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Updated by Paul Hugh O'Mahony on Jul 06, 2017
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Walt Whitman Links

On filmmaker Mark Frazel, a lion of knowledge

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).

"Inferno" by Dante (canto 1 part 2)

An audioBoom by omaniblog

"Inferno" by Dante (canto 1 part 3 - end)

An audioBoom by omaniblog

Healthcare and the Human Spirit: Walt Whitman on the Most Important Priority in Healing the Body and the Soul

"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

What It’s Like to Teach Poetry in the Age of Trump

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 ...

The secret of the 'Whitman Protocol'

Nearly 15 years ago, I wrote a column where I quoted the poet Walt Whitman.

The Firebreak We’ve Been Waiting For

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.

UC Riverside poet featured on PBS NewsHour

Allison Hedge Coke and her poem 'America, I Sing You Back' featured on public television website.

Reading Yeats in the Age of Trump

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.

Disseminating Whitman

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.

The Walt Whitman Archive

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). 

How Whitman Remembered Lincoln

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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