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Books : Literature & Fiction : World Literature : United States : Classics : Whitman, Walt
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"The most extraordinary piece of wit and wisdom that America has yet contributed." — Ralph Waldo Emerson. Inspired by transcendentalism, Whitman's immortal collection includes some of the greatest poems of modern times, including his masterpiece "Song of Myself." Shattering standard conventions of symbolism and allegory, it stands as an unabashed celebration of body and nature.
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This edition of Whitman's great poetry collection tries to be as true to the original 1855 edition as possible.
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Rich treasury of verse from 19th and 20th centuries, selected for popularity and literary quality, includes Poe's "The Raven," Whitman's "I Hear America Singing," as well as poems by Robert Frost, Langston Hughes, Emily Dickinson, T S. Eliot, Marianne Moore, many other notables.
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Contains the first and "deathbed" editions of "Leaves of Grass," and virtually all of Whitman's prose, with reminiscences of nineteenth-century New York City, notes on the Civil War, especially his service in Washington hospitals and glimpses of President Lincoln, and attacks on the misuses of national wealth after the war.
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In 1855 Walt Whitman published Leaves of Grass, the work that defined him as one of America’s most influential voices and that he added to throughout his life. A collection of astonishing originality and intensity, it spoke of politics, sexual emancipation, and what it meant to be an American. From the joyful “Song of Myself” and “I Sing the Body Electric” to the elegiac “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s art fuses oratory, journalism, and song in a vivid celebration of humanity. Containing all Whitman’s known poetic work, this edition reprints the final, or “deathbed,” edition of Leaves of Grass (1891–92). Earlier versions of many poems are also given, including the 1855 “Song of Myself.”
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Song of Myself may be the greatest poem ever written by an American. First published in 1855 as part of Leaves of Grass, it was revised and expanded by Whitman in subsequent editions in ways that sometimes undermined to its original freshness and vitality. Stephen Mitchell has gone back to the first edition and painstakingly compared it with the later versions, substituting only those revisions by Whitman that improved the poem. Here is Whitman at his most wild and raw, as large and lusty as life, fulfilling his promise to all future generations: I stand on this spot with my soul.
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Leave time for wonder. Walt Whitman's "When I Heard the Learn'd Astronomer" is an enduring celebration of the imagination. Here, Whitman's wise words are beautifully recast by New York Times #1 best-selling illustrator Loren Long to tell the story of a boy's fascination with the heavens. Toy rocket in hand, the boy finds himself in a crowded, stuffy lecture hall. At first he is amazed by the charts and the figures. But when he finds himself overwhelmed by the pontifications of an academic, he retreats to the great outdoors and does something as universal as the stars themselves...
he dreams.
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THE BEST AND MOST REPRESENTATIVE ONE-V0LUME EDITION OF WHITMAN EVER PUT TOGETHER - THE NEW YORKER.
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The poetry of Walt Whitman is the cornerstone of modern American verse. He was America's first truly great poet and his influence is still evident today. The first edition of Whitman's Leaves of Grass, published in 1855, was a revolutionary manifesto declaring America's independence from European cultural domination. His rhapsodic free verse broke radically with poetic, tradition: it was poetry about America, its democracy, its people, and its hopes. It was uniquely American without apology—brash, proud, optimistic, and filled with the bustling energy of the new and growing nation.
This collection brings together Whitman's greatest and most famous poems spanning the whole of his career. From the groundbreaking first edition of Leaves of Grass are seven poems, including "Song of Myself" and "I Sing the Body Electric."
From later editions there are such masterpieces as "Crossing Brooklyn Ferry," "Out of the Cradle Endlessly Rocking," and "I Hear America Singing." Also included is Whitman's great cycle of Civil War Poems, Drum-Taps, which he wrote in the months when he was ministering to the wounded in battlefield hospitals. Concluding this collection is one of his last poems, "Good-bye My Fancy!"—his touching farewell to his muse, his life, and his readers.
More than one hundred years after his death, Walt Whitman's poetry has become part of the American heritage. It is a visionary which speaks as aptly to readers today as it will to future generations. As he says in "Crossing Brooklyn Ferry," "others...look back on me because I look'd forward to them." Whitman's poetry is a link that connects all Americans—past, present, and future.
This book features a deluxe cover, ribbon marker, top stain, and decorative endpaper with a nameplate.
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Walt Whitman's verse gave the poetry of America a distinctive national voice. It reflects the unique vitality of the new nation, the vastness of the land and the emergence of a sometimes troubled consciousness, communicated in language and idiom regarded by many at the time as shocking. Whitman's poems are organic and free flowing, fit into no previously defined genre and skilfully combine autobiographical, sociological and religious themes with lyrical sensuality. His verse is a fitting celebration of a new breed of American and includes Song of Myself, Crossing Brooklyn Ferry, the celebratory Passage to India, and his fine elegy for the assassinated President Lincoln, When Lilacs Last in the Dooryard Bloom'd.
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Abraham Lincoln read it with approval, but Emily Dickinson described its bold language and themes as "disgraceful." Ralph Waldo Emerson found it "the most extraordinary piece of wit and wisdom that America has yet produced." Published at the author's expense on July 4, 1855, Leaves of Grass inaugurated a new voice and style into American letters and gave expression to an optimistic, bombastic vision that took the nation as its subject. Unlike many other editions of Leaves of Grass, which reproduce various short, early versions, this Modern Library Paperback Classics "Death-bed" edition presents everything Whitman wrote in its final form, and includes newly commissioned notes.
From the Trade Paperback edition.
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Collection of more than 80 poems by 50 American and British masters celebrates travel, adventure and the many real and metaphorical journeys each of us take in the course of our lives. Works by Whitman, Byron, Millay, Sandburg, Service, Bliss Carman, Robert Louis Stevenson, Langston Hughes, Emily Dickinson, Robert Frost, Shelley, Tennyson, Yeats, many others. Note.
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A poem by Whitman may be whoops and hollers, or beating of drums, or the ebb of the tide singing to itself among the stones, or laments in the night or cries of ecstasy. Indeed, Whitman was the wind which blew poetry from its moorings in tradition and sent it into fresher waters; his poems celebrating the grandness of the human condition are cadenced for the voice and meant to be spoken aloud. In this recording drawn from the Caedmon archives, reader Ed Begley, Sr. performs selections from Whitman's lifelong work, Leaves of Grass.
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During the Civil War, from 1862-1865, Walt Whitman spent much of his time with wounded soldiers, both in the field and in the hospitals. The 40 notebooks he filled became the basis for the extraordinary diary of a medic in the Civil War.
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The idea for Fall came to photographer Christopher Griffith while he was living in a Manhattan brownstone, finalizing the design for his first monograph, States (powerHouse Books, 2000). "It was mid-November," Griffith recalls, "and the ivy on the side of my building seemed to be literally glowing outside my window. I picked a single leaf off the vine and saw that, dependent upon the angle of light and the position of the leaf, I could see the most incredible texture and color through the leaf." Excited by this discovery, Griffith spent the next couple of days experimenting with how to capture it all onto film. That was four years ago. He has now perfected the technique of both photographing the foliage and getting them to his studio and on film before they wilt or turn brown, quite a feat as many of these fresh and delicate leaves were collected and transported personally by Griffith from hundreds of miles away. A hyper-macroscopic analysis of the color transformations characteristic of tree foliage in the Northeastern United States autumn, Fall features vivid and brilliant images of nature's gifts, which we often take for granted. Fantastically backlit, glowing colors are transmitted through the leaves, illustrating structural and textural elements of nature never before captured on film. For this former student of research biology, the project transported Griffith back to his early days of plant biochemistry, but this time as an artist, not a scientist. "When you look at a tree that is turning, it appears to have an overall uniformity of color," Griffith observes. "But it is only when you literally get into the tree and get personal with the individual components of that breathtaking color, that you see the truly astounding variety of that color transformation. For me, leaves are like snowflakes; no two are ever the same." Exhibition at The powerHouse Gallery, 68 Charlton Street, New York, October 21-November 20, 2004.
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INTRODUCTION W HEN the first days of August loured over the world, time seemed to stand still. A universal astonishment and confu sion fell, as upon a flock of sheep perplexed by strange dogs. But now, though never before was a St. Lucys Day so black with absence, darkness, death, Christmas is gone. Spring comes swiftly, the almond trees flourish. Easter will soon be here. Life breaks into beauty again and we realize that man may bring hell itself into the world, but that Nature ever patiently waits to be his natural paradise. Yet still a kind of instinctive Uihdness blots out the prospect of the future. Until the long horror of the war is gone from our minds, we shall be able to think of nothing that has not for its background a chaotic darkness. Like every obgession, it gnaws at thought, follows us into our dreams and - returns with the morning. But there have been other wars. And humanity, after learning as best it may their brutal lesson, has survived them. Just as the young soldier leaves home behind him and accepts hardship and danger as to the manner barn, so, when he returns again, life will resume its old quiet wont. Nature is not idle even in the imagination. It is mans salvation to forget no less than it is his salvation to remember. And it is wise even in the midst of the conflict to look back on those that are past and to prepare for the returning problems of the future. When Whitman wrote his EfDemocratic V istas, the long ern bittered war between the Northern and Southern States of America was a thing only of yesterday. It is a headlong amorphous production-a tangled meadow of C leaves of grass in prose. But it is as cogent to-day as i t was when it was written To the ostent of the senses and eyes he writes, the influences which atmp the worlds history are wars, uprisings, or downfalls of dynasties. . . . Those, of course, play their part yet, it may bo, a single new thought, imagination, abatract principle . . . put in shape by some great literatus, and projected among mankind, may duly cause changes, growths, removals, greater than the longest and bloodiest war, or tho most stupendoua merely political, dynastic, or comhercial overturn. The literatus who realized this had his own message in mind. And yet, justly. For those who might point to the worldly prosperity and material comforts of his country, and ask, Are not these better indeed than any utterances even of greatest rhapsode, artist, or Titeratus he has his irrefutable answer. He surveys the New York of 1870, its faqades of marble and iron, of original grandeur and elegance of desigm, etc., in his familiar catalogical jargon, and shutting his eyes to its glow and grandeur, inquires in return, Are there indeed men here worthy the name Are there perfect women Is there a pervading atmosphere of beautiful manners Are there ads worthy freedom and a rich people Is there a great moral and religious civilization-the only justification of a great material one We ourselves in good time shall have to face and to answer these questions. They search our keenest hopes of the peace that is coming. And we may be fortiesd perhaps by the fdlmwing queer pod of hisbly repeating it C Never, in the 0id World, nra thomltgbly uphohsterd exterior sppmm and show, mental qnd other, built entirely on the idea of caste, and on the sufficiency of mere o u h i h acquisition--egrer were glibnam, verbal intellect, more the het, the emulation-more loftily ele ated ae head and sample than they are on the surface of our Republican States this day. The writera of a time lint the mottoe o f its gods. The word of the modern, my thm v e k , is the word Culture...
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The Everyman's Library Pocket Poets hardcover series is popular for its compact size and reasonable price which does not compromise content. Poems: Whitman contains forty-two of the American master's poems, including "Crossing Brooklyn Ferry," "Song of Myself," "I Hear America Singing," "Halcyon Days," and an index of first lines.
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A superb selection of poems, letters and prose from the war years. "O Captain! My Captain!," "When Lilacs Last in the Dooryard Bloom'd," "Adieu to a Soldier," many other letters and prose works.
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A century after his death, Whitman is still celebrated as America's greatest poet. In this startling new edition of his work, Whitman biographer Gary Schmidgall presents over two hundred poems in their original pristine form, in the chronological order in which they were written, with Whitman's original line breaks and punctuation. Included in this volume are facsimilies of Whitman's original manuscripts, contemporary-- and generally blistering-- reviews of Whitman's poetry (not surprisingly Henry James hated it), and early pre-Leaves of Grass poems that return us to the physical Whitman, rejoicing-- sometimes graphically-- in homoerotic love.Unlike the many other available editions, all drawn from the final authorized or "deathbed" Leaves of Grass, this collection focuses on the exuberant poems Whitman wrote during the creative and sexual prime of his life, roughly between 1853 and 1860. These poems are faithfully presented as Whitman first gave them to the world-- fearless, explicit, and uncompromised-- before he transformed himself into America's respectable, mainstream Good Gray Poet through thirty years of revision, self-censorship, and suppression.Whitman admitted that his later poetry lacked the "ecstasy of statement" of his early verse. Revealing that ecstasy for the first time, this edition makes possible a major reappraisal of our nation's first great poet.