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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.
As compelling and revelatory as Colm Toibin's The Master, Walt Whitman's Secret mines the life of the most influential poet in the American canon for insights about creativity, relations between the sexes and the dangers of excessive patriotism. In this wonderfully imagined novel, Walt Whitman's secret isn't his homosexuality but another one entirely. It's a political secret, one that the greatest American poet of the nineteenth century has pledged himself to keep until he is on his deathbed. Only in that way can Whitman protect the great love of his life - a Confederate deserter he met in Washington during the Civil War - from the calumnies and scandals that have muddied his own reputation ever since the first publication of Leaves of Grass. The person who finally hears his confession is Horace, his unpaid amanuensis and helper, a young man who will go on to fill nine fat volumes with a verbatim record of the great man's tabletalk and often deceptive reminiscences. Only after Whitman has gone does Horace realize that Whitman seems to be making him a bequest of not only the secret but of his own complex personality as well.
Walt Whitman is a poet of contexts. His poetic practice was one of observing, absorbing, and then reflecting the world around him. Walt Whitman in Context provides brief, provocative explorations of thirty-eight different contexts - geographic, literary, cultural, and political - through which to engage Whitman's life and work. Written by distinguished scholars of Whitman and nineteenth-century American literature and culture, this collection synthesizes scholarly and historical sources and brings together new readings and original research.
There are many ways to show our devotion to an author besides reading his or her works. Graves make for popular pilgrimage sites, but far more popular are writers' house museums. What is it we hope to accomplish by trekking to the home of a dead author? We may go in search of the point of inspiration, eager to stand on the very spot where our favorite literary characters first came to life—and find ourselves instead in the house where the author himself was conceived, or where she drew her last breath. Perhaps it is a place through which our writer passed only briefly, or maybe it really was a longtime home—now thoroughly remade as a decorator's show-house. In A Skeptic's Guide to Writers' Houses Anne Trubek takes a vexed, often funny, and always thoughtful tour of a goodly number of house museums across the nation. In Key West she visits the shamelessly ersatz shrine to a hard-living Ernest Hemingway, while meditating on his lost Cuban farm and the sterile Idaho house in which he committed suicide. In Hannibal, Missouri, she walks the fuzzy line between fact and fiction, as she visits the home of the young Samuel Clemens—and the purported haunts of Tom Sawyer, Becky Thatcher, and Injun' Joe. She hits literary pay-dirt in Concord, Massachusetts, the nineteenth-century mecca that gave home to Hawthorne, Emerson, and Thoreau—and yet could not accommodate a surprisingly complex Louisa May Alcott. She takes us along the trail of residences that Edgar Allan Poe left behind in the wake of his many failures and to the burned-out shell of a California house with which Jack London staked his claim on posterity. In Dayton, Ohio, a charismatic guide brings Paul Laurence Dunbar to compelling life for those few visitors willing to listen; in Cleveland, Trubek finds a moving remembrance of Charles Chesnutt in a house that no longer stands. Why is it that we visit writers' houses? Although admittedly skeptical about the stories these buildings tell us about their former inhabitants, Anne Trubek carries us along as she falls at least a little bit in love with each stop on her itinerary and finds in each some truth about literature, history, and contemporary America.
Though Walt Whitman created no Irish characters in his early works of fiction, he did include the Irish as part of the democratic portrait of America that he drew in Leaves of Grass. He could hardly have done otherwise. In 1855, when the first edition of Leaves of Grass was published, the Irish made up one of the largest immigrant populations in New York City and, as such, maintained a cultural identity of their own. All of this “Irishness” swirled about Whitman as he trod the streets of his Mannahatta, ultimately becoming part of him and his poetry. As members of the working class, famous authors, or close friends, the Irish left their mark on Whitman the man and poet. In Whitman and the Irish, Joann Krieg convincingly establishes their importance within the larger framework of Whitman studies. Focusing on geography rather than biography, Krieg traces Whitman's encounters with cities where the Irish formed a large portion of the population—New York City, Boston, Camden, and Dublin—or where, as in the case of Washington, D.C., he had exceptionally close Irish friends. She also provides a brief yet important historical summary of Ireland and its relationship with America. Whitman and the Irish does more than examine Whitman's Irish friends and acquaintances: it adds a valuable dimension to our understanding of his personal world and explores a number of vital questions in social and cultural history. Krieg places Whitman in relation to the emerging labor culture of ante-bellum New York, reveals the relationship between Whitman's cultural nationalism and the Irish nationalism of the late nineteenth century, and reflects upon Whitman's involvement with the Union cause and that of Irish American soldiers.
Reproduction of the original: The Wound Dresser by Walt Whitman
In 1879, when Walt Whitman was sixty, he made a trip to the West—first to Kansas to attend the quarter-centennial celebration of Kansas settlement, then on to Denver and the Rockies. Biographers have only briefly reported this trip, if they have dealt with it at all; here for the first time is a thorough reconstruction of Whitman’s western experience. From his own extensive research in newspapers of the period, as well as from Whitman’s recently published daybooks and notebooks and his collected correspondence. Walter H. Eitner is able to piece together a fairly well detailed itinerary, and to compare the record of the actual journey with Whitman’s imaginative account in Specimen Days. This study in part constitutes a criticism of the sections of Specimen Days dealing with the West by examining the ways in which Whitman reordered his experiences to have them support a bardic pose he wished to maintain. For the first time Whitman’s three journalist traveling companions—whom Whitman did not even mention in Specimen Days—are fully on record. This account also shows Whitman very much his own press agent, engaging in a wide range of self-promoting activities such as writing his own interviews and sending back to the press in the East accounts of his whereabouts, his health, and his plans.