Listly by Paul Hugh O'Mahony
Filmmaker, author and a lover of Chicago, Mark Frazel, who recently filmed "Jens Jensen: The Living Green," died July 4 at St. Joseph Hospital. He was 62.
In the first "Live Oak" poem ("Not the heat flames up and consumes") the poet, through extravagant comparisons of forces in nature to his own forces, celebrates the intensity of his search for his "life-long lover" (l. 5).
"There is something in personal love, caresses, and the magnetic flood of sympathy and friendship, that does, in its way, more good than all the medicine in the
How does anyone walk into a classroom and teach a poem after Trump’s win? Across many walks of life it now seems difficult to go back to business as us ...
Nearly 15 years ago, I wrote a column where I quoted the poet Walt Whitman.
In 1855, a new poet introduced himself to the world: “Walt Whitman, an American, one of the roughs, a kosmos / Disorderly, fleshly, sensual…eating drinking and breeding.” Experimental in its use of free verse; progressive in its treatment of race, gender, and sexuality; and above all democratic in its politics and its spirituality, Whitman’s Leaves of Grass stoked a vast fire that swept through world poetry, consuming and altering all the landscape before it.
Allison Hedge Coke and her poem 'America, I Sing You Back' featured on public television website.
Reading Yeats in the Age of Trump from Boston Review. Like many of you, I have spent the days since the election in a combination of frantic distraction; intermittent, flailing activism; attempts to focus on my private and professional life; and fear.
Within twelve years of the first appearance of Leaves of Grass in 1855, Walt Whitman produced three other editions of what he insisted were the “same” work; two more followed later in his life. Rather than asking which of these editions is best, Michael Moon, in Disseminating Whitman, argues that the very existence of distinct versions of the text raises essential questions about it. Interpreting “revision” more profoundly than earlier Whitman critics have done, while treating the poet’s homosexuality as a cultural and political fact rather than merely as a biographical datum, Moon shows how Whitman’s continual modifications of his work intersect with the representations of male–male desire throughout his writing. What is subjected to endless revision throughout the first four editions of Leaves of Grass, Moon argues, is a historically specific set of political principles governing how the human body—Whitman’s avowed subject—was conceptualized and controlled in mid-nineteenth-century America.
Italian opera and opera singers were an important influence on Whitman's
creative development during those crucial years in the early 1850s when
Leaves
of
Grass was germinating. Probably no other single influence is more
important than this one. When we consider how many poems Whitman calls songs
or chants, and how many references he makes to the voice and to singing, we
come to realize that music and singing were central to the creation of his
poetry. "But for the opera," he declared, "I could never have written
Leaves of Grass " (qtd. in Trowbridge 166).
We all know “O Captain! My Captain.” But “When Lilacs Last in the Dooryard Bloom’d” was the poet’s best elegy for the fallen president.
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Matthew Aucoin’s taut, powerful work about the great poet’s experience nursing wounded Civil War soldiers speaks to a deeply divided America.
Dr. Cynthia Wachtell, research associate professor of American studies and director of the S. Daniel Abraham Honors Program at Stern College for Women, penned a contribution to the North American Review’s project, “Every Atom: Reflections on Walt Whitman at 200,” in which the editor of the project, Brian Clements, poses the question that the contributors attempt to answer: “Two hundred years after Walt Whitman’s birth, how do we grapple with the complexities of his legacy?”
I have just return'd from an old forest haunt, where I love to go occasionally away from parlors, pavements, and the newspapers and magazines—and where, of a clear forenoon, deep in the shade of pines and cedars and
I have just return'd from an old forest haunt, where I love to go occasionally away from parlors, pavements, and the newspapers and magazines—and where, of a clear forenoon, deep in the shade of pines and cedars and
Author of "Evangeline" (1847) and "Hiawatha" (1855), Henry Wadsworth Longfellow, one of the most well-received poets of his time, was publicly challenged by Walt Whitman for the title "excelsior" (more lofty; higher) poet of America.
Posts about The Lockdown Chronicles written by Ernesto Priego