Starting from the famous controversy connected with the publication of Emily Dickinson’s manuscripts, this article sets out to explore how the originals were finally restored to the author’s intent. A brief analysis of the first Italian translations followed by some of the most recent attempts will prove that new translations of Dickinson’s output are still necessary.

In her book Anna Ziębińska-Witek deals with a question of displaying and interpreting the experience of communism in various historical exhibitions in Central and Eastern Europe. The book enables the readers to get acquainted with analysis of historical discourses concerning contemporary history conducted neither in form of sophisticated monographies, nor in form of superficial press commentaries, but basing on such an unique media as historical exhibitions. Ziębińska-Witek stresses here the fact that museums are more often than not instruments of the politics of memory than a method of disseminating objective historical knowledge. Therefore she analyses and deconstructs various types of exhibitions: those stressing heroism, those underlining martyrdom, and, finally, those with a gadget-focused sentimental approach. Although it is hard to speak about one single interpretation of communism in historical exhibitions in Central and Eastern Europe, Ziębińska-Witek points out that in all Central and Eastern European countries the dominant role is played by large, stateowned museums.