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By Charles M. Oliver

"Critical spouse to Walt Whitman" comprises entries on each one of Walt Whitman's poems, from the commonly well-known "Song of Myself," "When Lilacs final within the Dooryard Bloom'd," and "Out of the Cradle without end Rocking," to his minor works. His significant prose works, equivalent to "A Backward look O'er Travel'd Roads" and "Democratic Vistas", each one variation of "Leaves of Grass", and detailed phrases used or coined by way of Whitman, corresponding to "Eidolons" and "Paumanok," also are lined. supporting readers comprehend the affects on his existence are entries on Whitman's relations, neighbors, kinfolk, and friends; very important locations the place he lived and labored; and ideas vital to his paintings. a vital reference consultant, this single-volume addition to the "Critical spouse" sequence promises a wealth of knowledge at the existence and works of this nice American writer.

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Additional info for A Critical Companion To Walt Whitman: A Literary Reference To His Life And Work

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Walt introduced Harry to friends as “my son” or “my nephew,” and Whitman told Burroughs that they shared a room and bed. He later told Harry how much he regarded the Timber Creek experiences as a life-saving period of time for himself and that Harry was “the central figure of . . ” ANNE GILCHRIST Anne Gilchrist was, next to his mother, the most loving woman in Whitman’s life. She had been introduced to his poetry in England in June 1869 and fell in love with what she read and, apparently, with the poet himself.

He later referred to her death as the “great tragedy” of his life. ” (1881) This poem was first published as the opening work in the “Autumn Rivulets” cluster for the sixth edition of Leaves of Grass (1881). Just as all the “wayward rivulets,” brooks, “subterranean sea-rills,” and major rivers of America help form the idea of America, so do its people: In you whoe’er you are my book perusing, In I myself, in all the world, these currents flowing, All, all toward the mystic ocean tending. Whitman then deepens the metaphor: “Or from the sea of Time, .

Whitman added five more “cluster” titles to this sixth edition, making 12 clusters altogether, but the only additions after that would be in what he called annexes, placed at the back of any new printings of Leaves. He published Specimen Days in 1882 and November Boughs in 1888, the latter poems to be added to the “Death-bed” printing (1892) as “Sands at Seventy,” the first annex. November Boughs included a preface, “A Backward Glance O’er Travel’d Roads,” which is both a reminiscence and a summary of Whitman’s life in poetry.

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