Download Re-Scripting Walt Whitman: An Introduction to His Life and by Ed Folsom PDF

By Ed Folsom

This introductory advisor to Walt Whitman weaves jointly the writer's lifestyles with an exam of his works.

· An leading edge introductory advisor to Walt Whitman.

· Weaves jointly the writer's lifestyles with an exam of his works.

· Focuses particularly on Whitman's evolving masterpiece Leaves of Grass.

· Examines the fabric stipulations and items of Whitman's "scripted life", together with his unique manuscripts.

· Investigates Whitman's "life in print" - his trust that he may actually embrace himself in his books.

· associated with a wide digital archive of Whitman's paintings at www.whitmanarchive.org

Content:
Chapter 1 transforming into Up within the Age of increasing Print: Whitman as Printer, Journalist, instructor, and Fiction author (pages 1–16):
Chapter 2 “Many Manuscript Doings and Undoings”: the line towards Leaves of Grass (pages 17–40):
Chapter three “I was once Chilled with the chilly varieties and Cylinder and rainy Paper among Us”: the 1st and moment versions of Leaves of Grass (pages 41–59):
Chapter four Intimate Script and the hot American Bible: “Calamus” and the Making of the 1860 Leaves of Grass (pages 60–75):
Chapter five Blood?Stained Memoranda (pages 76–97):
Chapter 6 Reconstructing Leaves of Grass, Restructuring a lifestyles (pages 98–116):
Chapter 7 demise into Leaves (pages 117–129):

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Additional resources for Re-Scripting Walt Whitman: An Introduction to His Life and Work

Example text

2:100]). The Texas manuscript – worn and soiled, after obviously spending some time on the Rome brothers’ printing-shop floor – consists of, on one side (see figure 3 below), a heavily revised section of a proto-version of the poem that would eventually become “Song of Myself” (key images of the eventual poem here appear in surprising juxtapositions); on the other side (see figure 2 above) are Whitman’s scribbled notes for the arrangement, size, and decoration of the 1855 Leaves. ” Whitman often wrote notes and drafts on the backs of various documents, including the backs of abandoned drafts of poems, and that is the case with this manuscript.

So, if we assume the notebook passage is the earliest one, then Whitman clearly broke up the passage and recombined the images in one of the drafts of Leaves, then moved the crunching-cow line back to the grouping it had originally been in. Even though, as we have noted, the line does not fit quite as well in the large/small grouping as it did in the nature-better-than-art grouping, there are good formal and thematic reasons Whitman may have chosen to move it there. ” (LG 1855, 16), the question that in many ways precipitates the rest of the long poem, the poet is still answering it, and the “cow crunching with depressed head” carries on the answer, for the cow of course is eating grass.

It has become the most famous frontispiece in literary history, showing Walt in workman’s clothes, shirt open, hat on and cocked to the side, standing insouciantly and fixing the reader with a challenging stare. It is a full-body pose that indicates Whitman’s recalibration of the role of poet as the democratic spokesperson who no longer speaks only from the intellect and with the formality of tradition and education: the new poet pictured in Whitman’s book is a poet who speaks from and with the whole body and who writes outside, in Nature, not in the library.

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