In Emily Dickinson and the Problem of Others, Christopher Benfey says, "This poem . . . says something about privacy, as though privacy is tied in some necessary way to what Dickinson calls ‘possibility.’ The chambers must be ‘Impregnable of Eye’ if it is truly to be a dwelling place of possibility. Prose would then correspond to the public realm" (28). Benfey suggests that privacy is necessary for Emily Dickinson's opportunity. She must be completely enclosed and away from the public realm because the public realm would only interfere with a woman's attempt to establish an identity or connect to community. The private spaces are necessary because only within them will the door of opportunity open to show her the way to the "Gambrels of the Sky--." This image suggests that for Emily Dickinson creating poetry is a journey to the spiritual world. In this world, Emily Dickinson connects to the oversoul, where the "Visitors" are the "fairest" and where everything will be transparent and clear. In the last stanza, Dickinson describes the actual "occupation" of the poet as one which allows for exploration in order to reach the oversoul. She describes this exploration when she says, "The spreading wide of my narrow Hands / To gather Paradise." Here the spreading of her narrow hands implies that as she is writing her poetry she is able to surpass all that she could have conceived of achieving. In "Difficult Writing, Difficult God: Emily Dickinson's Poems Beyond Circumference," Elisa New suggests that while many of Emily Dickinson's poems may show a qualified Transcendentalism, "I dwell in Possibility" demonstrates her belief in Transcendental philosophy: Dickinson is as capable as any Emersonian transcendentalist of writing poems of heady optimism, poems of a renewed and purified Christianity. . . . 'I dwell in Possibility' promises all in one leap the simultaneous ventilation of both poetry and religion. (6)