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Disseminating Whitman - Revision and Corporeality in Leaves of Grass (Paperback, Revised)
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Disseminating Whitman - Revision and Corporeality in Leaves of Grass (Paperback, Revised)
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Within twelve years of the first appearance of Leaves of Grass in
1855, Walt Whitman produced three other editions of what he
insisted were the "same" work; two more followed later in his life.
Rather than asking which of these editions is best, Michael Moon,
in Disseminating Whitman, argues that the very existence of
distinct versions of the text raises essential questions about it.
Interpreting "revision" more profoundly than earlier Whitman
critics have done, while treating the poet's homosexuality as a
cultural and political fact rather than merely as a biographical
datum, Moon shows how Whitman's continual modifications of his work
intersect with the representations of male-male desire throughout
his writing. What is subjected to endless revision throughout the
first four editions of Leaves of Grass, Moon argues, is a
historically specific set of political principles governing how the
human body-Whitman's avowed subject-was conceptualized and
controlled in mid-nineteenth-century America. Moon interprets
Whitman's project as one that continually engages in such divergent
contemporaneous discourse of the body as the anti-onanist ones of
the "male-purity" movement, anti-slaver writing, "temperance"
tracts, and guides to conduct for the aspiring "self-made man."
Critically applying various interpretive models from
psychoanalysis, literary and cultural theory, and gender studies,
and heeding recurring patterns of language and figure, Moon
provides rigorous intertextual readings of Whitman's canon.
Ingeniously employing "The Child's Champion" as a paradigm, Moon
scrutinizes such celebrated poems as "Song of Myself" and the great
Civil War elegies, as well as such commonly overlooked poems as
"Song of the Broad-Axe" and "Song of the Banner at Daybreak."
Disseminating Whitman reveals as no previous study has done the
poet's fervent engagement with the most highly charged political
questions of his day-questions of defining and regulating whole
ranges of experiences and desires that remain the subject of
intense political conflict in our own time. This radical
reassessment of the "good gray" poet makes a definitive
contribution to critical work in American history and literature,
poetry, and gender studies.
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