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Walt Whitman is one of the most innovative and influential American poets of the nineteenth century. Focusing on his masterpiece Leaves of Grass, this book provides a foundation for the study of Whitman as an experimental poet, a radical democrat, and a historical personality in the era of the American Civil War, the growth of the great cities, and the westward expansion of the United States. Always a controversial and important figure, Whitman continues to attract the admiration of poets, artists, critics, political activists, and readers around the world. Those studying his work for the first time will find this an invaluable book. Alongside close readings of the major texts, chapters on Whitman's biography, the history and culture of his time, and the critical reception of his work provide a comprehensive understanding of Whitman and of how he has become such a central figure in the American literary canon.
- Sales Rank: #2527414 in Books
- Brand: Brand: Cambridge University Press
- Published on: 2007-03-19
- Released on: 2007-03-08
- Original language: English
- Number of items: 1
- Dimensions: 8.98" h x .31" w x 5.98" l, .55 pounds
- Binding: Paperback
- 148 pages
- Used Book in Good Condition
About the Author
M. Jimmie Killingsworth is Professor of English at Texas A&M University.
Most helpful customer reviews
4 of 4 people found the following review helpful.
A uniquely clear, succinct, and credulous guide to Whitman
By Mitchell S. Gould
There is much to admire in "The Cambridge Introduction to Walt Whitman:" its size, its price, its legibility, its clarity, and the manifold insights that accrue from a career in Whitman scholarship. Indeed, perhaps Killingsworth's long investment in the subject accounts for the book strongest advantage: its well-considered structure. All these qualities make this the most highly-accessible guide to Whitman available.
The problem is: whose Whitman? The Whitman legend crafted by the canny guru himself, and avidly propagated by his fervent cultus? In light of David Haven Blake's recent expose of the poet as the literary first-cousin to a snake-oil huckster, it is becoming ever more apparent that the question is important.
The Legend of the Good (Quaker) Gray Poet was the old schemer's answer to a question that it would take songwriter Bob Seger another century to actually formulate: "what to leave in, what to leave out." From the outset the Legend was a mixture of truth, insight, red herrings, lies, damned lies, and, above all, silences. No one alive today has a grasp on whether Whitman's lies--even his worst howlers--were any more critical than his numberless sins of omission.
Killingsworth has chosen to uncritically perpetuate several of the Legend's old-wives' tales, presumably since so many of them are founded in Whitman's own repeated claims. Thus Whitman remains "the poet of Democracy," even though, as Killingsworth himself admits, the common man never had any use for his poetry. And what's more, even though Democracy implies majority rule, whereas Whitman's essential advocacy for sexual minorities made him a hopeless underdog. Likewise, according to this book, "Leaves of Grass" remains inspired above all by the Bible--but echoing this fundamentalist mantra from the 1930s does not substitute for making a sober and rational case. It's much closer to the truth to say that "Leaves of Grass" received its Biblical inspiration at a distant remove through its far more fundamental debut to Martin Farquhar Tupper--an understanding often stressed by Whitman's contemporaries. In addition, this book accepts Whitman's calculated and opportunistic claim that "Leaves of Grass" was indebted more than anything to the Civil War, when in fact this is easily seen to be untrue: Whitman's most impassioned readers rank the antebellum poems as vastly more valuable than the post-war poetry.
What to leave out, then? Oh, what a high price was paid to achieve the goals of succinctness. For example: there is little or no mention of Free Love, Fourierism, Spiritualism, Swedenborgism, and the sexual culture of New York's "roughs"--its volunteer firemen, sailors, b'hoys, horse drivers, sporting men, criminals, etc. Even if one could dismiss these vital cultural contexts, this is still a book that purports to convey Whitman's life story without having the least appreciation for the enormous practical toll that periodic financial panics took on Whitman's family, friends, and nation. In fact, it is a book which fails to convey any inkling of Whitman's unique place in the rise of New York City as a maritime superpower during the historic transition from Sail to Steam.
I find it very odd that Killingsworth honors so many of Whitman's most questionable claims while slighting the central claim that he and his disciples so often trumpeted: that the bard's essential motivation was spiritual, and his fundamental goals were religious in nature. Whose Whitman, then? The poet who exploited spiritual themes as an artistic strategy? Or, the man of faith, the social reformer, who harnessed the potential of Tupper's poetic innovations to ordain his songs loosed of limits and imaginary lines? Indeed, on page 6, Killingsworth uncritically cites Whitman's inaugural boast that "Leaves of Grass" "conforms to none of the rules by which poetry has ever been judged," when in fact, as previously mentioned, Whitman's critics immediately judged it alongside the obvious precedent of Tupper's "Proverbial Philosophy."
The final chapter on the evolution of Whitman scholarship will be of less interest to Whitman enthusiasts, poets, and historians than to Lit majors, and it even seems possible that, with Whitman scholarship rapidly entering a stage of maturity, many of the older books that establishment scholars praise today will soon fall into obscurity. In conclusion, this is the best introduction to Whitman we have today, but it deserves a close and skeptical reading.
0 of 0 people found the following review helpful.
Tiny book, dry text, not a joy to read
By Penny Lane
My main criticism is that this book was $30 when I bought it and it is very short. It did not have a section of his poems so I felt cheated to have paid for something that was very limited and did not even have the poems to go with the book. If you are looking for a book that has commentary and background as well as the poems, this book is not it. My other criticism is that I found it dry. Considering that Whitman's poems are a joy to read, I was a little surprised that the book about him would be boring. This is really meant for literature class and not pleasure reading. So if you're looking for a dry cold read about Whitman, get this. If you want to read his poems and have interesting and enjoyable background and commentary to read with them, this is not it.
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