The poetry of Walt Whitman, whose Leaves of Grass was called ôthe secular Scripture of the United Statesö by literary critic Harold Bloom, is a sublime source of contemporary inspiration.

In the end, works of art are the only media of complete and unhindered communication between man and man that can occur in a world full of gulfs and walls that limit community of experience. Occasionally, thoughtful people familiar with both Walt Whitman and philosophical pragmatism will remark on their affinity.1 Some have even argued, correctly, that Whitman influenced American pragmatism, especially the writings of William James and to a lesser extent John Dewey.2 For instance, Raphael C. (...) Allison (2002) insightfully remarks: “Just as for James, for Dewey it is the communicability of Whitman’s art that makes it significant.”3 He then cites some of the best passages in Dewey’s entire corpus to warrant his.. (shrink)

In the year 1855, American Literature made two experiments. The first, quite a minor one, the blending of finished music with sing-song and Red Indian folklore, was undertaken by a considerable poet and a fine scholar, Longfellow. The name of it, Hiawatha. I suppose it succeeded, as far as the expectations of the writer and of his readers went. Nowadays, I suppose it lingers on in the memory of childhood and survives him. Now the other is, of course, Leaves of (...) Grass. Leaves of Grass is a major experiment. In fact, I think I can safely venture to say that Leaves of Grass is one of the most important events in the history of literature. If I speak of it as an experiment, perhaps you will think that I am implying a profanation, a desecration, and a blasphemy, since, when we speak of experiments in literature, we generally think of unsuccessful ones. For example, when we speak of experimental literature, well, we think of works that we do our best to admire and that somehow defeat us because, after all, the word "experiment" is a polite word. Well, in the case of Leaves of Grass the experiment succeeded so splendidly that we think it could never have failed. Somehow when something goes right - and that hardly ever happens in literature - we think it somehow inevitable. We think that Leaves of Grass lay there, lay unsuspected there, ready for anybody to discover and write it down. (shrink)

Lyric is onanistic: masturbation is the latent content of lyric poetry. This article counters queer theory with a turn to onanist theory, pointing out the centrality of masturbation to the work of Jacques Derrida, and suggesting that rather than consider masturbation the supplement to sex, we might consider the opposite. Modern man has, according to Derrida, been mistaken in his metaphysics by a deluded fidelity to presence, an ontological error to which he has been attached as though to a lover; (...) instead, modern man is guiltily onanistic. This article argues that the apostrophic intimacies of lyric and the longings held therein are masturbatory. To do so it reads Rob Halpern's Music for Porn as a deconstructive reading of Walt Whitman's Civil War poetry. (shrink)

postulamos, a partir de Spinoza, que un poema es -entre otras cosas- el registro verbal de un proceso afectivo, cabe extraer interesantes conclusiones sobre el valor gnoseológico de la poesía. El análisis desde estas premisas de la obra de Walt Whitman muestra cómo la apertura a los afectos es una condición del conocimiento: la maximización de los afectos favorables y la comprensión de sus causas adecuadas permite al poeta no sólo expresar pasivamente un balance sino generar activamente afectos (...) y por tanto ideas; el poema aparece así como instrumento de conocimiento y de transformación. (shrink)

Although scholars have long recognized that classical Stoicism affected Walt Whitman’s work, a full account of the extent of this debt has yet to be produced. Although he drew inspiration from many sources, we argue that Whitman’s “spinal ideas”—the ontological, moral, metaphysical and political threads of order in his thinking—are most consistently Stoic in origin. We do so by examining Whitman’s poetry, prose, correspondence, manuscripts, notebooks, and autobiography in the context of the primary and secondary Stoic (...) material with which he was familiar. We demonstrate that a number of ideas at the heart of Whitman’s literary vision—his pantheism, materialism, cosmopolitanism, reconciliation of evil and death, and conceptions of both providence and virtue—were strongly indebted to Stoic thought. As background to this argument, we first explore the transmission of Stoicism to America and its reception among American readers. We also show how and why Whitman came under the influence of Stoic teachings. (shrink)

An attempt to define Whitman's conception of and attitude towards "the common man," liberally supported by quotations from Whitman's prose and poetic works. A helpful bibliography is included.--J. P.

In _influx & efflux_ Jane Bennett pursues a question that was bracketed in her book _Vibrant Matter_: how to think about human agency in a world teeming with powerful nonhuman influences? “Influx _& _efflux”—a phrase borrowed from Whitman's "Song of Myself"—refers to everyday movements whereby outside influences enter bodies, infuse and confuse their organization, and then exit, themselves having been transformed into something new. How to describe the human efforts involved in that process? What kinds of “I” and “we” (...) can live well and act effectively in a world of so many other lively materialities? Drawing upon Whitman, Thoreau, Caillois, Whitehead, and other poetic writers, Bennett links a nonanthropocentric model of self to a radically egalitarian pluralism and also to a syntax and style of writing appropriate to the entangled world in which we live. The book tries to enact the uncanny process by which we “write up” influences that pervade, enable, and disrupt us. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 36.4 (2003) 353-375 [Access article in PDF] A Rhetoric for Polytheistic Democracy: Walt Whitman's "Poem of Many in One" Peter Simonson Department of Communication University of Pittsburgh This essay aims to generate rhetorically oriented normative communication theory useful for the current socio-intellectual moment. It draws upon Walt Whitman's 1850s poetry as an artistically compelling statement of what I call polytheistic democracy, a (...) form of life marked by three overlapping ideals: pluralistic tolerance for multiple gods and moral orientations; commitment to recognizing, preserving, and artfully representing socio-cultural variety; and receptivity to contact with a diverse range of particular others. Whitman offers theory in the sense of a structured way of seeing. It is normative in that it describes a world that might be, not one that is, and provides orienting visions, regulative ideals, and topoi of praise and criticism that stand available to guide the communicative practices of individuals, groups, and institutions alike.The theory is "rhetorically oriented" in that it draws upon techniques and vocabularies developed within the rhetorical tradition. Methodologically, it is generated through rhetorical criticism and imitatio. I offer a reading that brings out the rhetorical dynamics of Whitman's vision of polytheistic democracy as articulated in his 1856 "Poem of Many in One" (later and canonically titled "By Blue Ontario's Shore"), a central social statement in his much-revised masterwork, Leaves of Grass. In so doing, I hold Whitman up as a model for imitatio, the complex interpretive practice whereby, in Michael Leff's words, historical texts come to serve "as equipment for future rhetorical production" (1997, 201). Imitatio is an intellectually generative process. "As the embodied utterances of the past are interpreted for current application, their ideas and modes of articulation are reembodied, and old voices are recovered for use in new circumstances" (203).I couple imitatio with a neo-pragmatist rhetorical criticism oriented toward practice and reflection in the current cultural moment. Whitman gains significance insofar as he helps us experience, think about, and act [End Page 353] within the worlds we now traverse. 1 Among other qualities, those worlds are marked by heterogeneous groups and people who must continuously find ways to live with one another; by large institutions that stand as steady reminders that individuals may not matter very much; by ubiquitous electronic and print media offering copious streams of symbolic culture; and by countervailing geographical forces of circulation and social segmentation of fleshly bodies in the material spaces of public life. In worlds with such qualities, Whitman is a useful locus of imitatio—someone whose cosmopolitan social imagination, deep pluralism, wide-ranging habits of contact, and attention to corporeal individuals all serve as useful equipment for new rhetorical and moral production."Poem of Many in One" has a self-exemplifying 2 aspect to it, for it models what it aims to cultivate in the world. Whitman's print-based rhetoric provides an overarching vision of polytheistic democracy and mass community, scattered across time and space and actualized partly through individuals. His discourse models this social condition by displaying radical openness to high and low, sacred and profane, the admired and the socially despised. It is rhetorically driven by a copious style and an aesthetically oriented democratic ethos that Whitman's mediated eloquence aims also to generate in its readers. Its success thus hinges on readerly receptivity and cultivated ethos that re-embodies aspects of his sensibility and rhetorical techniques, giving them new momentum in scattered realms of social being.I amplify key components of Whitman's normative vision not to trump competing moral principles and orientations but to supplement them. In this sense, my essay is pluralist all the way down. It is socially pluralist in that I believe in encouraging the development and preservation of multiple sets of normative orientations, with no single principle or moral perspective ordering all others. It is individually pluralist in that I understand moral principles as interpretive and rhetorical resources deployed and judged on the basis of their contingent appropriateness and usefulness. 3 "One does not... (shrink)

The fifteen “Messenger Leaves” poems Whitman assembled as part of the third (1860) edition of Leaves of Grass exhibit a tension between the prophetic and the sacramental that would become more significant as the United States entered the decade of the Civil War. Comprised of poems that provide warnings and admonitions (the prophetic) and poems that offer consolation and healing (the sacramental), in “Messenger Leaves” Whitman uses biblical models and texts to appeal to the religious sensibilities of the (...) American people. Although “Messenger Leaves” as a cluster was dissembled in the 1867 edition of Leaves of Grass, its religious themes draw attention to Whitman’s envisioning of the third edition as the “new Bible.”. (shrink)

Seamus heaney says that the best lyrics unite “reader and poet and poem in an experience of enlargement, of getting beyond the confines of the first person singular, of widening the lens of receptivity until it reaches and is reached by the world beyond the self.”1 In “Crossing Brooklyn Ferry,”2 the ferry crossing acts as a catalyst for meditations about the self, the interaction between self and other, their common experience of the physical world across time, and how to forge (...) bonds that overcome the intense separateness of each individual. From these meditations arise an apprehension of time that blends past, present, and future; philosophical speculations about individual human identity during corporeal.. (shrink)

On the night of 12 November 1958, Walt Whitman witnessed a meteor shower which he later described in his notebook. The lines never found their way into a published piece. But when he came to write his poem about the year 1859-60, the year in which Abraham Lincoln and Stephen Douglas contested the presidency, John Brown was hanged in Virginia, and the mighty British iron steamship the Great Eastern arrived in New York on its maiden voyage, he remembered (...) the heavenly phenomenon of the year before and began his poem, “Year of meteors! brooding year!”1Brooding, indeed, because this poem, the first version of which was completed after the Civil War, is concerned with the year in which South Carolina seceded from the United States, thereby plunging the union of Whitman’s celebrations into bloody divisiveness. Yet the onset of that event is never mentioned in the poem. Rather, its imminence is expressed in the meteor imagery—the portent of human history written in the heavens, a fairly rare example of Whitman employing a traditional literary convention.Among the events of the “Year of meteors,” and seemingly the least of them, certainly the one that appears most unconnected with the “brooding,” “transient,” “strange” atmosphere invoked in the poem, is the visit Edward, Prince of Wales, paid to New York on 11 October 1860 . Whitman saw the prince’s procession, recorded it in his notebook, and introduced it, somewhat incongruously, into his poem, devoting three lines to it: And you would I sing, fair stripling! Welcome to you from me, young prince of England! [P. 239]1. Walt Whitman, “Year of Meteors ,” Leaves of Grass, ed. Sculley Bradley and Harold W. Blodgett , p. 238; all further references to Whitman’s poetry will be cited by page number from this edition and will included in the text. Larzer Ziff is Caroline Donovan Professor of English at the Johns Hopkins University. He has written several books on American culture, the most recent of which is Literary Democracy: The Declaration of Cultural Independence in America. (shrink)

In American Poetic Materialism from Whitman to Stevens, Mark Noble examines writers who rethink the human in material terms. Do our experiences correlate to our material elements? Do visions of a common physical ground imply a common purpose? Noble proposes new readings of Walt Whitman, Ralph Waldo Emerson, William James, George Santayana and Wallace Stevens that explore a literary history wrestling with the consequences of its own materialism. At a moment when several new models of the relationship (...) between human experience and its physical ground circulate among critical theorists and philosophers of science, this book turns to poets who have long asked what our shared materiality can tell us about our prospects for new models of our material selves. (shrink)

Early to mid-nineteenth-century America experienced a cultural fascination with oneness or monism--the notion that individuals are not separate from divinity but, rather, that the individual soul is an incarnation of the universal soul. Everything is one. This buzz of monism was traceable in part to translations of the Vedas by Indian philosopher Rammohun Roy and found some of its fullest expression in the work of Ralph Waldo Emerson and Walt Whitman. This oneness tradition is what animates Jeremy David (...) Engels--not only because we can't understand Emerson, Whitman, and other American philosophers without it, but because Engels thinks this tradition offers a way of thinking and acting that can meet the ethical challenges of everyday democracy in the present. The Ethics of Oneness is not only a brilliant study of the centrality of the Bhagavad Gita in the philosophy of Emerson and Whitman and a compelling reception history of the Gita in America, it is also a constructive project of moral and political philosophy intended to open possibilities for the present. If the lessons of oneness are taken to heart, Engels thinks, it ispossible to counter the pervasive, problematic American ideals of separation, competition, hierarchy, exclusion, and domination. For both Emerson and Whitman, American democracy requires a firm ontological foundation of oneness that is beyond question if it is to survive and thrive. (shrink)

In The Colorful Conservative, R.O.P. Lopez culls important insights into American culture from the works of Phillis Wheatley, Edgar Allan Poe, Henry David Thoreau, William Wells Brown, and Walt Whitman. Lopez contends that many of the tensions that emerged prior to the Civil War remain unresolved; thus, the nineteenth century never ended and Americans still live in the literary framework of the 1800s. Beyond political distinctions of the left and the right, there are really four poles: The Left, (...) The Conformist Burkeans, The Anarchist-Nihilist-Libertarians, and The Colorful Conservatives. The Left and the Colorful Conservatives are the two poles most at odds with each other. The Colorful Conservatives, Lopez argues, encompass these five American authors and are the driving force behind many unique paradoxes in the United States' political culture"--Back cover. (shrink)

In his deeply personal yet academically rigorous book, The Ethics of Oneness: Emerson, Whitman, and the Bhagavad Gita, Jeremy Engels takes up the task of describing and critiquing the quintessential U.S. American philosophies of Ralph Waldo Emerson and Walt Whitman. Though much ink has been spilled over these two philosophers, there are two features of Engels approach to their description and critique that make it unique when compared with other books that delve into the history of Indian (...) philosophy’s influence on these American philosophers. Engels’ purpose is not simply to recount the history, but rather to explicate Emerson and Whitman’s philosophies in light of that history in a way that makes them relevant to... (shrink)

walt whitman writes: “The Americans of all nations at any time upon the earth have probably the fullest poetical nature”. Naoko Saito is an American philosopher and something of a Whitmanesque philosophical poet. Saito’s book is “the product of many years spent reading and studying American philosophy”. She further indicates: “Mostly I have done this from a remote part of the world—far from America across the Pacific Ocean—and, like so many others, in a language that is not my (...) own”. Saito is a scholar in and of translation.Saito states that the “tensioned relationship between Dewey and Emerson, and more broadly pragmatism and American transcendentalism... is carried forward into the present... (shrink)

One of America's foremost philosophers challenges the lost generation of the American Left to understand the role it might play in the great tradition of democratic intellectual labor that started with writers such as Walt Whitman and John Dewey.

The final work of the late philosopher Gilles Deleuze includes essays on such diverse literary figures as Herman Melville, Walt Whitman, D.H. Lawrence, Lewis Carroll, and others, along with philosophers Plato, Spinoza, Kant, and others. Taken together, these 18 essays--all newly revised or published here for the first time--present a profoundly new approach to literature.

Since 9/11, citizens of all nations have been searching for a democratic public philosophy that provides practical and inspiring answers to the problems of the twenty-first century. Drawing on the wisdom of past and present pragmatist thinkers, Judith M. Green maps a contemporary form of citizenship that emphasizes participation and cooperation and reclaims the critical role of social movements and nongovernmental organizations. Starting with empowering processes of storytelling, truth and reconciliation, and collaborative vision-questing that allow individuals to give voice and (...) new meaning to their loss, anxiety, and hope, Green frames cooperative inquiries to guide transformative actions. From this "second strand" of the democratic experience, leaders and participating citizens can help to shape a more desirable democratic future. In dialogue with Richard Rorty, Judith Butler, James Baldwin, Martin Luther King Jr., Elie Wiesel, Viktor Frankl, Cornel West, and other contemporary thinkers, Green defines the need for deeper understanding and fulfillment of the potentials of the democratic ideal. Drawing insights from Thomas Jefferson, Walt Whitman, William James, John Dewey, Jane Adams, and other earlier thinkers, Green frames a pragmatist understanding of emerging realities and possibilities, growing wells of shared truths, multifaceted histories, and mutually transformative experiences of citizenship. Employing examples from America's complex history and from recent world events, Green locates four sites for effective citizen activism: government at all levels, nonprofit organizations, issue-focused campaigns and social movements, and daily urban living. Green shows how citizens can revive social hope and deepen the democratic experience by drawing on their own knowledge and developing their capabilities through inclusive civic participation. (shrink)