According to Mark Edmundson, Whitman’s “Song of Myself” is an onanistic dream in which the poet, or speaker of this vision, is, among other things, angry at the sun. Although masturbation is his “characteristic sexual mode,” Whitman is distressed “by the fact that some, or even all, of the figures he’s fantasizing about . . . are male” (64-65). Later (110) Edmundson says he is “agnostic” on the question of Whitman’s alleged homosexuality. Whitman’s imagined “fight for democracy” in this volume—intended for “general readers”—centers upon his autoerotic encounter of Self and Soul and a “duel with the sun” (“There are millions of suns left”), which represents the patriarchal or aristocratic forces that continue to threaten the fragile democracy on the verge of civil war. The vernacular “you” in the poem is no longer primarily the reader, or “divine average,” but “another part of Walt himself” (17). The sun and the grass serve in this rather private, if not “New Critical,” reading of Leaves of Grass as the age-old opponents in the people’s war against kings and aristocracy. In this fight, Whitman was responding to what Emerson called for in his essays: “a vision of what being a democratic man or woman felt like at its best, day to day, moment to moment” (3). It seems that Thoreau might be the preferred Transcendentalist to get down in the dirt with Whitman and his omnibus drivers, not Emerson, who allegedly complained of the “fire-engine” society he encountered when Whitman took him to a restaurant in New York City at the end of 1855. Indeed, for all the Emerson that Edmundson calls upon in this monograph on Whitman, he seems oblivious to the Transcendentalist or logocentric context for “Song of Myself” and in fact all of Leaves of Grass. As we know and as Edmundson acknowledges, Whitman claimed that he was “simmering, simmering, simmering,” and that Emerson—along with opera and the King James version of the Bible—“brought [him] to a boil” (5). And just what was it that turned this mediocre poet/journalist/fiction writer (whose humble beginnings Edmundson exaggerates, ignoring the importance of Whitman’s having edited the Brooklyn Eagle from 1846 to 1848) into America’s greatest poet? It was the Emersonian idea that everybody and everything was REVIEWS WWQR Vol. 39 No. 1 (Summer 2021)
根据马克·埃德蒙森(Mark Edmundson)的说法，惠特曼的《自我之歌》(Song of Myself)是一个唯心主义的梦境，在这个梦境中，诗人，或者说这个梦境的讲述者，除其他外，对太阳感到愤怒。尽管手淫是他“典型的性方式”，惠特曼还是为“他所幻想的一些，甚至是所有的人物……”都是男性”(64-65)。后来(公元110年)，埃德蒙森说他对惠特曼所谓的同性恋问题是“不可知论者”。在这本书中，惠特曼想象的“为民主而战”——面向“普通读者”——集中在他对自我与灵魂的自恋遭遇和“与太阳的决斗”(“还有数百万个太阳”)上，这代表了父权或贵族力量继续威胁着处于内战边缘的脆弱的民主。在诗中，白话中的“你”不再主要是读者，或“神圣的平均”，而是“沃尔特自己的另一部分”(17)。在《草叶记》这本颇为私密的书中，太阳和草地即使不是“新批判”式的解读，也是人民反对国王和贵族的战争中由来已久的对手。在这场较量中,惠特曼是应对爱默生呼吁在他的论文:“作为一个民主党人的视觉感觉最好的,每一天,时刻”(3)。梭罗似乎可能是首选的先验论者下来的污垢与惠特曼和他的公共汽车司机,不是爱默生,据称“消防车”社会的抱怨时,他遇到了惠特曼带他去一家餐馆在纽约市在1855年底。事实上，埃德蒙森在这本关于惠特曼的专著中提到了爱默生，他似乎忽略了《我的歌》以及《草叶集》的先验主义或意义中心语境。正如我们所知，正如埃德蒙森所承认的，惠特曼声称自己“在酝酿，酝酿，酝酿”，而爱默生——以及歌剧和詹姆斯国王钦差版《圣经》——“使他沸腾”(5)。究竟是什么使这位平庸的诗人/记者/小说作家(埃德蒙森夸大了他卑微的出身，忽略了惠特曼从1846年到1848年编辑《布鲁克林鹰报》的重要性)成为美国最伟大的诗人?这是爱默生的想法，每个人和每件事都是评论WWQR第39卷第1期(2021年夏季)
{"title":"Mark Edmundson. Song of Ourselves: Walt Whitman and the Fight for Democracy.","authors":"Jerome M. Loving","doi":"10.13008/0737-0679.2418","DOIUrl":"https://doi.org/10.13008/0737-0679.2418","url":null,"abstract":"According to Mark Edmundson, Whitman’s “Song of Myself” is an onanistic dream in which the poet, or speaker of this vision, is, among other things, angry at the sun. Although masturbation is his “characteristic sexual mode,” Whitman is distressed “by the fact that some, or even all, of the figures he’s fantasizing about . . . are male” (64-65). Later (110) Edmundson says he is “agnostic” on the question of Whitman’s alleged homosexuality. Whitman’s imagined “fight for democracy” in this volume—intended for “general readers”—centers upon his autoerotic encounter of Self and Soul and a “duel with the sun” (“There are millions of suns left”), which represents the patriarchal or aristocratic forces that continue to threaten the fragile democracy on the verge of civil war. The vernacular “you” in the poem is no longer primarily the reader, or “divine average,” but “another part of Walt himself” (17). The sun and the grass serve in this rather private, if not “New Critical,” reading of Leaves of Grass as the age-old opponents in the people’s war against kings and aristocracy. In this fight, Whitman was responding to what Emerson called for in his essays: “a vision of what being a democratic man or woman felt like at its best, day to day, moment to moment” (3). It seems that Thoreau might be the preferred Transcendentalist to get down in the dirt with Whitman and his omnibus drivers, not Emerson, who allegedly complained of the “fire-engine” society he encountered when Whitman took him to a restaurant in New York City at the end of 1855. Indeed, for all the Emerson that Edmundson calls upon in this monograph on Whitman, he seems oblivious to the Transcendentalist or logocentric context for “Song of Myself” and in fact all of Leaves of Grass. As we know and as Edmundson acknowledges, Whitman claimed that he was “simmering, simmering, simmering,” and that Emerson—along with opera and the King James version of the Bible—“brought [him] to a boil” (5). And just what was it that turned this mediocre poet/journalist/fiction writer (whose humble beginnings Edmundson exaggerates, ignoring the importance of Whitman’s having edited the Brooklyn Eagle from 1846 to 1848) into America’s greatest poet? It was the Emersonian idea that everybody and everything was REVIEWS WWQR Vol. 39 No. 1 (Summer 2021)","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43738789","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Was Whitman “Betrayed” in Brazil?: Geir Campos, Ana Cristina Cesar, and the 1983 Chopping Up of Leaves of Grass","authors":"Patrícia Anzini","doi":"10.13008/0737-0679.2416","DOIUrl":"https://doi.org/10.13008/0737-0679.2416","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42518415","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“The Face, the Body, the Voice”","authors":"A. C. César","doi":"10.13008/0737-0679.2417","DOIUrl":"https://doi.org/10.13008/0737-0679.2417","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45565621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Zachary Turpin and Matt Miller, eds. Every Hour, Every Atom: A Collection of Walt Whitman’s Early Notebooks and Fragments.","authors":"B. Bair","doi":"10.13008/0737-0679.2421","DOIUrl":"https://doi.org/10.13008/0737-0679.2421","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45699994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ed Folsom and Christopher Merrill. “The Million Dead, Too, Summ’d Up”: Walt Whitman’s Civil War Writings.","authors":"D. Mong","doi":"10.13008/0737-0679.2420","DOIUrl":"https://doi.org/10.13008/0737-0679.2420","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48122870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Appendix: A Sampling of New Orleans Crescent “Northern Correspondence” from “Manahatta”/“Manhattan”","authors":"W. Whitman","doi":"10.13008/0737-0679.2415","DOIUrl":"https://doi.org/10.13008/0737-0679.2415","url":null,"abstract":"","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":"1 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-09-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66479940","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1935, the Filipino American writer and activist Carlos Bulosan (19131956) was living in Los Angeles when he vowed to continue his informal literary education. Disillusioned by the racism and class-based discrimination he encountered everywhere on the West Coast, Bulosan turned to literature in order to understand the historical forces that had shaped his experiences as a field hand and urban laborer among his fellow Filipino American immigrants. Once he devoted himself to his autodidactic mission, Bulosan spent his days at the Los Angeles Public Library. As he details in his essay “My Education,” which was published posthumously in a 1979 issue of Amerasia devoted to Bulosan, reading allowed him to contextualize his marginalized life by turning to what many might consider an unlikely canonical source: the poetry of Walt Whitman. Bulosan recalls:
{"title":"Carlos Bulosan, Walt Whitman, and the Transnational Jeremiad","authors":"Mai Wang","doi":"10.13008/0737-0679.2404","DOIUrl":"https://doi.org/10.13008/0737-0679.2404","url":null,"abstract":"In 1935, the Filipino American writer and activist Carlos Bulosan (19131956) was living in Los Angeles when he vowed to continue his informal literary education. Disillusioned by the racism and class-based discrimination he encountered everywhere on the West Coast, Bulosan turned to literature in order to understand the historical forces that had shaped his experiences as a field hand and urban laborer among his fellow Filipino American immigrants. Once he devoted himself to his autodidactic mission, Bulosan spent his days at the Los Angeles Public Library. As he details in his essay “My Education,” which was published posthumously in a 1979 issue of Amerasia devoted to Bulosan, reading allowed him to contextualize his marginalized life by turning to what many might consider an unlikely canonical source: the poetry of Walt Whitman. Bulosan recalls:","PeriodicalId":42233,"journal":{"name":"WALT WHITMAN QUARTERLY REVIEW","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2021-03-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44698004","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The second edition of Nicaraguan poet Rubén Darío’s Azul ... introduces an unexpected character: an elderly Walt Whitman, in a sonnet named in his honor. As I seek to demonstrate, Whitman’s surprise appearance in the foundational work of Latin American modernismo culminates a complex sequence of textual transfers occurring over several months in 1890: In late May, two reporters visit Whitman in Camden, New Jersey, and narrate their experience in an interview that was republished in several newspapers; in June, a Nicaraguan journalist incorporates an unacknowledged translation of the interview in an article for the Revista Ilustrada de Nueva York ; and Darío cites the Spanish-language article as part of the inspiration for his sonnet, published that October. What links these depictions is less an admiration for Whitman’s verse than a fascination with his body, imagined and re-imagined across languages, genres, and media. The texts dwell on the poet’s weakened physique, only to insist upon the virility of a face that comes to express intersecting anxieties of sexual nonconformity and socioeconomic reordering in continental America.
尼加拉瓜诗人rubsamen Darío的《Azul》第二版…介绍了一个意想不到的角色:年迈的沃尔特·惠特曼，在一首以他的名字命名的十四行诗中。正如我试图证明的那样，惠特曼在拉丁美洲现代主义基础作品中的意外出现，是1890年几个月里一系列复杂的文本转换的高潮:5月下旬，两名记者在新泽西州卡姆登拜访惠特曼，并在一次采访中讲述了他们的经历，这次采访被几家报纸转载;6月，一名尼加拉瓜记者在《纽约新画报》(Revista illustrada de Nueva York)的一篇文章中加入了未经承认的采访翻译;Darío引用了这篇西班牙文文章作为他那年10月发表的十四行诗的部分灵感来源。将这些描绘联系在一起的，与其说是对惠特曼诗歌的钦佩，不如说是对他身体的迷恋，想象和重新想象，跨越语言、体裁和媒体。这些文本详述了诗人虚弱的身体，只是坚持认为他的脸是阳刚的，表达了对性不符合和美国大陆社会经济重新秩序的交叉焦虑。
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