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Offers advice on writing essays about the poetry of Walt Whitman and lists sample topics.
Pulitzer Prize–winning poet C. K. Williams's personal reflection on the art of Walt Whitman In this book, Pulitzer Prize–winning poet C. K. Williams sets aside the mass of biography and literary criticism that has accumulated around Walt Whitman and attempts to go back to Leaves of Grass as he first encountered it—to explore why Whitman's epic "continues to inspire and sometimes daunt" him. The result is a personal reassessment and appreciation of one master poet by another, as well as an unconventional and brilliant introduction to Whitman. Beautifully written and rich with insight, this is a book that refreshes our ability to see Whitman in all his power.
NEW YORK TIMES BESTSELLER • NAMED ONE OF THE BEST BOOKS OF THE YEAR BY THE WASHINGTON POST AND KIRKUS REVIEWS Hailed as “the indispensable critic” by The New York Review of Books, Harold Bloom—New York Times bestselling writer and Sterling Professor of Humanities at Yale University—has for decades been sharing with readers and students his genius and passion for understanding literature and explaining why it matters. Now he turns at long last to his beloved writers of our national literature in an expansive and mesmerizing book that is one of his most incisive and profoundly personal to date. A product of five years of writing and a lifetime of reading and scholarship, The Daemon Knows may be Bloom’s most masterly book yet. Pairing Walt Whitman with Herman Melville, Ralph Waldo Emerson with Emily Dickinson, Nathaniel Hawthorne with Henry James, Mark Twain with Robert Frost, Wallace Stevens with T. S. Eliot, and William Faulkner with Hart Crane, Bloom places these writers’ works in conversation with one another, exploring their relationship to the “daemon”—the spark of genius or Orphic muse—in their creation and helping us understand their writing with new immediacy and relevance. It is the intensity of their preoccupation with the sublime, Bloom proposes, that distinguishes these American writers from their European predecessors. As he reflects on a lifetime lived among the works explored in this book, Bloom has himself, in this magnificent achievement, created a work touched by the daemon. Praise for The Daemon Knows “Enrapturing . . . radiant . . . intoxicating . . . Harold Bloom, who bestrides our literary world like a willfully idiosyncratic colossus, belongs to the party of rapture.”—Cynthia Ozick, The New York Times Book Review “The capstone to a lifetime of thinking, writing and teaching . . . The primary strength of The Daemon Knows is the brilliance and penetration of the connections Bloom makes among the great writers of the past, the shrewd sketching of intellectual feuds or oppositions that he calls agons. . . . Bloom’s books are like a splendid map of literature, a majestic aerial view that clarifies what we cannot see from the ground.”—The Washington Post “Audacious . . . The Yale literary scholar has added another remarkable treatise to his voluminous body of work.”—The Huffington Post “The sublime The Daemon Knows is a veritable feast for the general reader (me) as well as the advanced (I assume) one.”—John Ashbery “Mesmerizing.”—New York Journal of Books “Bloom is a formidable critic, an extravagant intellect.”—Chicago Tribune “As always, Bloom conveys the intimate, urgent, compelling sense of why it matters that we read these canonical authors.”—Kirkus Reviews (starred review) “Few people write criticism as nakedly confident as Bloom’s any more.”—The Guardian (U.K.)
Walt Whitman is widely regarded as one of the masters of American poetry. Here are collected his finest poems, a perfect companion for any fan of Whitman's work.
For the Whitman bicentennial, a delightful keepsake edition of the incomparable wisdom of America's greatest poet, distilled from his fascinating late-in-life conversations with Horace Traubel. Toward the end of his life, Walt Whitman was visited almost daily at his home in Camden, New Jersey, by the young poet and social reformer Horace Traubel. After each visit, Traubel meticulously recorded their conversation, transcribing with such sensitivity that Whitman’s friend John Burroughs remarked that he felt he could almost hear the poet breathing. In Walt Whitman Speaks, acclaimed author Brenda Wineapple draws from Traubel’s extensive interviews an extraordinary gathering of Whitman’s observations that conveys the core of his ethos and vision. Here is Whitman the sage, champion of expansiveness and human freedom. Here, too, is the poet’s more personal side—his vivid memories of Thoreau, Emerson, and Lincoln, his literary judgments on writers such as Shakespeare, Goethe, and Tolstoy, and his expressions of hope in the democratic promise of the nation he loved. The result is a keepsake edition to touch the soul, capturing the distilled wisdom of America’s greatest poet.
One of the Greatest Poems in American Literature Walt Whitman (1819-1892) was considered by many to be one of the most important American poets of all time. He had a profound influence on all those who came after him. “Song of Myself”, a portion of Whitman’s monumental poetry collection “Leaves of Grass”, is one of his most beloved poems. It was through this moving piece that Whitman first made himself known to the world. One of the most acclaimed of all American poems, it is written in Whitman’s signature free verse style, without a regular form, meter, or rhythm. His lines have a mesmerizing chant-like quality, as he sought to make poetry more appealing. Few poems are as fun to read aloud as this one. Considered to be the core of his poetic vision, this poem is an optimistic and inspirational look at the world in 1855. It is exhilarating, epic, and fresh in its brilliant and fascinating diction and wordplay as it tries to capture the unique meaning of words of the day, while also embracing the rapidly evolving vocabularies of the sciences and the streets. Far ahead of its time, it was considered by many social conservatives to be scandalous and obscene for its depiction of sexuality and desire, while at the same time, critics hailed the poem as a modern masterpiece. This first version of “Song of Myself” is far superior to the later versions and will delight readers with the playfulness of its diction as it glorifies the self, body, and soul. “I am large, I contain multitudes,”
Presents a selection of important older literary criticism of selected works by Walt Whitman.
In this, his most comprehensive and accessible study of influence, Bloom leads readers through the labyrinthine paths which link the writers and critics who have informed and inspired him for so many years.
“The great poems, plays, novels, stories teach us how to go on living. . . . Your own mistakes, accidents, failures at otherness beat you down. Rise up at dawn and read something that matters as soon as you can.” So Harold Bloom, the most famous literary critic of his generation, exhorts readers of his last book: one that praises the sustaining power of poetry. "Passionate. . . . Perhaps Bloom’s most personal work, this is a fitting last testament to one of America’s leading twentieth-century literary minds."—Publishers Weekly “An extraordinary testimony to a long life spent in the company of poetry and an affecting last declaration of [Bloom's] passionate and deeply unfashionable faith in the capacity of the imagination to make the world feel habitable”—Seamus Perry, Literary Review "Reading, this stirring collection testifies, ‘helps in staying alive.’“—Kirkus Reviews, starred review This dazzling celebration of the power of poetry to sublimate death—completed weeks before Harold Bloom died—shows how literature renews life amid what Milton called “a universe of death.” Bloom reads as a way of taking arms against the sea of life’s troubles, taking readers on a grand tour of the poetic voices that have haunted him through a lifetime of reading. “High literature,” he writes, “is a saving lie against time, loss of individuality, premature death.” In passages of breathtaking intimacy, we see him awake late at night, reciting lines from Dante, Shakespeare, Milton, Montaigne, Blake, Wordsworth, Hart Crane, Jay Wright, and many others. He feels himself “edged by nothingness,” uncomprehending, but still sustained by reading. Generous and clear‑eyed, this is among Harold Bloom’s most ambitious and most moving books.