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By Susan Belasco, Kenneth M. Price, Visit Amazon's Ed Folsom Page, search results, Learn about Author Central, Ed Folsom,

This complete quantity celebrates the a hundred and fiftieth anniversary of the 1855 variation of Walt Whitman’s Leaves of Grass with twenty essays via preeminent students representing a number of severe views that spotlight completely at the unique variation. as soon as considered as basically a collector’s merchandise, this variation is now considered because the poet’s so much daring and compelling articulation of the chances of yankee democracy.
The essays weave a wealthy tapestry of the most up-tp-date, cutting edge feedback in this foundational publication of yank poetry. The members deal with Whitman’s poetry, his biography, his politics, his reception within the usa and in another country, race and ethnic matters, nineteenth-century the United States, or even the complicated typographical historical past of the 1st version of Leaves of Grass. the quantity additionally incorporates a tribute from the well known poet Galway Kinnell.

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1:21–22). As a student on the law faculty of Berlin, Marx in his turn struggled against the traditions of German idealism by writing what he called an “unhappy opus” that sought “to elaborate a philosophy that would cover the whole field of law” (sw, 10). ” “The whole scope of a longing that sees no limits,” he wrote, “is expressed in many forms and broadens poetry out” (sw, 10). For early Marx and early Whitman, poetry became one form through which to express a utopian social desire, “a longing that sees no limits,” as each sought an appropriate form — philosophy, poetry, journalism, fiction, public speaking, political activism — through which to engage with and change the world.

But, when we talk about variations in the cover, we are only scratching the surface of the textual and bibliographic complexities that lurk inside this amazing book. Because the present bibliographic record is based on the ex- What We’re Still Learning about Leaves of Grass : 19 amination of relatively few copies, and because Whitman made changes so frequently, many important alterations have yet to be noted. Let’s look at one example. ” Schmidgall was using a copy at the New York Public Library, while his editor was using a facsimile of the Berkeley copy.

Great are the day and night; Great is wealth and great is poverty . . great is expression and great is silence, (lg 1855, 93) he writes at one point in the 1855 edition, and at other points he underscores his association of day and night with the systole and diastole of life and death, openness and secrecy, transparency and disguise. “Stop this day and night with me and you shall possess the origin of all poems” (14), he writes. “I hear all sounds as they are tuned to their uses . . sounds of the city and sounds out of the city .

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