11 to go to work, missing the sort of traditionaleducation that made most American authorsrespectful imitators of the English. His Leavesof Grass (1855), which he rewrote and revisedthroughout his life, contains “Song of Myself,”the most stunningly original poem ever writtenby an American. The enth<strong>us</strong>iastic praise thatEmerson and a few others heaped on thisdaring volume confirmed Whitman in his poeticvocation, although the book was not a popularsuccess.A visionary book celebrating all creation,Leaves of Grass was inspired largely byEmerson’s writings, especially his essay “ThePoet,” which predicted a rob<strong>us</strong>t, open-hearted,universal kind of poet uncannily like Whitmanhimself. The poem’s innovative, unrhymed, freeverseform, open celebration of sexua<strong>lit</strong>y, vibrantdemocratic sensibi<strong>lit</strong>y, and extreme Romanticassertion that the poet’s self was one with thepoem, the universe, and the reader permanentlyaltered the course of American poetry.Leaves of Grass is as vast, energetic, and naturalas the American continent; it was the epic generationsof American critics had been calling for,although they did not recognize it. Movement ripplesthrough “Song of Myself” like restlessm<strong>us</strong>ic:My ties and ballasts leave me...I skirt sierras, my palms cover continentsI am afoot with my vision.The poem bulges with myriad concrete sightsand sounds. Whitman’s birds are not the conventional“winged spirits” of poetry. His “yellowcrown’dheron comes to the edge of the marshat night and feeds upon small crabs.” Whitmanseems to project himself into everything that hesees or imagines. He is mass man, “Voyaging toevery port to dicker and adventure, / Hurryingwith the modern crowd as eager and fickle asany.” But he is equally the suffering individual,“The mother of old, condemn’d for a witch, burntwith dry wood, her children gazing on....I am thehounded slave, I wince at the bite of thedogs....I am the mash’d fireman with breast-bonebroken....”More than any other writer, Whitman inventedthe myth of democratic America. “The Americansof all nations at any time upon the earth haveprobably the fullest poetical nature. The UnitedStates is essentially the greatest poem.” WhenWhitman wrote this, he daringly turned upsidedown the general opinion that America was toobrash and new to be poetic. He invented a timelessAmerica of the free imagination, peopledwith pioneering spirits of all nations. D.H.Lawrence, the British novelist and poet, accuratelycalled him the poet of the “open road.”Whitman’s greatness is visible in many ofhis poems, among them “CrossingBrooklyn Ferry,” “Out of the CradleEndlessly Rocking,” and “When Lilacs Last in theDooryard Bloom’d,” a moving elegy on the deathof Abraham Lincoln. Another important work ishis long essay “Democratic Vistas” (1871), writtenduring the unrestrained materialism ofind<strong>us</strong>trialism’s “Gilded Age.” In this essay,Whitman j<strong>us</strong>tly criticizes America for its “mighty,many-threaded wealth and ind<strong>us</strong>try” that maskan underlying “dry and flat Sahara” of soul. Hecalls for a new kind of <strong>lit</strong>erature to revive theAmerican population (“Not the book needs somuch to be the complete thing, but the reader ofthe book does”). Yet ultimately, Whitman’s mainclaim to immorta<strong>lit</strong>y lies in “Song of Myself.”Here he places the Romantic self at the center ofthe conscio<strong>us</strong>ness of the poem:I celebrate myself, and sing myself,And what I assume you shall assume,For every atom belonging to meas good belongs to you.31
Whitman’s voice electrifies evenmodern readers with his proclamationof the unity and vital force ofall creation. He was enormo<strong>us</strong>lyinnovative. From him spring thepoem as autobiography, theAmerican Everyman as bard, thereader as creator, and the still-contemporarydiscovery of “experimental,”or organic, form.THE BRAHMIN POETSIn their time, the BostonBrahmins (as the patrician,Harvard-educated class cameto be called) supplied the mostrespected and genuinely cultivated<strong>lit</strong>erary arbiters of the UnitedStates. Their lives fitted a pleasantpattern of wealth and leisuredirected by the strong NewEngland work ethic and respect forlearning.In an earlier Puritan age, theBoston Brahmins would have beenministers; in the 19th century, theybecame professors, often at Harvard.Late in life they sometimesbecame ambassadors or receivedhonorary degrees from Europeaninstitutions. Most of them travelledor were educated in Europe: Theywere familiar with the ideas andbooks of Britain, Germany, andFrance, and often Italy and Spain.Upper class in background butdemocratic in sympathy, theBrahmin poets carried their genteel,European-oriented views toevery section of the United States,through public lectures at the 3,000lyceums (centers for public lectures)and in the pages of twoinfluential Boston magazines, theHENRY WADSWORTHLONGFELLOWPhoto courtesy Brown BrothersNorth American Review and theAtlantic Monthly.The writings of the Brahmin poetsf<strong>us</strong>ed American and European traditionsand sought to create a continuityof shared Atlantic experience.These scholar-poets attemptedto educate and elevate the generalpopulace by introducing aEuropean dimension to American<strong>lit</strong>erature. Ironically, their overalleffect was conservative. By insistingon European things and forms, theyretarded the growth of a distinctiveAmerican conscio<strong>us</strong>ness. Wellmeaningmen, their conservativebackgrounds blinded them to thedaring innovativeness of Thoreau,Whitman (whom they ref<strong>us</strong>ed tomeet socially), and Edgar Allan Poe(whom even Emerson regarded asthe “jingle man”). They were pillarsof what was called the “genteel tradition”that three generations ofAmerican realists had to battle.Partly beca<strong>us</strong>e of their benign butbland influence, it was almost 100years before the distinctive Americangeni<strong>us</strong> of Whitman, Melville,Thoreau, and Poe was generally recognizedin the United States.Henry Wadsworth Longfellow(1807-1882)The most important BostonBrahmin poets were HenryWadsworth Longfellow, Oliver WendellHolmes, and James R<strong>us</strong>sellLowell. Longfellow, professor ofmodern languages at Harvard, wasthe best-known American poet ofhis day. He was responsible for themisty, ahistorical, legendary sense32
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ground melody. It was experimentalp
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John Berryman (1914-1972)John Berry
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poetry writing, for women, as a dan
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his example and influence.Beat poet
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acial differences have shaped their
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Acoma, New Mexico.A central text in
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Americans, from Harper (a collegepr
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At the opposite end of the theoreti
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Robert Penn Warren(1905-1989)Robert
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was set in Mexico during the revolu
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ful people whose inner faultsand di
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veiled account of the life ofBellow
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(1964), Bullet Park (1969), andFalc
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eing reported. In The Electric Kool
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own phrase) in negotiating thechaot
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the sweep of time from the end of t
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vivid, and often comic novel is asu
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sister discovers her inner strength
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paths of life in his early years,fl
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acism and adopted the surname ofhis
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Bishop, generally considered the fi
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arate vantage point. As in a film
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moments of spiritual insight rescue
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the city in which I love you.And I
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loads up steep hills on the Greekis
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Billy Collins (1941- )The most infl
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in a musicians’ “jam session.
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CHAPTER10CONTEMPORARYAMERICANLITERA
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with private lives.Influenced by Th
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ecognition for her Crimes of the He
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Kennedy as an explosion of frustrat
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Coast. Cotton and the plantationcul
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tle, open-ended fiction; recent vol
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nature essayist Rick Bass (1958- ),
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AMY TANPhoto: Associated Press /Gra
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Sherman Alexie (1966- ), aSpokane/C
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tells the story of an illegal immig
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156
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GLOSSARYFaust: A literary character
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GLOSSARYPoet Laureate: An individua
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162
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INDEXBabbitt (Sinclair Lewis) 60, 7
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INDEXCummings, Edward Estlin (e.e.
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INDEXGolden Apples, The (Eudora Wel
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INDEXKumin, Maxine 90, 130Kushner,
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INDEX“Negro Speaks of Rivers, The
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INDEXSeascape (Edward Albee) 117Sea
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INDEXWaiting (Ha Jin) 155Waiting fo
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U.S. DEPARTMENT OF STATE /BUREAU OF