This essay traces two major trajectories in Dickinson criticism focused on sexuality: the lesbian-feminist lineage that underpins a great deal of modern scholarship on the poet and, more recently, queer studies’ understanding of her work. It examines analyses of Dickinson’s life and poetry, including popular-culture representations from memes to the recent film Wild Nights with Emily. Demonstrating what a lesbian/female-female homoerotic critical lens makes possible, this essay puts alongside these readings an account of Dickinson’s “spinster poetics” and the ways some of her poems represent alternative forms of sociality and erotic relation.