Walt Whitman Quarterly Review
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Front Matter, Walt Whitman Quarterly Review, vol. 39, no. 2/3
No full textFront Matter, Walt Whitman Quarterly Review, vol. 39, no. 2/3
Appendix: Athletic Men Wanted—An Article for the Old and Young, for Doctors, Teachers, &c
No full textAppendix to "Walt Whitman, Editor at the New-York Atlas" (pp. 189-208)
Democratic Portraiture: The Political Aesthetics of the Individual and the Collective in Whitman's "Song of Myself"
Full text linkExamines "democratic portraiture" in "Song of Myself" in order to illuminate the ways that "aesthetics and politics" in the poem are not "two categories to be weighed against each other" but rather "one formational question about how to imagine and represent a democratic ideal" by "challeng[ing] readers with new understandings of representation (literary and political) and representativeness (who is the representative hero of the American epic?), which aim precisely to merge aesthetic-political projects"; demonstrates how such a reading of portraiture in the poem "brings all of these themes to life: Whitman's effort to represent and achieve equality, the relationship between literary and political representation, and the role played by photography and other visual arts in Whitman's poetry"; traces how, "by oscillating between the mass-portrait and the portrait-series, Whitman tried to imagine democracy in action while simultaneously enacting it in his poem" as he tried "to balance the mass-portrait and portrait-series in an overarching democratic portrait, with himself as its emblem.
Walt Whitman, Editor at the <i>New-York Atlas</i>
Full text linkThe Walt Whitman Archive journalism grant team introduces a new discovery and proposes a new theory of Whitman as an editor at the New-York Atlas
Back Matter, Walt Whitman Quarterly Review, vol. 39, no. 2/3
No full textBack Matter, Walt Whitman Quarterly Review, vol. 39, no. 2/3
"I am more interested than you know, Bill": The Life and Times of William Henry Duckett, Jr.
Full text linkTraces Whitman's carriage driver and "youthful companion" Bill Duckett's (1869-1904?) life, filling in details of his ancestry, his family, his childhood, and his peripatetic adult life—including his marriage, divorce, military service, occupation, and death, all previously unknown to Whitman scholars
Walt Whitman: A Current Bibliography, Spring 2022
No full textWalt Whitman: A Current Bibliography, Spring 2022
Nicole Gray, ed. <i>Leaves of Grass</i> (1855) <i>Variorum</i>.
No full textA review of Nicole Gray, ed. Leaves of Grass (1855) Variorum
"The Indications" (1857): An Early Whitman Imitation
Full text linkDiscusses a previously unknown non-parodic Whitman imitation that pre-dates Adah Isaac Menken's Infelicia (1868). Titled "The Indications," this poem appeared in the June 3, 1857, issue of Life Illustrated magazine (New York: Fowler and Wells)
“The Battle Trumpet Blown!” : Whitman’s Persian Imitations in <i>Drum-Taps</i>
Full text linkWhile Walt Whitman’s thematic use of the Orient continues to receive critical attention based on his explicit foreign references, aside from observations of specific Persian signifiers in “A Persian Lesson,” his engagement with the poetry of Iran has remained especially speculative and therefore analogical, with studies like J. R. LeMaster and Sabahat Jahan’s Walt Whitman and the Persian Poets showing how his mystical relation to his own religious influences tends to resemble the Sufism of Rumi and Hafez. A new discovery emerging from an examination of his personal copy of William Alger’s The Poetry of the East along with his reading of Emerson’s essay “Persian Poetry,” however, reveal a rather subtle yet sustained attempt to directly imitate the foreign verse throughout much of Drum-Taps. That his reliance upon identifiable foreign models to depict what he deemed his nation’s most significant historical moment further coincides with a dramatic shift in style of writing calls for closer comparative analysis of how and why he came to mimic translations of this poetry. Such a reading suggests that compared with previous Orientalist studies, Whitman appears even more personally invested in Persian verse, using it to surrender the distinct Romantic individuality of his earlier poems for the greater spiritual preservation of his conflicted nation