties made of cobweb, their very names as light as eider down. Everything is weightless, insubstantial.

Then the final stanza drops its bomb: "Almost contented." After describing heaven in careful detail, she admits she could only be *almost* happy there. Not "I would be" but "I could be"—conditional, hesitant. The word "unique" carries a sting: this society is singular, yes, but also strange, isolated. For a poet who chose isolation in life, even heaven's seclusion might be too much.

Dickinson's Heaven Poems

CONTEXT Dickinson wrote multiple poems interrogating heaven, often with skepticism. She lost her Calvinist faith young but remained obsessed with immortality. Her heaven poems rarely celebrate—they question, doubt, reimagine.

This poem uses ballad meter (alternating 8 and 6 syllable lines), the form of hymns and nursery rhymes. But notice the slant rhymes: down/dew, frames/names, be/Society. Nothing quite matches. Even the poem's music suggests heaven doesn't fulfill its promises.

The present tense matters: "I went" shifts immediately to present description. She's reporting back from a vision or thought experiment. The tone is observational, almost clinical—noting details like a traveler taking notes, not a believer in ecstasy.