Archive for October, 2009

Allison for Nov. 3

What lurks behind editing?

We know now a great deal about his personal life through his letters, Memoranda, information given to us by our pals Reynolds, Morris, and Erkkila, but there still remains a void. Whitman, containing multitudes, is not easily pieced together. His poetry, though we can only speculate, reveals some thing deeper than biographical information. Through the evolution of his poems, we see the evolution of the man himself– an edited poem flows from an edited mind. Song of Myself, even within its title, serves as Whitman’s mirror, and the changes that occur within the poem over 36 years reveal much about the mindset of our beloved poet not long before his death. What was even more revealing to me, however, were not the things that changed over three decades, but what stayed the same.

Within the first stanza of the 1891 version of Song of Myself, Whitman immediately makes an edit, reminding the reader that this is a different poem from a different man:

“My tongue, every atom of blood, form’d from this soil, this air,

Born here of parents born here of parents the same, and their parents the same,

I, now thirty-seven years old in perfect health begin,

Hoping to cease not till death” (188).

Whitman was, of course, not thirty-seven years old when he made this revision. Instead he reminds us of from where and who the poem originates; Song of Myself is birthed from vitality, from youth, and not from the current state of the writer at the time (nearing death). With the following line, Whitman links his thirty-seven year old self with his current self, knowing that he has achieved the “hope” of his younger self. With this, Whitman re-writes Song of Myself reflectively, and we read it reflectively. Whitman desires and challenges the reader to see the meaning behind his editing.

We have discussed at length the concept of “en masse” and its significance to Whitman, i.e. his philosophy of the American identity, unity through diversity, and comradeship, and it’s no surprise that “en masse” has become capitalized (literally) in Whitman’s writing after 36 years of theorizing it. Along with the capitalization, Whitman describes “En-Masse” as, “without flaw, it alone rounds and completes all, / that mystic baffling wonder along completes all” (210); whereas in 1855, he defines “en-masse” as, “a word of the faith that never balks,/ One time as good as another time…. here or henceforth it is all the same to me” (49). His attitude towards “En-Masse” shifts from a favorable, yet semi-apathetic one, to something he exaggerates passionately about. Whitman couples “En-Masse” with a thought on reality. In 1855 he submits a “word of reality” (49), and in 1891 he “accepts Reality and dare not question it” (210).  Reality, capitalized like En-Masse, has become a force worth recognition, something he must  submit to; for Whitman to set aside something (anything!) that he will not question, reveals the reverence he has developed for Reality. We, of course, know the reality that Whitman will meet one year later.

Despite the fact that Whitman is ailing in 1891 and nearing death, he maintains his optimistic, almost flippant, remarks about death. The 1891 SOM asserts, just as the 1855 version, that life springs from death, that death is nothing to fear: “And as to you death, and you bitter hug of mortality… it is idle to try to alarm me” (85 and 245). The only difference within these lines about death is that in 1891 “death” is capitalized, as are “corpse” and “life.” So though Whitman maintains his same theory about life and death, but in 1891he pays more respect to their significance and presence. Some lines, however, do not change at all, not even in syntax or punctuation. Most notable of the unchanged lines are the very last 8 lines of the poem. At age 37 and at age 73, Whitman chooses to end his poem with the same enigmatic, enduring words. No matter his age, we will find him under our boot-soles.

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Whitman’s “Recycled” Words

Quick post about an observation that just occurred to me. I was just reading the Preface to the 1855 Leaves of Grass and I stumbled across these little nuggets:

“The United States themselves are essentially the greatest poem.”

and:

“Here is not merely a nation but a teeming nation of nations.”

and:

‘Here is action united from strings necessarily blind to particulars and details magnificently moving in vast masses.”

and:

“Here are the roughs and beards and space and ruggedness and nonchalance that the soul loves.”

and:

“Here the performance disdaining the trivial unapproached in the tremendous audacity of its crowds and groupings and the push of its perspective spreads with crampless and flowing breadth and showers its prolific and splendid extravagance.”

After reading through these “heres”, I couldn’t shake this feeling that I had read this some where else. Check out this stanza from “By Blue Ontario’s Shore”(1856, 1881):

“These states are the amplest poem,

Here is not merely a nation but a teeming Nation of nations,

Here the doings of men correspond with the broadest doings of the day and night,

Here is what moves in magnificent masses careless of particulars,

Here are the roughs, beards, friendliness, combativeness, the soul loves,

Here the flowing trains, here the crowds, equality, diversity, the soul loves.”

The poem pulls, almost verbatim, from the preface. Can someone plagiarize them self? Fanny Fern does advise in her article “Borrowed Light” to find a great writer and copy their writings as closely as possible, perhaps Whitman is just followed her advice and selected himself as a great writer. What do you guys make of this? Any more examples of Walt’s “recycled” words?

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Allison for Oct. 27

To express oneself so freely, so eloquently, and in such detail denotes someone who is self aware. Whitman is extremely self aware and fully capable of exploring and identifying the “multitudes” within himself. I believe this heightened sense of awareness, which borders on prophetic at times, is what attracts Whitman to Lincoln. Whitman is able to identify a kindred spirit in Lincoln, a man with a similar mind and equal greatness to himself. Lincoln, however, holds authority that Whitman recognizes he himself will never wield, but he respects and almost vicariously lives through Lincoln’s great influence. Simply put, Whitman would have made the same decisions as Lincoln if he had been elected President.

What unites the men is the “great Idea,” which Whitman refers to several times in “By Blue Ontario’s Shore.” Though Whitman states that the great Idea is the “mission of poets,” he defines the great Idea in national and political terms. First he places the great Idea within the context of war (it’s no mystery what war), then the great Idea becomes part of sweeping statement about unity and equality, and lastly he couples the bard of the great Idea with the bard of “peaceful inventions” (483). Here, Whitman hints the connection between a poet and a President; both the poet and the President, though one undoubtedly more powerful than the other, can have equally as great Ideas. He takes this poetical/political comparison one step further by asserting, “these States are the amplest poem” (471), describing the potential for great unity within the Nation, which was, of course, Lincoln’s primary objective. Similarly, both men look at the “Big Picture,” look toward the future, as motivation. Whitman writes, “O days of the future I believe in you” (474), which mirrors in a more concise, poetic way Lincoln’s closing words in the Gettysburg Address: “that we here highly resolve that these dead shall not have died in vain—that this nation, under God, shall have a new birth of freedom—and that government: of the people, by the people, for the people, shall not perish from the earth.” Lincoln’s use of the future tense and words like “new birth” are no accident, both Whitman and Lincoln saw past the grim present and towards a brighter future, knowing well that the war was justified.

Though our Good Grey Poet most certainly felt connected with Lincoln, I doubt the two could have ever been friends; not because of their differing status in society, but because Walt Whitman placed Lincoln on a higher plane of existence than himself, almost deifying him. Countless times in both his poetry and prose, Whitman refers to Lincoln as a martyr, which perhaps he was, but Whitman elevates Lincoln’s martyrdom to hyperbolic, Christ-like proportions. In “This Dust Was Once The Man,” Whitman describes the South’s attempted succession from the Union as, “the foulest crime in history known in any land or age” (468), and that Lincoln saved, single-handedly, the Union from this most heinous injustice.  Aside from the ridiculousness of the first assertion (I mean, come on, the Spanish Inquisition was much worse), Whitman has made Lincoln the savior of Union. Even in his assassination, something not of Lincoln’s control at all, Whitman paints Lincoln as the critical element in America’s identity. In his lecture Whitman drives this point home over and over again: “strange (is it not?) that battles, martyrs, agonies, blood, even assassination, should so condense– perhaps only really, lastingly condense– a Nationality” (1070). Lincoln, like Christ in Christianity, becomes the fountainhead of a new nation– the first great Martyr Chief, as Whitman calls him.

It’s difficult, if not impossible, to pinpoint the bond between Whitman and Lincoln. However, I think the love Whitman feels for him is far deeper than the “crush” we joke about in class (even though Whitman likes Lincoln’s tan face quite a bit). Whitman recognized that he himself was a great man and in Lincoln he saw another great man, and maybe that’s all there is to it.

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D.C. Field Trip: My Grumpy Saga

Quick Overview:

  • Yesterday I left my house at 10am and did not return until 9:30pm.
  • Rain.
  • Wind.
  • Lots of walking.
  • Exhaustion.
  • Grumpiness.
  • Nap in Ford’s Theater.
  • Library of Congress was awesome.

At 11am we began our walking tour that took us around to the places that Walt Whitman worked at and wrote about, i.e. The U.S. Treasury Building (formerly the Attorney General’s Office where Walt Worked), The Willard Hotel (where Walt occasionally visited and now there hangs a sketch of him in the bar), and The White House and Ford’s Theater (feeding into Walt’s super-man-crush on Lincoln). The highlight of the walking tour, at least for me, was Walt Whitman Way, which is between 7th and 8th streets on F. This is where Walt worked at the Patent Office (now the Smithsonian Portrait Gallery) and had previously tended to soldiers in this same building, and also lived in various boarding houses around the same area.

This image is from flickr, and most certainly not taken the day we were there– note the blue sky.

After a lunch break, we all went to Ford’s Theater. At this time I was at the precipice of grumpiness and tiredness. Here’s a brief overview of what interested me:

  • John Wilkes Booth’s actual gun used to assassinate Lincoln.
  • The Ranger who spoke to us looked like Drew Carey.
  • The inside of my eyelids.

And that’s all I got.

Then, lots more walking in the rain. A quick trip into the Starbucks that used to be Alexander Gardner’s daguerreotype studio (shout out to Matthew Brady!) and then on to The Library of Congress. Here’s where I, and it seemed like everyone else, came alive.

HOW FREAKIN’ COOL!

To see the actual sheets of paper with Walt’s handwriting scrawled on it, his little edits in the margins, to see his letters the same way his recipients saw them– amazing! Of course, the piece de resistance was Whitman’s leather messenger bag, now falling apart and preserved in a special box, revealed to a crowd of gaping mouths, sounds of shock, and a couple sets of teary eyes. Plenty of pictures to come of this bag, we were like the paparazzi catching sight of Paris Hilton with that thing. It was truly incredible to see what the Library of Congress has preserved: locks of both Peter Doyle’s and Whitman’s hair, George Whitman’s small diary, Whitman’s journals from the hospitals, Whitman’s eye glasses, his cane, his pen, a cast of his hand, and lots more. It was overwhelming. Sam Protich, at some point, said excitedly, “this is awesome! Who gets to study like this?!” And of all the many intelligent, insightful, some times long winded, comments I have heard Sam make, this one is the most profound to me.

I’ll admit that I complain about my “Walt Whitman Class” all the time, to the extent that my friends call him my “Needy Boyfriend” because I spend so much time “doing” him, but I’m going to keep it real for a second: I love this class. Yes, it’s a lot of work. Yes, I was extremely tried, cold, hungry, and grumpy during our field trip. However, walking away from the Library of Congress, I felt good. I felt enriched. This class is not only worth my tuition money, but worth my time and mental vigor. I am actually learning. And I like it.

Reflecting on this feeling of “good” and enrichment, my mind was drawn to Paulo Freire’s essay “The Banking Concept of Education” (shout out to Jim Groom). Freire’s essay describes how limiting education can be, how the teacher/professor can fall into a pattern of narration, while the students become “containers” that mechanically memorize facts and promptly forget them after spewing them out on a test: “Education thus becomes an act of depositing, in which the students are the depositories and the teacher is the depositor.” This, sadly, is the mode of education that is most familiar to us. However, this course breaks that mold, nay it shatters it! What we have developed in this class is what Freire calls “authentic thinking,” which, “does not take place in ivory tower isolation, but only in communication.” Communication is our middle name; in class, students are speaking 80%-90% of the time. We are physically connecting to what we’re learning about. Instead of mindlessly “consuming” Whitman’s letters, we went out and saw them, were inches away from them. The reason we all feel personally connected to Walt Whitman is because he has become more than information and we have become more than “containers.” This is what it feels like to be a student.

Along with their comments about Whitman being my boyfriend, my friends will joke, “wow, you’re going to be, like, an expert on Whitman by the end of this semester.” To which I respond (not-jokingly), “yeah. I f–in’ will.”

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Material Culture Museum: Ice Cream!

Library of Congress Prints and Photographs Division Washington, DC 20540 USA http://hdl.loc.gov/loc.pnp/pp.print

Library of Congress Prints and Photographs Division Washington, DC. http://hdl.loc.gov/loc.pnp/pp.print

The origins of ice cream are mysterious. There’s documentation of people flavoring snow hundreds of years before the birth of Christ, but that’s really more of a primative snow cone than ice cream. Some might place its beginning during the reign of Nero (54-68 CE), because the famous Emperor enjoyed a frozen, sweetened combination of ice and fruit pulp, but of course that’s technically sherbet, not ice cream (Powell 12). Sherbet and other iced treats were around Europe for centuries until slowly emerged the addition of cream to the mixture. No one person is attributed to this discovery, but the first official recipe for ice cream was published by Nicholas Lemery in 1674 (Powell 26). By 1768, according to ice cream historian and expert, Marilyn Powell, the age of ice cream was under way (28).

But wait! Perhaps it’s not that simple and European! Myth has it that Marco Polo observed the Mongols making ice cream in China and then brought the recipe back with him to Italy. Though Marco Polo does not write explicitly of ice cream, he does, however, document drinking a fermented milk product called kumiss, which the T’ang rulers of China would enjoy mixed with rice and frozen. It seems as though the lines of this poem by Yang Wanli, c. 1200 BCE, describe ice cream:

It looks so greasy but still has crisp texture,

It appears congealed yet seems to float,

Like jade, it breaks at the bottom of the dish;

As with snow, it melts in the light of the sun.

(Powell 32).

There is, however, no concrete evidence of ice cream in China, nor are Marco Polo’s writings of China held in high regard (there are questions as to if he ever actually made it there). Where ever and how ever it emerged, ice cream did not truly “hit the scene” until the 18th century, and not long after gaining popularity in Europe, ice cream made the trans-Atlantic jump to the United States.

The Founding Fathers loved ice cream. While he was the ambassador to France, Thomas Jefferson grew a bit of an obsession with ice cream, going as far as employing a chef in Paris who would make vanilla ice cream for him. Jefferson even created his own recipe for making vanilla ice cream, which actually does not even list vanilla as an ingredient (Powell 158). George Washington  insisted on having ice cream on the White House menu, and years later Dolley Madison served it at the Inauguration dinner in 1813 (Powell 160). Don’t let these prominent white people fool you, the circulation and perpetuation of ice cream in American was solely because of African Americans. In fact, legend has it that Dolley Madison got her recipe for the Inauguration dinner from Aunt Sallie Shadd, a free black woman from Delaware who many believed to the “inventor” of ice cream. Augustus Jackson, a free black man, was a cook in the White House and after leaving his job there and moving to Philidelphia, began distributing his ice cream to street vendors, who were also mostly African American (Powell 161). These street vendors brought ice cream to the American public, often shouting slogans like, “I Scream Ice Cream” in 1828, which later morphed into, “I Scream, You Scream, We all Scream for ICE CREAM” in 1927 (Powell 162). Needless to say, by the time the Civil War began in 1861, ice cream had already been a part of the American diet for over 80 years and established itself as slogan-worthy treat.

Though Whitman had access to treats like ice cream and citrus fruits, these things were not prevalent during the Civil War. In her article, “Hard as the Hubs of Hell: Crackers in War,” Joy Santlofer discusses the diet of the Civil War soldier. Hard bread, or hard tack, was the staple food item during the war. This bread was so hard that it had to be shattered by a riffle or a sharp rock and then soaked in a liquid before eating, and more often than not, it housed maggots. This is what the soldiers ate every day. To break up the monotony of their diet, soldiers would add the hard bread to their coffee or stew (Santlofer 5). The reasoning behind this unfortunate diet was, of course, the lack of food preservation methods. The newest food  technology was canning, sweetened condensed milk became a hot commodity amongst the soldiers (Santlofer 3). Canned food, dried and salted meats, and hard bread were primarily the only food items that could be kept and transported during the Civil War. So how was it possible for ice cream to exist in the summer heat of Virginia in the 1860s?

This question is not easily answered. Though there were forms of refrigeration by the 1860s, food preservation was still in its primitive stage. The ice box, literally an insulated box with a block of ice on the top shelf, were the most common in cold food storage. Though an ice box could store the cream and eggs used to make ice cream, it would have not been cold enough to store ice cream. A break through in food preservation was made in 1861 by Enoch Piper in Camden, Maine, when he patented a method of freezing a fish by coating it in ice and then moving it into an ice box with chilled brine of ice and salt (Rudi, “How We Got Frozen Food”). Of course we know that the addition of salt creates a lower temperature for various chemical reasons that no one cares to read about. Enoch Piper might have received the official patent for this discovery but this was already common knowledge to those making ice cream. Even in Thomas Jefferson’s recipe for ice cream, which I referenced earlier, instructs to layer salt with ice around the sabotiere. The ice cream was mixed in the sabotiere and left for a several hours in a combination of salt and ice to freeze before serving. Here’s an image that will help clarify– the sabotiere is the smaller container within the bucket, the empty space between the sabotiere and the bucket would have been filled with salt and ice.

www.historicfoods.com

www.historicfoods.com

It was common practice in the 19th century to place half-frozen ice cream, what we would call “soft serve” now, into a mold and then let the ice cream continue to freeze inside the mold (Powell 160).  It’s doubtful this would have been done for the soldiers, however, because this was usually done for fancy dinner parties and special occasions. It is also unlikely that these reasonably sized sabotieres were used to feed an entire army. Here enters Jacob Fussell to save the day. Jacob Fussell established the first commercial ice cream plant in Baltimore in 1851, and supplied the Union troops with ice cream throughout the war by using refrigerated rail cars (Powell 163). Other smaller scale modes of ice cream production, i.e. making the ice cream on sight, were also used to feed the soldiers, but Fussell’s factory sent out a majority of the ice cream consumed during the Civil War.

Fussell began the tradition of ice cream as an American military staple. During World War II, the U.S. Navy produced 10 gallons of ice cream per second for its sailors (Powell 163). Ice cream, though it does not originate from The United States, has become synonymous with the United States. During times of international war, other countries have watched Americans eat the stuff (literally) by the gallons. Even though ice cream exists in dozens of other nations, only in the United States has it become linked to patriotism through its historic military ties, perhaps explaining why America is currently the greatest producer and consumer of ice cream. So not only is ice cream tasty, but it’s downright American!

Powell, Marilyn. Ice Cream: The Delicious History. New York: The Overlook Press, 2005. Print.

Santlofer, Joy. “‘Hard as the Hubs of Hell’: Crackers in War.” Food, Culture & Society: Wilson Web 10 (2007): 191-209. 13 October 2009.

Volti, Rudi. “How We Got Frozen Food.” Invention and Technology Magazine. American Hertiage. Web. 18 October 2009.



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Allison for Oct. 20

Walt Whitman craves intimacy. This thought has occurred to me sporadically throughout the semester, but the readings for this week, especially the letters and Ellen Calder’s piece,  struck me over and over again with Whitman’s desire for intimacy with any and every one. Now I think it’s safe to say that I know Walt Whitman to a certain extent; here’s what I know for sure:

1.) He is an optimist. I discussed this in my last post and now it has been officially confirmed  by Ellen Calder (*pats self on back*).

2.) He desires and is driven by intimacy.

3.) He is, without a doubt, gay. Gay as the day is long.

Of all the other unencumbered facets of the Good Grey Poet’s being, I can only offer inklings and educated guesses, but of these three things I am positive. Since Whitman’s optimism is old news,  I will delve into my discovery of the latter two of these certainties.

In his letters, no matter the recipient, Whitman will often begin with some statement like, “it is a comfort to write home, even if I have nothing in particular to say” (42), or, “I have nothing of consequence to write” (107), and then launch into multiple pages of recounting his current conditions and most recent experiences. Long-winded details are to be expected in letters to his immediate family, but his letters to his sister-in-law, Martha, his friend, Hugo Fritsch, and even to his contemporary, Ralph Waldo Emerson, express the same level of intimacy as those to his own mother. His letters, both in their content and quantity, express his eagerness for people to know him; his opening lines of, “oh I don’t have much to talk about BUT,” are a classic sign of someone who has a whole lot to say and desires the full attention and participation of the receiver (we all have a friend who does this). Whitman is not self-centered, however, he puts all this information out in hopes of receiving the same amount back. He impatiently urges his recipients to respond; even to Emerson, some one he’s not all that close with, he says, “answer me by the next mail, for I am waiting here like a ship for the welcome breath of wind” (41). Calder speaks often of the long conversations that would occur in the presence of Whitman, which further convinced me of Whitman as both a hungry contributor and consumer of information. Calder easily shares intimate details of Whitman– specific lines of poetry he would recite, certain words he liked, little sayings of his, etc.– and though we cannot know for certain, I am sure than Whitman could have just as easily shared intimate details about Ellen Calder. Intimacy is in the details, and Whitman is fueled by details. As a nurse, he picked up on preferences of certain soldiers; Morris shares how Whitman discovered that patients with a fever enjoyed the scent of lemons, and would carry around an array of “goodies” to fulfill each unique need. Whitman longs to connect with anyone who will act as recipient, be it a reader he knows personally, a reader he has never met (perhaps one in the year 2009, sitting at her laptop), a close friend, a wounded soldier, or Tom Sawyer, to whom Whitman wants to give something extra special.

No matter what Reynolds’ might claim in “Calamus’ Love,” Walt Whitman was a homosexual. Period. Reading his letters to Tom Sawyer, you would have to be utterly dense to not recognize that Whitman was infatuated, if not in love, with this soldier: “I hope we shall yet meet, as I say, if you feel as I do about it– and if [it] is destined that we shall not, you have my love none the less, whatever should keep you from me, no matter how many years” (57). As Tom continues ignoring Whitman, Whitman takes on a tone of love-sick desperation: “Do you wish to shake me off? That I cannot believe, for I have the same love for you that I exprest in my letters last spring & I am confident you have the same for me” (93). Really, Walt, you think so? Poor guy. What truly set me over the edge were Whitman’s comments about marriage to Ellen Calder. He expresses that marriage is not for him, that he does not envy a man’s wife but envies his children. In this moment, I pitied Whitman. Whitman does not desire a wife, because he cannot intimately connect with women–any woman– but he does crave a family. Of course, having two Dads was not exactly an option in 1865, so here sits Whitman fawning over Tom Sawyer and yearning for a genuine partnership and family that he knows he will never have. It’s no wonder that Whitman’s favorite lines to recite in Ellen Calder’s home were about the agony of unrequited love. Despite all his attempts at intimacy, Whitman will never know in his lifetime the fullest, greatest form of intimacy that he so desperately longs for. What results is a hopeless grasping for connection to all those around him, both inspiring and depressing.

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Allison for Oct. 6

Here’s the cliche (maxim/adage/saying/whatever) running through my mind while reading Reynolds’ article and relating it to this week’s questions: blessing in disguise. Reynolds’ reminds us that even though the Civil War was horrible, many good things came of it; things that Walt Whitman, being the saucy prophet he is, desired and foresaw with a sense of optimism. Perhaps better than my lame cliche is Reynolds little golden nugget at the very beginning of My Book and War Are One:  “[The Civil War] cleared the atmosphere like a thunderstorm” (413). Whitman might have changed stylistically, but no amount of darkness can fully smother his brightness; even within the gloomy Drum Taps there remains glimmers of Whitman’s optimism.

Reading Drum Taps there were two poems in particular that seemed non sequitur to me, City of Ships and Give Me the Splendid Sun. Next to these two poems I have scribbled excitedly “old school Walt” in pencil, feeling refreshed by the return of “O”s, exclamation marks, repetition, and lines like, “O such for me! O an intense life, full to repletion and varied!” (447). Even surrounded by death and violence, Whitman continues to muse about all the differing beauties between nature and the city. It’s almost as if these poems are his own personal escape, his “me” time, if you will. Some times he even takes a breather within the same poem, some of his more macabre poems contain their own, small “old school Walt” moments. For instance, in The Wound-Dresser, there are intermittent intermissions amongst the strenuous listing of a nurse’s duty to proclaim, “O maidens and young men I love and love me” (443), and then closes the poem with this sentiment, “(many a soldier’s loving arms about this neck have cross’d and rested, many a soldier’s kiss dwells on these bearded lips)” (445).  No matter the circumstance, Walt always seems to make time to appreciate the men around him… especially when they’re dusty.

Walt Whitman was a lover, not a fighter (I’m full of cliches today!); his passion for the masculine form and sensuality may not be as raw and zealous as it is in 1855, but it is undoubtedly present in Drum Taps. My personal favorite man-crush moment takes place within a set of parenthesis in First O Songs for a Prelude: “how good they look as they tramp down to the river, sweaty, with their guns on their shoulders!” (417). Here, also, is where he first divulges his minor dust fetish. All dust aside, these brief sensual and/or loving moments serve as a glimpse into momentary humanizing instances, however short-lived or fleeting or perhaps mentally constructed they might have been. There is also that sense perhaps Walt might have optimistically said to himself one day while watching sweaty, dusty men march past, “well, war is awful and I’m exhausted… but check out those hotties!”

I’m half kidding, of course.

Whitman seems to take war, digest it, and spit it back out optimistically. Reynolds comments that Whitman was such a unique war poet because he did not often express partisanship. To avoid partisanship in any war, let alone the Civil War, is difficult for the author and  frustrating to readers. However, more important to Whitman than politics was the “big picture” and his role in putting the pieces of America together (explaining why he was so enamored with Lincoln). The Civil War provided a force that could have never been generated by one man or one book of poems, and Whitman seems pleased to simply be a part of the progress. Even the most sorrowful times, Whitman’s songs remain triumphant.

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Fredericksburg Fun!

Posting now, immediately following our Fredericksburg field trip, while everything is fresh and easily flowing from my fingertips.

Our first stop was the battle ground on Sunken Rd, which was the site of an extremely bloody massacre of Union soldiers. The geography of Marye Heights gave the Confederates at easy victory, despite the fact the Union had more troops and had been stationed in Fredericksburg longer. However, none of this is really that interesting, lets be honest. Far more interesting was the wedding party taking photographs nearby as we commented on their ironic existence in the space. Where thousands upon thousands of men were killed 150 years ago, now hosted a group of well dressed young adults smiling, laughing, and embarking on new life. I believe it was Professor Brady who made the Whitman reference saying something like, “how Whitmanic, new life springing from a place of death.”  Then later, Professor Groom alluded to “This Compost!” The foul meat that perhaps remained beneath the shiny leather shoes and high heels of the wedding party, reminding us that the Earth, “grows such sweet things out of such corruptions.”

Chatham House, formerly known as The Lacy House, was our next stop. This was where Whitman spent time nursing wounded soldiers. The house is beautiful, though one room was painted in an off-putting Pepto Bismal pink color, and the grounds surrounding the property are perfectly manicured and stunning. Again, the irony played within my mind. Where hospital tents had stood before, now grows flowers and grape vines.  We watched the informational DVD on a flat screen TV in the room that had formerly been the amputation room. The chasm between the past in the present seems alienating and inescapable. However, there was a specific moment when that chasm was bridged (perhaps like the pontoon bridge built by the Federals over the Rappahannock?), and when we all experienced something tangible in 2009 that Whitman experienced in the 1860s.

Still standing outside the Chatham house are the two tangled Catalpa trees where Whitman saw a pile of amputated limbs. The trees are directly outside the windows of the amputation room. Our tour guide was kind enough to read Whitman’ words about the trees. It seemed a sobering moment for everyone as we all realized that this was the “closest” we have been to Whitman so far; we connected his words to our physical surroundings. After this moment, I found myself looking around with new eyes, wondering if Washington, Lincoln, and of course Whitman, looked over the Rappahannock River and Fredericksburg as I was at the same time of day, on the same day of the year, many years ago. Maybe that’s nerdy… but we were all a little bit nerdy today.

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