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Few authors are so well suited to historical study as Whitman, who is widely considered America's greatest poet. This Guide combines contemporary cultural studies and historical scholarship to illuminate Whitman's diverse contexts. The essays explore dimensions of Whitman's dynamic relationship to working-class politics, race and slavery, sexual mores, the visual arts, and the idea of democracy. The poet who emerges from this volume is no "solitary singer," distanced from his culture, but what he himself called "the age transfigured," fully enmeshed in his times and addressing issues that are still vital today.
Erkkila's aim is to repair the split between the private and the public, the personal and the political and the poet and the history that has governed the analysis and evaluation of Whitman and his work in the past.
“Reading this book, what becomes eminently clear is that Selznick is laying the groundwork for GLBTQIA+ literary history . . . as it pertains to Whitman.” —School Library Journal As he was turning forty, Walt Whitman wrote twelve poems in a small handmade book he entitled “Live Oak, With Moss.” The poems were intensely private reflections on his attraction to and affection for other men. They were also Whitman’s most adventurous explorations of the theme of same-sex love, composed decades before the word “homosexual” came into use. This revolutionary, extraordinarily beautiful and passionate cluster of poems was never published by Whitman and has remained unknown to the general public—until now. New York Times–bestselling and Caldecott Award–winning illustrator Brian Selznick offers a provocative visual narrative of “Live Oak, With Moss,” and Whitman scholar Karen Karbiener reconstructs the story of the poetic cluster’s creation and destruction. Walt Whitman’s reassembled, reinterpreted Live Oak, With Moss serves as a source of inspiration and a cause for celebration. “In harmony, the art, the poems, and [Karbiener’s] analysis all honor while illuminating Whitman’s work and make it more accessible to contemporary readers.” —Publishers Weekly
Collage of Myself presents a groundbreaking account of the creative story behind America's most celebrated collection of poems. In the first book length study of Walt Whitman's journals and manuscripts, Matt Miller demonstrates that until approximately 1854 (only a single year before the first publication of Leaves of Grass), Whitman---who once speculated that Leaves would be a novel or a play---was unaware that his ambitions would assume the form of poetry at all. Collage of Myself details Whitman's discovery of a remarkable new creative process that allowed him to transform a diverse array of texts into poems such as "Song of Myself" and "The Sleepers." Whitman embraced an art of fragments that encouraged him to "cut and paste" his lines into ever evolving forms based on what he called "spinal ideas." This approach to language, Miller argues, represents the first major use in the Western arts of the technique later know as collage, an observation with significant ramifications for our reception of subsequent artists and writers. Long before the modernists, Whitman integrated found text and ready made language into a revolutionary formulation of artistic production that anticipates much of what is exciting about modern and postmodern art. Using the Walt Whitman Archive's collection of digital images to study what were previously scattered and inaccessible manuscript pages, Miller provides a breakthrough in our understanding of the great American literary icon.
In this elegant study, Walt Whitman's democratic, consensual idealism emerges for the first time as truly central to his poetic achievement. Though Whitman's democratic idealism has often been dismissed as a blindness to the political complexities of his day, Kerry C. Larson argues that the poet was in fact vitally engaged in the problems of preserving social continuity at a time (1855-60) when the specter of disunion and fractricidal war grew increasingly ominous. Whitman conceived his poems as vehicles for social integration whose entire aim was to dramatize the joining of the many and the one, speaker and listener, universal and particular without subordinating either term. For Whitman, the poet's role was to be "the better President," the figure in whose person all contending interests and competing factions would be resolved. The importance of "drama" in Larson's title is borne out in his argument that Whitman's most memorable poems depict the goal of consent as an active process, something to be achieved rather than merely affirmed. By way of making this drama vivid, these poems project a fictive audience or interlocutor which, in being invoked by the poet, furnishes him with a partner in the ongoing dialogue of voices Leaves of Grass both embodies and records.
"The Fletcher Jones Foundation humanities imprint"--Prelim. p.
From the famed publisher and poet, author of the million-copy-selling collection A Coney Island of the Mind, his literary last will and testament -- part autobiography, part summing up, part Beat-inflected torrent of language and feeling, and all magical. "A volcanic explosion of personal memories, political rants, social commentary, environmental jeremiads and cultural analysis all tangled together in one breathless sentence that would make James Joyce proud. . ." —Ron Charles, The Washington Post In this unapologetically unclassifiable work Lawrence Ferlinghetti lets loose an exhilarating rush of language to craft what might be termed a closing statement about his highly significant and productive 99 years on this planet. The "Little Boy" of the title is Ferlinghetti himself as a child, shuffled from his overburdened mother to his French aunt to foster childhood with a rich Bronxville family. Service in World War Two (including the D-Day landing), graduate work, and a scholar gypsy's vagabond life in Paris followed. These biographical reminiscences are interweaved with Allen Ginsberg-esque high energy bursts of raw emotion, rumination, reflection, reminiscence and prognostication on what we may face as a species on Planet Earth in the future. Little Boy is a magical font of literary lore with allusions galore, a final repository of hard-earned and durable wisdom, a compositional high wire act without a net (or all that much punctuation) and just a gas and an inspiration to read.
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.