Last week’s student conference in Camden brought “Looking for Whitman” to a rousing, poignant close. Four months after the classes involved in the project had ended, students from the University of Mary Washington, Rutgers-Camden, and City Tech gathered together to share their experiences and to meet one another in person. Understandably, students from the University of Novi Sad were not able to make the trip across the Atlantic Ocean to be with us in person.

There was something special about this day that reflected the entire spirit of the project. It was fed, no doubt, by the amazing cadre of students from UMW who boarded a bus at 6am on a Saturday morning to take a five-hour bus ride up to Camden for a conference related to a class that they had taken in the previous semester. Led by faculty members who had devoted intense amounts of energy to the project, these students arrived at Camden at a fever pitch. They weren’t there for a conference; they were there for a revival.

What intensity these students brought with them!! They came into the room wearing Whitmanic beards, clutching their texts, brimming with excitement. And that excitement bolstered us throughout the day.

UMW students arrive in Camden festooned with Whitman beards, t-shirts, and shoes.

We knew we were very lucky to have this group with us. It can be difficult — particularly at commuter campuses like City Tech and Rutgers — to round up students four months after a class has ended, let along to convince them to take a two-hour trip from NYC or a five-hour trip from Virginia for a student conference–especially at the end of the semester, with finals and senior thesis projects looming. I know that many students wanted to attend but couldn’t because of work or family obligations. Many Rutgers graduate students couldn’t because of concurrently scheduled comprehensive exams.

UMW students felt right at home on the RU campus; here are Sam and Brendan posing with a statue of Walt:

Sam P. and Brendan B. pose with Walt himself.

A Generative Conference
Early on, we decided that this conference would not be presentational, but generative. We wanted the conference to be an active event that embodied the pedagogical imperatives of the project as a whole: students would not just lecture about the work they had done during the Fall 2009 semester, but would also create new work to accompany it. To this end, we handed out FlipCams to all students there and encouraged them to take footage of the day. In the coming days and weeks, I look forward to seeing the posts that will come out of that footage.

Some of the highlights of the day included:

– Small group discussions in which students and faculty members shared their experiences in the project and discussed the Whitman they had found in their project location.

– A viewing, over lunch, of several videos created during the course of the project. These included:

Two Videos from Novi Sad
We watched two videos from students at the University of Novi Sad that deserve special mention. As Professor Karbiener noted, many Whitman poems have not yet been translated into Serbian. In her class, Prof. Karbiener chose to concentrate on the Calamus section of Leaves of Grass, which contains some of Whitman’s most sexual poems. This was a brave choice, given Whitman’s sexuality and a Serbian culture that is not always understanding of gay rights.

Even braver and more inspiring, Prof. Karbiener’s students chose to translate some of Whitman’s most openly sexual verse into Serbian for the first time. Here are two deeply moving films depicting readings and interpretations of those verses:

“to a stranger (Calamus 22)”

This film from Indira at the University of Novi Sad feels like a mashup of Godard, neorealist Italian film, and Whitman. It’s a stunning piece of work that gets to the heart of Whitman’s democratic vision by putting his most open words in the mouths of ordinary Serbian citizens as they go about their daily lives.

“Walt Whitman, Calamus 9”

A powerful meditation on and translation of Whitman’s poem from Elma at the University of Novi Sad

Wonderful Videos From Other Campuses:

In Search of Wendall Slickman

A rollicking twenty-minute rock ‘n roll mockumentary by Sam P. of UMW about a figure named “Wendall Slickman,” a hybrid figure of Walt Whitman and Elvis Presley

Whitman, Commercialism, and the Digital Age. Will Whitman Survive?

Virginia S. of UMW created this beautiful cinepoem marked by a moving reading of Leaves of Grass playing over video footage of traveled roads, sweeping waves, and setting suns.

City of Ships

A moving cinepoem that takes us through Whitman’s Camden and Philadelphia by Rutgers-Camden student Tara Wood. This video was highlighted in an article about the Looking for Whitman project.

City Tech students bring us Whitman’s New York by finding his presence in two busy hubs of the city Whitman loved:

Ermir finds Whitman In Times Square:

And Fabricio finds him in Grand Central:

To be sure, these videos are just a sample of the amazing student work completed during the Fall 2009 semester. In the coming weeks and months, the Looking for Whitman team will continue to unearth and organize riches from the project. Stay tuned, and thanks so much to all students involved in the project for their good work!

A Trip to Mickle Street
At mid-afternoon, we hopped on a bus and rode a few blocks to visit Whitman’s House on Mickle Street — the only house he ever owned, and the house in which he spent the last eight years of his life. (During the course of our own project, Prof. Hoffman’s class wrote scripts for the Visitor’s Center that will soon be built at the site).

Students gather in the backyard of the Whitman house after a tour.

I’ll let the students who were visiting the house for the first time speak about this experience, but I’ll just say that it was wonderful to observe the awe with which these students approached the house.

Many thanks to Leo Blake, curator of the House, and his volunteer staff for a wonderful tour.

Whitman’s Tomb at Harleigh Cemetery
After our tour of the house, we headed over to Whitman’s gravesite. We arrived to find the front gates shut and locked, even though we arrived a few minutes before closing time. While we tried to figure out what to do, I walked around the the cemetery looking for someone to talk to. Nearby, I found a section of the wrought-iron fence that had been bent open. After I went through, hoping to talk to a representative of the cemetery, I turned to find students and faculty from the project following me through the hole in the fence!

Entrance to the Harleigh cemetery. Note the closed gate.

Finding no one around, we walked down the road a bit until we arrived at the tomb that Whitman had designed for himself and his family members:

Students and faculty members gather in front of Whitman's tomb. Thanks to Claire Fontaine for the shot.

And then, we read together the closing lines of Whitman’s “Song of Myself.” (video to follow). It was a fitting and beautiful way to end our time together.

The Smallest Sprout Shows There is Really No Death
Onward and outward. The project is drawing to a close, of sorts, but I have the sense that it will never end for many of us. Like one of the elastic, limber, ellipsis-trailing lines of Whitman’s 1855 Leaves of Grass, Looking for Whitman will continue to fling its likeness outward; and those of us who were a part of it, or who watched it from afar, will continue to draw from it as we find it under our bootsoles, filtering and fibering the soil in which we grow.

Acknowledgments
My deepest thanks to those who supported this project, including:

The NEH Digital Humanities Start-Up Grant Program, offered through the NEH Office of Digital Humanities in partnership with the Institute of Museum and Library Services. I am grateful to the NEH and to the Office of Digital Humanities for their support, and I hope that this project can serve as an example for others interested in multi-campus educational projects.

I am also grateful to the colleges represented in this project for the generous support and encouragement that they have given to the participants. In particular, I would like to thank the following people for their support of this project:

Dr. Bonne August, Provost and Vice President, New York City College of
Technology, CUNY

Barbara Burke, Patty Barba, Eleanor Bergonzo, Yasemin Jones from the Grants Office of the New York City College of Technology, CUNY.

Dr. Teresa A. Kennedy, Professor and Chair, Department of English,
Linguistics, and Communication, University of Mary Washington

Dr. Nina Mikhalevsky, Acting Provost and Vice President for Strategy and
Policy, Professor of Philosophy, University of Mary Washington

Dr. Michael A. Palis, Interim Dean, Faculty of Arts and Sciences Graduate
School, Rutgers University-Camden

This project would not have been successful without the efforts of its deeply committed faculty members and staff. For their enthusiasm, excitement, energy, and expertise, I would like to thank:

Lead Faculty Members
New York
Matthew K. Gold, New York City College of Technology and CUNY Graduate Center

Karen Karbiener, New York University (2009 Fulbright Scholar at the University of Novi Sad, Serbia)

Virginia/Washington
Brady Earnhart, University of Mary Washington

Mara Scanlon, University of Mary Washington

Camden
Tyler Hoffman, Rutgers University-Camden

Carol Singley, Rutgers University-Camden

Director of Technology
Jim Groom, University of Mary Washington

Director of Project Support
Claire M. Fontaine, CUNY Graduate Center

Scholarly Adviser
David S.  Reynolds, CUNY Graduate Center

Pedagogical Advisers
Steve Brier, CUNY Graduate Center
Mills Kelly, George Mason University

Affiliated Institutions, Centers, People, and Groups
Brooklyn Historical Society (New York)
Chatham Manor (Virginia)
Kim Roberts (Washington, D.C.)
Library of Congress Manuscripts Division (Washington, D.C.)
The Walt Whitman Association (Camden)
The Walt Whitman House (Camden)
The Walt Whitman Project (New York)

Website Development Team
Website Banner Design: Yue Chen

Coding, Development, Layout: Cast Iron Coding

Guru: Jim Groom

Cleaner: Boone Gorges

Most of all, I’d like to thank the students who took part in Looking for Whitman. Without your hard work, none of this would have been possible.

—

“Looking for Whitman” has been designated a “We the People” project by the National Endowment for the Humanities.

Last week’s student conference in Camden brought “Looking for Whitman” to a rousing, poignant close. Four months after the classes involved in the project had ended, students from the University of Mary Washington, Rutgers-Camden, and City Tech gathered together to share their experiences and to meet one another in person. Understandably, students from the University of Novi Sad were not able to make the trip across the Atlantic Ocean to be with us in person.

There was something special about this day that reflected the entire spirit of the project. It was fed, no doubt, by the amazing cadre of students from UMW who boarded a bus at 6am on a Saturday morning to take a five-hour bus ride up to Camden for a conference related to a class that they had taken in the previous semester. Led by faculty members who had devoted intense amounts of energy to the project, these students arrived at Camden at a fever pitch. They weren’t there for a conference; they were there for a revival.

What intensity these students brought with them!! They came into the room wearing Whitmanic beards, clutching their texts, brimming with excitement. And that excitement bolstered us throughout the day.

UMW students arrive in Camden festooned with Whitman beards, t-shirts, and shoes.

We knew we were very lucky to have this group with us. It can be difficult — particularly at commuter campuses like City Tech and Rutgers — to round up students four months after a class has ended, let along to convince them to take a two-hour trip from NYC or a five-hour trip from Virginia for a student conference–especially at the end of the semester, with finals and senior thesis projects looming. I know that many students wanted to attend but couldn’t because of work or family obligations. Many Rutgers graduate students couldn’t because of concurrently scheduled comprehensive exams.

UMW students felt right at home on the RU campus; here are Sam and Brendan posing with a statue of Walt:

Sam P. and Brendan B. pose with Walt himself.

A Generative Conference
Early on, we decided that this conference would not be presentational, but generative. We wanted the conference to be an active event that embodied the pedagogical imperatives of the project as a whole: students would not just lecture about the work they had done during the Fall 2009 semester, but would also create new work to accompany it. To this end, we handed out FlipCams to all students there and encouraged them to take footage of the day. In the coming days and weeks, I look forward to seeing the posts that will come out of that footage.

Some of the highlights of the day included:

– Small group discussions in which students and faculty members shared their experiences in the project and discussed the Whitman they had found in their project location.

– A viewing, over lunch, of several videos created during the course of the project. These included:

Two Videos from Novi Sad
We watched two videos from students at the University of Novi Sad that deserve special mention. As Professor Karbiener noted, many Whitman poems have not yet been translated into Serbian. In her class, Prof. Karbiener chose to concentrate on the Calamus section of Leaves of Grass, which contains some of Whitman’s most sexual poems. This was a brave choice, given Whitman’s sexuality and a Serbian culture that is not always understanding of gay rights.

Even braver and more inspiring, Prof. Karbiener’s students chose to translate some of Whitman’s most openly sexual verse into Serbian for the first time. Here are two deeply moving films depicting readings and interpretations of those verses:

“to a stranger (Calamus 22)”

This film from Indira at the University of Novi Sad feels like a mashup of Godard, neorealist Italian film, and Whitman. It’s a stunning piece of work that gets to the heart of Whitman’s democratic vision by putting his most open words in the mouths of ordinary Serbian citizens as they go about their daily lives.

“Walt Whitman, Calamus 9”

A powerful meditation on and translation of Whitman’s poem from Elma at the University of Novi Sad

Wonderful Videos From Other Campuses:

In Search of Wendall Slickman

A rollicking twenty-minute rock ‘n roll mockumentary by Sam P. of UMW about a figure named “Wendall Slickman,” a hybrid figure of Walt Whitman and Elvis Presley

Whitman, Commercialism, and the Digital Age. Will Whitman Survive?

Virginia S. of UMW created this beautiful cinepoem marked by a moving reading of Leaves of Grass playing over video footage of traveled roads, sweeping waves, and setting suns.

City of Ships

Click here to view the embedded video.

City Tech students bring us Whitman’s New York by finding his presence in two busy hubs of the city Whitman loved:

Ermir finds Whitman In Times Square:

And Fabricio finds him in Grand Central:

To be sure, these videos are just a sample of the amazing student work completed during the Fall 2009 semester. In the coming weeks and months, the Looking for Whitman team will continue to unearth and organize riches from the project. Stay tuned, and thanks so much to all students involved in the project for their good work!

A Trip to Mickle Street
At mid-afternoon, we hopped on a bus and rode a few blocks to visit Whitman’s House on Mickle Street — the only house he ever owned, and the house in which he spent the last eight years of his life. (During the course of our own project, Prof. Hoffman’s class wrote scripts for the Visitor’s Center that will soon be built at the site).

Students gather in the backyard of the Whitman house after a tour.

I’ll let the students who were visiting the house for the first time speak about this experience, but I’ll just say that it was wonderful to observe the awe with which these students approached the house.

Many thanks to Leo Blake, curator of the House, and his volunteer staff for a wonderful tour.

Whitman’s Tomb at Harleigh Cemetery
After our tour of the house, we headed over to Whitman’s gravesite. We arrived to find the front gates shut and locked, even though we arrived a few minutes before closing time. While we tried to figure out what to do, I walked around the the cemetery looking for someone to talk to. Nearby, I found a section of the wrought-iron fence that had been bent open. After I went through, hoping to talk to a representative of the cemetery, I turned to find students and faculty from the project following me through the hole in the fence!

Entrance to the Harleigh cemetery. Note the closed gate.

Finding no one around, we walked down the road a bit until we arrived at the tomb that Whitman had designed for himself and his family members:

Students and faculty members gather in front of Whitman's tomb. Thanks to Claire Fontaine for the shot.

And then, we read together the closing lines of Whitman’s “Song of Myself.” (video to follow). It was a fitting and beautiful way to end our time together.

The Smallest Sprout Shows There is Really No Death
Onward and outward. The project is drawing to a close, of sorts, but I have the sense that it will never end for many of us. Like one of the elastic, limber, ellipsis-trailing lines of Whitman’s 1855 Leaves of Grass, Looking for Whitman will continue to fling its likeness outward; and those of us who were a part of it, or who watched it from afar, will continue to draw from it as we find it under our bootsoles, filtering and fibering the soil in which we grow.

Acknowledgments
My deepest thanks to those who supported this project, including:

The NEH Digital Humanities Start-Up Grant Program, offered through the NEH Office of Digital Humanities in partnership with the Institute of Museum and Library Services. I am grateful to the NEH and to the Office of Digital Humanities for their support, and I hope that this project can serve as an example for others interested in multi-campus educational projects.

I am also grateful to the colleges represented in this project for the generous support and encouragement that they have given to the participants. In particular, I would like to thank the following people for their support of this project:

Dr. Bonne August, Provost and Vice President, New York City College of
Technology, CUNY

Barbara Burke, Patty Barba, Eleanor Bergonzo, Yasemin Jones from the Grants Office of the New York City College of Technology, CUNY.

Dr. Teresa A. Kennedy, Professor and Chair, Department of English,
Linguistics, and Communication, University of Mary Washington

Dr. Nina Mikhalevsky, Acting Provost and Vice President for Strategy and
Policy, Professor of Philosophy, University of Mary Washington

Dr. Michael A. Palis, Interim Dean, Faculty of Arts and Sciences Graduate
School, Rutgers University-Camden

This project would not have been successful without the efforts of its deeply committed faculty members and staff. For their enthusiasm, excitement, energy, and expertise, I would like to thank:

Lead Faculty Members
New York
Matthew K. Gold, New York City College of Technology and CUNY Graduate Center

Karen Karbiener, New York University (2009 Fulbright Scholar at the University of Novi Sad, Serbia)

Virginia/Washington
Brady Earnhart, University of Mary Washington

Mara Scanlon, University of Mary Washington

Camden
Tyler Hoffman, Rutgers University-Camden

Carol Singley, Rutgers University-Camden

Director of Technology
Jim Groom, University of Mary Washington

Director of Project Support
Claire M. Fontaine, CUNY Graduate Center

Scholarly Adviser
David S.  Reynolds, CUNY Graduate Center

Pedagogical Advisers
Steve Brier, CUNY Graduate Center
Mills Kelly, George Mason University

Affiliated Institutions, Centers, People, and Groups
Brooklyn Historical Society (New York)
Chatham Manor (Virginia)
Kim Roberts (Washington, D.C.)
Library of Congress Manuscripts Division (Washington, D.C.)
The Walt Whitman Association (Camden)
The Walt Whitman House (Camden)
The Walt Whitman Project (New York)

Website Development Team
Website Banner Design: Yue Chen

Coding, Development, Layout: Cast Iron Coding

Guru: Jim Groom

Cleaner: Boone Gorges

Most of all, I’d like to thank the students who took part in Looking for Whitman. Without your hard work, none of this would have been possible.

—

“Looking for Whitman” has been designated a “We the People” project by the National Endowment for the Humanities.

Last week’s student conference in Camden brought “Looking for Whitman” to a rousing, poignant close. Four months after the classes involved in the project had ended, students from the University of Mary Washington, Rutgers-Camden, and City Tech gathered together to share their experiences and to meet one another in person. Understandably, students from the University of Novi Sad were not able to make the trip across the Atlantic Ocean to be with us in person.

There was something special about this day that reflected the entire spirit of the project. It was fed, no doubt, by the amazing cadre of students from UMW who boarded a bus at 6am on a Saturday morning to take a five-hour bus ride up to Camden for a conference related to a class that they had taken in the previous semester. Led by faculty members who had devoted intense amounts of energy to the project, these students arrived at Camden at a fever pitch. They weren’t there for a conference; they were there for a revival.

What intensity these students brought with them!! They came into the room wearing Whitmanic beards, clutching their texts, brimming with excitement. And that excitement bolstered us throughout the day.

UMW students arrive in Camden festooned with Whitman beards, t-shirts, and shoes.

We knew we were very lucky to have this group with us. It can be difficult — particularly at commuter campuses like City Tech and Rutgers — to round up students four months after a class has ended, let along to convince them to take a two-hour trip from NYC or a five-hour trip from Virginia for a student conference–especially at the end of the semester, with finals and senior thesis projects looming. I know that many students wanted to attend but couldn’t because of work or family obligations. Many Rutgers graduate students couldn’t because of concurrently scheduled comprehensive exams.

UMW students felt right at home on the RU campus; here are Sam and Brendan posing with a statue of Walt:

Sam P. and Brendan B. pose with Walt himself.

A Generative Conference
Early on, we decided that this conference would not be presentational, but generative. We wanted the conference to be an active event that embodied the pedagogical imperatives of the project as a whole: students would not just lecture about the work they had done during the Fall 2009 semester, but would also create new work to accompany it. To this end, we handed out FlipCams to all students there and encouraged them to take footage of the day. In the coming days and weeks, I look forward to seeing the posts that will come out of that footage.

Some of the highlights of the day included:

– Small group discussions in which students and faculty members shared their experiences in the project and discussed the Whitman they had found in their project location.

– A viewing, over lunch, of several videos created during the course of the project. These included:

Two Videos from Novi Sad
We watched two videos from students at the University of Novi Sad that deserve special mention. As Professor Karbiener noted, many Whitman poems have not yet been translated into Serbian. In her class, Prof. Karbiener chose to concentrate on the Calamus section of Leaves of Grass, which contains some of Whitman’s most sexual poems. This was a brave choice, given Whitman’s sexuality and a Serbian culture that is not always understanding of gay rights.

Even braver and more inspiring, Prof. Karbiener’s students chose to translate some of Whitman’s most openly sexual verse into Serbian for the first time. Here are two deeply moving films depicting readings and interpretations of those verses:

“to a stranger (Calamus 22)”

This film from Indira at the University of Novi Sad feels like a mashup of Godard, neorealist Italian film, and Whitman. It’s a stunning piece of work that gets to the heart of Whitman’s democratic vision by putting his most open words in the mouths of ordinary Serbian citizens as they go about their daily lives.

“Walt Whitman, Calamus 9”

A powerful meditation on and translation of Whitman’s poem from Elma at the University of Novi Sad

Wonderful Videos From Other Campuses:

In Search of Wendall Slickman

A rollicking twenty-minute rock ‘n roll mockumentary by Sam P. of UMW about a figure named “Wendall Slickman,” a hybrid figure of Walt Whitman and Elvis Presley

Whitman, Commercialism, and the Digital Age. Will Whitman Survive?

Virginia S. of UMW created this beautiful cinepoem marked by a moving reading of Leaves of Grass playing over video footage of traveled roads, sweeping waves, and setting suns.

City of Ships

A moving cinepoem that takes us through Whitman’s Camden and Philadelphia by Rutgers-Camden student Tara Wood. This video was highlighted in an article about the Looking for Whitman project.

City Tech students bring us Whitman’s New York by finding his presence in two busy hubs of the city Whitman loved:

Ermir finds Whitman In Times Square:

And Fabricio finds him in Grand Central:

To be sure, these videos are just a sample of the amazing student work completed during the Fall 2009 semester. In the coming weeks and months, the Looking for Whitman team will continue to unearth and organize riches from the project. Stay tuned, and thanks so much to all students involved in the project for their good work!

A Trip to Mickle Street
At mid-afternoon, we hopped on a bus and rode a few blocks to visit Whitman’s House on Mickle Street — the only house he ever owned, and the house in which he spent the last eight years of his life. (During the course of our own project, Prof. Hoffman’s class wrote scripts for the Visitor’s Center that will soon be built at the site).

Students gather in the backyard of the Whitman house after a tour.

I’ll let the students who were visiting the house for the first time speak about this experience, but I’ll just say that it was wonderful to observe the awe with which these students approached the house.

Many thanks to Leo Blake, curator of the House, and his volunteer staff for a wonderful tour.

Whitman’s Tomb at Harleigh Cemetery
After our tour of the house, we headed over to Whitman’s gravesite. We arrived to find the front gates shut and locked, even though we arrived a few minutes before closing time. While we tried to figure out what to do, I walked around the the cemetery looking for someone to talk to. Nearby, I found a section of the wrought-iron fence that had been bent open. After I went through, hoping to talk to a representative of the cemetery, I turned to find students and faculty from the project following me through the hole in the fence!

Entrance to the Harleigh cemetery. Note the closed gate.

Finding no one around, we walked down the road a bit until we arrived at the tomb that Whitman had designed for himself and his family members:

Students and faculty members gather in front of Whitman's tomb. Thanks to Claire Fontaine for the shot.

And then, we read together the closing lines of Whitman’s “Song of Myself.” (video to follow). It was a fitting and beautiful way to end our time together.

The Smallest Sprout Shows There is Really No Death
Onward and outward. The project is drawing to a close, of sorts, but I have the sense that it will never end for many of us. Like one of the elastic, limber, ellipsis-trailing lines of Whitman’s 1855 Leaves of Grass, Looking for Whitman will continue to fling its likeness outward; and those of us who were a part of it, or who watched it from afar, will continue to draw from it as we find it under our bootsoles, filtering and fibering the soil in which we grow.

Acknowledgments
My deepest thanks to those who supported this project, including:

The NEH Digital Humanities Start-Up Grant Program, offered through the NEH Office of Digital Humanities in partnership with the Institute of Museum and Library Services. I am grateful to the NEH and to the Office of Digital Humanities for their support, and I hope that this project can serve as an example for others interested in multi-campus educational projects.

I am also grateful to the colleges represented in this project for the generous support and encouragement that they have given to the participants. In particular, I would like to thank the following people for their support of this project:

Dr. Bonne August, Provost and Vice President, New York City College of
Technology, CUNY

Barbara Burke, Patty Barba, Eleanor Bergonzo, Yasemin Jones from the Grants Office of the New York City College of Technology, CUNY.

Dr. Teresa A. Kennedy, Professor and Chair, Department of English,
Linguistics, and Communication, University of Mary Washington

Dr. Nina Mikhalevsky, Acting Provost and Vice President for Strategy and
Policy, Professor of Philosophy, University of Mary Washington

Dr. Michael A. Palis, Interim Dean, Faculty of Arts and Sciences Graduate
School, Rutgers University-Camden

This project would not have been successful without the efforts of its deeply committed faculty members and staff. For their enthusiasm, excitement, energy, and expertise, I would like to thank:

Lead Faculty Members
New York
Matthew K. Gold, New York City College of Technology and CUNY Graduate Center

Karen Karbiener, New York University (2009 Fulbright Scholar at the University of Novi Sad, Serbia)

Virginia/Washington
Brady Earnhart, University of Mary Washington

Mara Scanlon, University of Mary Washington

Camden
Tyler Hoffman, Rutgers University-Camden

Carol Singley, Rutgers University-Camden

Director of Technology
Jim Groom, University of Mary Washington

Director of Project Support
Claire M. Fontaine, CUNY Graduate Center

Scholarly Adviser
David S.  Reynolds, CUNY Graduate Center

Pedagogical Advisers
Steve Brier, CUNY Graduate Center
Mills Kelly, George Mason University

Affiliated Institutions, Centers, People, and Groups
Brooklyn Historical Society (New York)
Chatham Manor (Virginia)
Kim Roberts (Washington, D.C.)
Library of Congress Manuscripts Division (Washington, D.C.)
The Walt Whitman Association (Camden)
The Walt Whitman House (Camden)
The Walt Whitman Project (New York)

Website Development Team
Website Banner Design: Yue Chen

Coding, Development, Layout: Cast Iron Coding

Guru: Jim Groom

Cleaner: Boone Gorges

Most of all, I’d like to thank the students who took part in Looking for Whitman. Without your hard work, none of this would have been possible.

—

“Looking for Whitman” has been designated a “We the People” project by the National Endowment for the Humanities.

Last week’s student conference in Camden brought “Looking for Whitman” to a rousing, poignant close. Four months after the classes involved in the project had ended, students from the University of Mary Washington, Rutgers-Camden, and City Tech gathered together to share their experiences and to meet one another in person. Understandably, students from the University of Novi Sad were not able to make the trip across the Atlantic Ocean to be with us in person.

There was something special about this day that reflected the entire spirit of the project. It was fed, no doubt, by the amazing cadre of students from UMW who boarded a bus at 6am on a Saturday morning to take a five-hour bus ride up to Camden for a conference related to a class that they had taken in the previous semester. Led by faculty members who had devoted intense amounts of energy to the project, these students arrived at Camden at a fever pitch. They weren’t there for a conference; they were there for a revival.

What intensity these students brought with them!! They came into the room wearing Whitmanic beards, clutching their texts, brimming with excitement. And that excitement bolstered us throughout the day.

UMW students arrive in Camden festooned with Whitman beards, t-shirts, and shoes.

We knew we were very lucky to have this group with us. It can be difficult — particularly at commuter campuses like City Tech and Rutgers — to round up students four months after a class has ended, let along to convince them to take a two-hour trip from NYC or a five-hour trip from Virginia for a student conference–especially at the end of the semester, with finals and senior thesis projects looming. I know that many students wanted to attend but couldn’t because of work or family obligations. Many Rutgers graduate students couldn’t because of concurrently scheduled comprehensive exams.

UMW students felt right at home on the RU campus; here are Sam and Brendan posing with a statue of Walt:

Sam P. and Brendan B. pose with Walt himself.

A Generative Conference
Early on, we decided that this conference would not be presentational, but generative. We wanted the conference to be an active event that embodied the pedagogical imperatives of the project as a whole: students would not just lecture about the work they had done during the Fall 2009 semester, but would also create new work to accompany it. To this end, we handed out FlipCams to all students there and encouraged them to take footage of the day. In the coming days and weeks, I look forward to seeing the posts that will come out of that footage.

Some of the highlights of the day included:

– Small group discussions in which students and faculty members shared their experiences in the project and discussed the Whitman they had found in their project location.

– A viewing, over lunch, of several videos created during the course of the project. These included:

Two Videos from Novi Sad
We watched two videos from students at the University of Novi Sad that deserve special mention. As Professor Karbiener noted, many Whitman poems have not yet been translated into Serbian. In her class, Prof. Karbiener chose to concentrate on the Calamus section of Leaves of Grass, which contains some of Whitman’s most sexual poems. This was a brave choice, given Whitman’s sexuality and a Serbian culture that is not always understanding of gay rights.

Even braver and more inspiring, Prof. Karbiener’s students chose to translate some of Whitman’s most openly sexual verse into Serbian for the first time. Here are two deeply moving films depicting readings and interpretations of those verses:

“to a stranger (Calamus 22)”

This film from Indira at the University of Novi Sad feels like a mashup of Godard, neorealist Italian film, and Whitman. It’s a stunning piece of work that gets to the heart of Whitman’s democratic vision by putting his most open words in the mouths of ordinary Serbian citizens as they go about their daily lives.

“Walt Whitman, Calamus 9”

A powerful meditation on and translation of Whitman’s poem from Elma at the University of Novi Sad

Wonderful Videos From Other Campuses:

In Search of Wendall Slickman

A rollicking twenty-minute rock ‘n roll mockumentary by Sam P. of UMW about a figure named “Wendall Slickman,” a hybrid figure of Walt Whitman and Elvis Presley

Whitman, Commercialism, and the Digital Age. Will Whitman Survive?

Virginia S. of UMW created this beautiful cinepoem marked by a moving reading of Leaves of Grass playing over video footage of traveled roads, sweeping waves, and setting suns.

City of Ships


A moving cinepoem that takes us through Whitman’s Camden and Philadelphia by Rutgers-Camden student Tara Wood. This video was highlighted in an article about the Looking for Whitman project.

City Tech students bring us Whitman’s New York by finding his presence in two busy hubs of the city Whitman loved:

Ermir finds Whitman In Times Square:

And Fabricio finds him in Grand Central:

To be sure, these videos are just a sample of the amazing student work completed during the Fall 2009 semester. In the coming weeks and months, the Looking for Whitman team will continue to unearth and organize riches from the project. Stay tuned, and thanks so much to all students involved in the project for their good work!

A Trip to Mickle Street
At mid-afternoon, we hopped on a bus and rode a few blocks to visit Whitman’s House on Mickle Street — the only house he ever owned, and the house in which he spent the last eight years of his life. (During the course of our own project, Prof. Hoffman’s class wrote scripts for the Visitor’s Center that will soon be built at the site).

Students gather in the backyard of the Whitman house after a tour.

I’ll let the students who were visiting the house for the first time speak about this experience, but I’ll just say that it was wonderful to observe the awe with which these students approached the house.

Many thanks to Leo Blake, curator of the House, and his volunteer staff for a wonderful tour.

Whitman’s Tomb at Harleigh Cemetery
After our tour of the house, we headed over to Whitman’s gravesite. We arrived to find the front gates shut and locked, even though we arrived a few minutes before closing time. While we tried to figure out what to do, I walked around the the cemetery looking for someone to talk to. Nearby, I found a section of the wrought-iron fence that had been bent open. After I went through, hoping to talk to a representative of the cemetery, I turned to find students and faculty from the project following me through the hole in the fence!

Entrance to the Harleigh cemetery. Note the closed gate.

Finding no one around, we walked down the road a bit until we arrived at the tomb that Whitman had designed for himself and his family members:

Students and faculty members gather in front of Whitman's tomb. Thanks to Claire Fontaine for the shot.

And then, we read together the closing lines of Whitman’s “Song of Myself.” (video to follow). It was a fitting and beautiful way to end our time together.

The Smallest Sprout Shows There is Really No Death
Onward and outward. The project is drawing to a close, of sorts, but I have the sense that it will never end for many of us. Like one of the elastic, limber, ellipsis-trailing lines of Whitman’s 1855 Leaves of Grass, Looking for Whitman will continue to fling its likeness outward; and those of us who were a part of it, or who watched it from afar, will continue to draw from it as we find it under our bootsoles, filtering and fibering the soil in which we grow.

Acknowledgments
My deepest thanks to those who supported this project, including:

The NEH Digital Humanities Start-Up Grant Program, offered through the NEH Office of Digital Humanities in partnership with the Institute of Museum and Library Services. I am grateful to the NEH and to the Office of Digital Humanities for their support, and I hope that this project can serve as an example for others interested in multi-campus educational projects.

I am also grateful to the colleges represented in this project for the generous support and encouragement that they have given to the participants. In particular, I would like to thank the following people for their support of this project:

Dr. Bonne August, Provost and Vice President, New York City College of
Technology, CUNY

Barbara Burke, Patty Barba, Eleanor Bergonzo, Yasemin Jones from the Grants Office of the New York City College of Technology, CUNY.

Dr. Teresa A. Kennedy, Professor and Chair, Department of English,
Linguistics, and Communication, University of Mary Washington

Dr. Nina Mikhalevsky, Acting Provost and Vice President for Strategy and
Policy, Professor of Philosophy, University of Mary Washington

Dr. Michael A. Palis, Interim Dean, Faculty of Arts and Sciences Graduate
School, Rutgers University-Camden

This project would not have been successful without the efforts of its deeply committed faculty members and staff. For their enthusiasm, excitement, energy, and expertise, I would like to thank:

Lead Faculty Members
New York
Matthew K. Gold, New York City College of Technology and CUNY Graduate Center

Karen Karbiener, New York University (2009 Fulbright Scholar at the University of Novi Sad, Serbia)

Virginia/Washington
Brady Earnhart, University of Mary Washington

Mara Scanlon, University of Mary Washington

Camden
Tyler Hoffman, Rutgers University-Camden

Carol Singley, Rutgers University-Camden

Director of Technology
Jim Groom, University of Mary Washington

Director of Project Support
Claire M. Fontaine, CUNY Graduate Center

Scholarly Adviser
David S.  Reynolds, CUNY Graduate Center

Pedagogical Advisers
Steve Brier, CUNY Graduate Center
Mills Kelly, George Mason University

Affiliated Institutions, Centers, People, and Groups
Brooklyn Historical Society (New York)
Chatham Manor (Virginia)
Kim Roberts (Washington, D.C.)
Library of Congress Manuscripts Division (Washington, D.C.)
The Walt Whitman Association (Camden)
The Walt Whitman House (Camden)
The Walt Whitman Project (New York)

Website Development Team
Website Banner Design: Yue Chen

Coding, Development, Layout: Cast Iron Coding

Guru: Jim Groom

Cleaner: Boone Gorges

Most of all, I’d like to thank the students who took part in Looking for Whitman. Without your hard work, none of this would have been possible.

—

“Looking for Whitman” has been designated a “We the People” project by the National Endowment for the Humanities.

Last week’s student conference in Camden brought “Looking for Whitman” to a rousing, poignant close. Four months after the classes involved in the project had ended, students from the University of Mary Washington, Rutgers-Camden, and City Tech gathered together to share their experiences and to meet one another in person. Understandably, students from the University of Novi Sad were not able to make the trip across the Atlantic Ocean to be with us in person.

There was something special about this day that reflected the entire spirit of the project. It was fed, no doubt, by the amazing cadre of students from UMW who boarded a bus at 6am on a Saturday morning to take a five-hour bus ride up to Camden for a conference related to a class that they had taken in the previous semester. Led by faculty members who had devoted intense amounts of energy to the project, these students arrived at Camden at a fever pitch. They weren’t there for a conference; they were there for a revival.

What intensity these students brought with them!! They came into the room wearing Whitmanic beards, clutching their texts, brimming with excitement. And that excitement bolstered us throughout the day.

UMW students arrive in Camden festooned with Whitman beards, t-shirts, and shoes.

We knew we were very lucky to have this group with us. It can be difficult — particularly at commuter campuses like City Tech and Rutgers — to round up students four months after a class has ended, let along to convince them to take a two-hour trip from NYC or a five-hour trip from Virginia for a student conference–especially at the end of the semester, with finals and senior thesis projects looming. I know that many students wanted to attend but couldn’t because of work or family obligations. Many Rutgers graduate students couldn’t because of concurrently scheduled comprehensive exams.

UMW students felt right at home on the RU campus; here are Sam and Brendan posing with a statue of Walt:

Sam P. and Brendan B. pose with Walt himself.

A Generative Conference
Early on, we decided that this conference would not be presentational, but generative. We wanted the conference to be an active event that embodied the pedagogical imperatives of the project as a whole: students would not just lecture about the work they had done during the Fall 2009 semester, but would also create new work to accompany it. To this end, we handed out FlipCams to all students there and encouraged them to take footage of the day. In the coming days and weeks, I look forward to seeing the posts that will come out of that footage.

Some of the highlights of the day included:

– Small group discussions in which students and faculty members shared their experiences in the project and discussed the Whitman they had found in their project location.

– A viewing, over lunch, of several videos created during the course of the project. These included:

Two Videos from Novi Sad
We watched two videos from students at the University of Novi Sad that deserve special mention. As Professor Karbiener noted, many Whitman poems have not yet been translated into Serbian. In her class, Prof. Karbiener chose to concentrate on the Calamus section of Leaves of Grass, which contains some of Whitman’s most sexual poems. This was a brave choice, given Whitman’s sexuality and a Serbian culture that is not always understanding of gay rights.

Even braver and more inspiring, Prof. Karbiener’s students chose to translate some of Whitman’s most openly sexual verse into Serbian for the first time. Here are two deeply moving films depicting readings and interpretations of those verses:

“to a stranger (Calamus 22)”

This film from Indira at the University of Novi Sad feels like a mashup of Godard, neorealist Italian film, and Whitman. It’s a stunning piece of work that gets to the heart of Whitman’s democratic vision by putting his most open words in the mouths of ordinary Serbian citizens as they go about their daily lives.

“Walt Whitman, Calamus 9”

A powerful meditation on and translation of Whitman’s poem from Elma at the University of Novi Sad

Wonderful Videos From Other Campuses:

In Search of Wendall Slickman

A rollicking twenty-minute rock ‘n roll mockumentary by Sam P. of UMW about a figure named “Wendall Slickman,” a hybrid figure of Walt Whitman and Elvis Presley

Whitman, Commercialism, and the Digital Age. Will Whitman Survive?

Virginia S. of UMW created this beautiful cinepoem marked by a moving reading of Leaves of Grass playing over video footage of traveled roads, sweeping waves, and setting suns.

City of Ships

Click here to view the embedded video.

City Tech students bring us Whitman’s New York by finding his presence in two busy hubs of the city Whitman loved:

Ermir finds Whitman In Times Square:

And Fabricio finds him in Grand Central:

To be sure, these videos are just a sample of the amazing student work completed during the Fall 2009 semester. In the coming weeks and months, the Looking for Whitman team will continue to unearth and organize riches from the project. Stay tuned, and thanks so much to all students involved in the project for their good work!

A Trip to Mickle Street
At mid-afternoon, we hopped on a bus and rode a few blocks to visit Whitman’s House on Mickle Street — the only house he ever owned, and the house in which he spent the last eight years of his life. (During the course of our own project, Prof. Hoffman’s class wrote scripts for the Visitor’s Center that will soon be built at the site).

Students gather in the backyard of the Whitman house after a tour.

I’ll let the students who were visiting the house for the first time speak about this experience, but I’ll just say that it was wonderful to observe the awe with which these students approached the house.

Many thanks to Leo Blake, curator of the House, and his volunteer staff for a wonderful tour.

Whitman’s Tomb at Harleigh Cemetery
After our tour of the house, we headed over to Whitman’s gravesite. We arrived to find the front gates shut and locked, even though we arrived a few minutes before closing time. While we tried to figure out what to do, I walked around the the cemetery looking for someone to talk to. Nearby, I found a section of the wrought-iron fence that had been bent open. After I went through, hoping to talk to a representative of the cemetery, I turned to find students and faculty from the project following me through the hole in the fence!

Entrance to the Harleigh cemetery. Note the closed gate.

Finding no one around, we walked down the road a bit until we arrived at the tomb that Whitman had designed for himself and his family members:

Students and faculty members gather in front of Whitman's tomb. Thanks to Claire Fontaine for the shot.

And then, we read together the closing lines of Whitman’s “Song of Myself.” (video to follow). It was a fitting and beautiful way to end our time together.

The Smallest Sprout Shows There is Really No Death
Onward and outward. The project is drawing to a close, of sorts, but I have the sense that it will never end for many of us. Like one of the elastic, limber, ellipsis-trailing lines of Whitman’s 1855 Leaves of Grass, Looking for Whitman will continue to fling its likeness outward; and those of us who were a part of it, or who watched it from afar, will continue to draw from it as we find it under our bootsoles, filtering and fibering the soil in which we grow.

Acknowledgments
My deepest thanks to those who supported this project, including:

The NEH Digital Humanities Start-Up Grant Program, offered through the NEH Office of Digital Humanities in partnership with the Institute of Museum and Library Services. I am grateful to the NEH and to the Office of Digital Humanities for their support, and I hope that this project can serve as an example for others interested in multi-campus educational projects.

I am also grateful to the colleges represented in this project for the generous support and encouragement that they have given to the participants. In particular, I would like to thank the following people for their support of this project:

Dr. Bonne August, Provost and Vice President, New York City College of
Technology, CUNY

Barbara Burke, Patty Barba, Eleanor Bergonzo, Yasemin Jones from the Grants Office of the New York City College of Technology, CUNY.

Dr. Teresa A. Kennedy, Professor and Chair, Department of English,
Linguistics, and Communication, University of Mary Washington

Dr. Nina Mikhalevsky, Acting Provost and Vice President for Strategy and
Policy, Professor of Philosophy, University of Mary Washington

Dr. Michael A. Palis, Interim Dean, Faculty of Arts and Sciences Graduate
School, Rutgers University-Camden

This project would not have been successful without the efforts of its deeply committed faculty members and staff. For their enthusiasm, excitement, energy, and expertise, I would like to thank:

Lead Faculty Members
New York
Matthew K. Gold, New York City College of Technology and CUNY Graduate Center

Karen Karbiener, New York University (2009 Fulbright Scholar at the University of Novi Sad, Serbia)

Virginia/Washington
Brady Earnhart, University of Mary Washington

Mara Scanlon, University of Mary Washington

Camden
Tyler Hoffman, Rutgers University-Camden

Carol Singley, Rutgers University-Camden

Director of Technology
Jim Groom, University of Mary Washington

Director of Project Support
Claire M. Fontaine, CUNY Graduate Center

Scholarly Adviser
David S.  Reynolds, CUNY Graduate Center

Pedagogical Advisers
Steve Brier, CUNY Graduate Center
Mills Kelly, George Mason University

Affiliated Institutions, Centers, People, and Groups
Brooklyn Historical Society (New York)
Chatham Manor (Virginia)
Kim Roberts (Washington, D.C.)
Library of Congress Manuscripts Division (Washington, D.C.)
The Walt Whitman Association (Camden)
The Walt Whitman House (Camden)
The Walt Whitman Project (New York)

Website Development Team
Website Banner Design: Yue Chen

Coding, Development, Layout: Cast Iron Coding

Guru: Jim Groom

Cleaner: Boone Gorges

Most of all, I’d like to thank the students who took part in Looking for Whitman. Without your hard work, none of this would have been possible.

—

“Looking for Whitman” has been designated a “We the People” project by the National Endowment for the Humanities.

Last week’s student conference in Camden brought “Looking for Whitman” to a rousing, poignant close. Four months after the classes involved in the project had ended, students from the University of Mary Washington, Rutgers-Camden, and City Tech gathered together to share their experiences and to meet one another in person. Understandably, students from the University of Novi Sad were not able to make the trip across the Atlantic Ocean to be with us in person.

There was something special about this day that reflected the entire spirit of the project. It was fed, no doubt, by the amazing cadre of students from UMW who boarded a bus at 6am on a Saturday morning to take a five-hour bus ride up to Camden for a conference related to a class that they had taken in the previous semester. Led by faculty members who had devoted intense amounts of energy to the project, these students arrived at Camden at a fever pitch. They weren’t there for a conference; they were there for a revival.

What intensity these students brought with them!! They came into the room wearing Whitmanic beards, clutching their texts, brimming with excitement. And that excitement bolstered us throughout the day.

UMW students arrive in Camden festooned with Whitman beards, t-shirts, and shoes.

We knew we were very lucky to have this group with us. It can be difficult — particularly at commuter campuses like City Tech and Rutgers — to round up students four months after a class has ended, let along to convince them to take a two-hour trip from NYC or a five-hour trip from Virginia for a student conference–especially at the end of the semester, with finals and senior thesis projects looming. I know that many students wanted to attend but couldn’t because of work or family obligations. Many Rutgers graduate students couldn’t because of concurrently scheduled comprehensive exams.

UMW students felt right at home on the RU campus; here are Sam and Brendan posing with a statue of Walt:

Sam P. and Brendan B. pose with Walt himself.

A Generative Conference
Early on, we decided that this conference would not be presentational, but generative. We wanted the conference to be an active event that embodied the pedagogical imperatives of the project as a whole: students would not just lecture about the work they had done during the Fall 2009 semester, but would also create new work to accompany it. To this end, we handed out FlipCams to all students there and encouraged them to take footage of the day. In the coming days and weeks, I look forward to seeing the posts that will come out of that footage.

Some of the highlights of the day included:

– Small group discussions in which students and faculty members shared their experiences in the project and discussed the Whitman they had found in their project location.

– A viewing, over lunch, of several videos created during the course of the project. These included:

Two Videos from Novi Sad
We watched two videos from students at the University of Novi Sad that deserve special mention. As Professor Karbiener noted, many Whitman poems have not yet been translated into Serbian. In her class, Prof. Karbiener chose to concentrate on the Calamus section of Leaves of Grass, which contains some of Whitman’s most sexual poems. This was a brave choice, given Whitman’s sexuality and a Serbian culture that is not always understanding of gay rights.

Even braver and more inspiring, Prof. Karbiener’s students chose to translate some of Whitman’s most openly sexual verse into Serbian for the first time. Here are two deeply moving films depicting readings and interpretations of those verses:

“to a stranger (Calamus 22)”

This film from Indira at the University of Novi Sad feels like a mashup of Godard, neorealist Italian film, and Whitman. It’s a stunning piece of work that gets to the heart of Whitman’s democratic vision by putting his most open words in the mouths of ordinary Serbian citizens as they go about their daily lives.

“Walt Whitman, Calamus 9”

A powerful meditation on and translation of Whitman’s poem from Elma at the University of Novi Sad

Wonderful Videos From Other Campuses:

In Search of Wendall Slickman

A rollicking twenty-minute rock ‘n roll mockumentary by Sam P. of UMW about a figure named “Wendall Slickman,” a hybrid figure of Walt Whitman and Elvis Presley

Whitman, Commercialism, and the Digital Age. Will Whitman Survive?

Virginia S. of UMW created this beautiful cinepoem marked by a moving reading of Leaves of Grass playing over video footage of traveled roads, sweeping waves, and setting suns.

City of Ships

Click here to view the embedded video.

City Tech students bring us Whitman’s New York by finding his presence in two busy hubs of the city Whitman loved:

Ermir finds Whitman In Times Square:

And Fabricio finds him in Grand Central:

To be sure, these videos are just a sample of the amazing student work completed during the Fall 2009 semester. In the coming weeks and months, the Looking for Whitman team will continue to unearth and organize riches from the project. Stay tuned, and thanks so much to all students involved in the project for their good work!

A Trip to Mickle Street
At mid-afternoon, we hopped on a bus and rode a few blocks to visit Whitman’s House on Mickle Street — the only house he ever owned, and the house in which he spent the last eight years of his life. (During the course of our own project, Prof. Hoffman’s class wrote scripts for the Visitor’s Center that will soon be built at the site).

Students gather in the backyard of the Whitman house after a tour.

I’ll let the students who were visiting the house for the first time speak about this experience, but I’ll just say that it was wonderful to observe the awe with which these students approached the house.

Many thanks to Leo Blake, curator of the House, and his volunteer staff for a wonderful tour.

Whitman’s Tomb at Harleigh Cemetery
After our tour of the house, we headed over to Whitman’s gravesite. We arrived to find the front gates shut and locked, even though we arrived a few minutes before closing time. While we tried to figure out what to do, I walked around the the cemetery looking for someone to talk to. Nearby, I found a section of the wrought-iron fence that had been bent open. After I went through, hoping to talk to a representative of the cemetery, I turned to find students and faculty from the project following me through the hole in the fence!

Entrance to the Harleigh cemetery. Note the closed gate.

Finding no one around, we walked down the road a bit until we arrived at the tomb that Whitman had designed for himself and his family members:

Students and faculty members gather in front of Whitman's tomb. Thanks to Claire Fontaine for the shot.

And then, we read together the closing lines of Whitman’s “Song of Myself.” (video to follow). It was a fitting and beautiful way to end our time together.

The Smallest Sprout Shows There is Really No Death
Onward and outward. The project is drawing to a close, of sorts, but I have the sense that it will never end for many of us. Like one of the elastic, limber, ellipsis-trailing lines of Whitman’s 1855 Leaves of Grass, Looking for Whitman will continue to fling its likeness outward; and those of us who were a part of it, or who watched it from afar, will continue to draw from it as we find it under our bootsoles, filtering and fibering the soil in which we grow.

Acknowledgments
My deepest thanks to those who supported this project, including:

The NEH Digital Humanities Start-Up Grant Program, offered through the NEH Office of Digital Humanities in partnership with the Institute of Museum and Library Services. I am grateful to the NEH and to the Office of Digital Humanities for their support, and I hope that this project can serve as an example for others interested in multi-campus educational projects.

I am also grateful to the colleges represented in this project for the generous support and encouragement that they have given to the participants. In particular, I would like to thank the following people for their support of this project:

Dr. Bonne August, Provost and Vice President, New York City College of
Technology, CUNY

Barbara Burke, Patty Barba, Eleanor Bergonzo, Yasemin Jones from the Grants Office of the New York City College of Technology, CUNY.

Dr. Teresa A. Kennedy, Professor and Chair, Department of English,
Linguistics, and Communication, University of Mary Washington

Dr. Nina Mikhalevsky, Acting Provost and Vice President for Strategy and
Policy, Professor of Philosophy, University of Mary Washington

Dr. Michael A. Palis, Interim Dean, Faculty of Arts and Sciences Graduate
School, Rutgers University-Camden

This project would not have been successful without the efforts of its deeply committed faculty members and staff. For their enthusiasm, excitement, energy, and expertise, I would like to thank:

Lead Faculty Members
New York
Matthew K. Gold, New York City College of Technology and CUNY Graduate Center

Karen Karbiener, New York University (2009 Fulbright Scholar at the University of Novi Sad, Serbia)

Virginia/Washington
Brady Earnhart, University of Mary Washington

Mara Scanlon, University of Mary Washington

Camden
Tyler Hoffman, Rutgers University-Camden

Carol Singley, Rutgers University-Camden

Director of Technology
Jim Groom, University of Mary Washington

Director of Project Support
Claire M. Fontaine, CUNY Graduate Center

Scholarly Adviser
David S.  Reynolds, CUNY Graduate Center

Pedagogical Advisers
Steve Brier, CUNY Graduate Center
Mills Kelly, George Mason University

Affiliated Institutions, Centers, People, and Groups
Brooklyn Historical Society (New York)
Chatham Manor (Virginia)
Kim Roberts (Washington, D.C.)
Library of Congress Manuscripts Division (Washington, D.C.)
The Walt Whitman Association (Camden)
The Walt Whitman House (Camden)
The Walt Whitman Project (New York)

Website Development Team
Website Banner Design: Yue Chen

Coding, Development, Layout: Cast Iron Coding

Guru: Jim Groom

Cleaner: Boone Gorges

Most of all, I’d like to thank the students who took part in Looking for Whitman. Without your hard work, none of this would have been possible.

—

“Looking for Whitman” has been designated a “We the People” project by the National Endowment for the Humanities.

Last week’s student conference in Camden brought “Looking for Whitman” to a rousing, poignant close. Four months after the classes involved in the project had ended, students from the University of Mary Washington, Rutgers-Camden, and City Tech gathered together to share their experiences and to meet one another in person. Understandably, students from the University of Novi Sad were not able to make the trip across the Atlantic Ocean to be with us in person.

There was something special about this day that reflected the entire spirit of the project. It was fed, no doubt, by the amazing cadre of students from UMW who boarded a bus at 6am on a Saturday morning to take a five-hour bus ride up to Camden for a conference related to a class that they had taken in the previous semester. Led by faculty members who had devoted intense amounts of energy to the project, these students arrived at Camden at a fever pitch. They weren’t there for a conference; they were there for a revival.

What intensity these students brought with them!! They came into the room wearing Whitmanic beards, clutching their texts, brimming with excitement. And that excitement bolstered us throughout the day.

UMW students arrive in Camden festooned with Whitman beards, t-shirts, and shoes.

We knew we were very lucky to have this group with us. It can be difficult — particularly at commuter campuses like City Tech and Rutgers — to round up students four months after a class has ended, let along to convince them to take a two-hour trip from NYC or a five-hour trip from Virginia for a student conference–especially at the end of the semester, with finals and senior thesis projects looming. I know that many students wanted to attend but couldn’t because of work or family obligations. Many Rutgers graduate students couldn’t because of concurrently scheduled comprehensive exams.

UMW students felt right at home on the RU campus; here are Sam and Brendan posing with a statue of Walt:

Sam P. and Brendan B. pose with Walt himself.

A Generative Conference
Early on, we decided that this conference would not be presentational, but generative. We wanted the conference to be an active event that embodied the pedagogical imperatives of the project as a whole: students would not just lecture about the work they had done during the Fall 2009 semester, but would also create new work to accompany it. To this end, we handed out FlipCams to all students there and encouraged them to take footage of the day. In the coming days and weeks, I look forward to seeing the posts that will come out of that footage.

Some of the highlights of the day included:

– Small group discussions in which students and faculty members shared their experiences in the project and discussed the Whitman they had found in their project location.

– A viewing, over lunch, of several videos created during the course of the project. These included:

Two Videos from Novi Sad
We watched two videos from students at the University of Novi Sad that deserve special mention. As Professor Karbiener noted, many Whitman poems have not yet been translated into Serbian. In her class, Prof. Karbiener chose to concentrate on the Calamus section of Leaves of Grass, which contains some of Whitman’s most sexual poems. This was a brave choice, given Whitman’s sexuality and a Serbian culture that is not always understanding of gay rights.

Even braver and more inspiring, Prof. Karbiener’s students chose to translate some of Whitman’s most openly sexual verse into Serbian for the first time. Here are two deeply moving films depicting readings and interpretations of those verses:

“to a stranger (Calamus 22)”

This film from Indira at the University of Novi Sad feels like a mashup of Godard, neorealist Italian film, and Whitman. It’s a stunning piece of work that gets to the heart of Whitman’s democratic vision by putting his most open words in the mouths of ordinary Serbian citizens as they go about their daily lives.

“Walt Whitman, Calamus 9”

A powerful meditation on and translation of Whitman’s poem from Elma at the University of Novi Sad

Wonderful Videos From Other Campuses:

In Search of Wendall Slickman

A rollicking twenty-minute rock ‘n roll mockumentary by Sam P. of UMW about a figure named “Wendall Slickman,” a hybrid figure of Walt Whitman and Elvis Presley

Whitman, Commercialism, and the Digital Age. Will Whitman Survive?

Virginia S. of UMW created this beautiful cinepoem marked by a moving reading of Leaves of Grass playing over video footage of traveled roads, sweeping waves, and setting suns.

City of Ships

Click here to view the embedded video.

City Tech students bring us Whitman’s New York by finding his presence in two busy hubs of the city Whitman loved:

Ermir finds Whitman In Times Square:

And Fabricio finds him in Grand Central:

To be sure, these videos are just a sample of the amazing student work completed during the Fall 2009 semester. In the coming weeks and months, the Looking for Whitman team will continue to unearth and organize riches from the project. Stay tuned, and thanks so much to all students involved in the project for their good work!

A Trip to Mickle Street
At mid-afternoon, we hopped on a bus and rode a few blocks to visit Whitman’s House on Mickle Street — the only house he ever owned, and the house in which he spent the last eight years of his life. (During the course of our own project, Prof. Hoffman’s class wrote scripts for the Visitor’s Center that will soon be built at the site).

Students gather in the backyard of the Whitman house after a tour.

I’ll let the students who were visiting the house for the first time speak about this experience, but I’ll just say that it was wonderful to observe the awe with which these students approached the house.

Many thanks to Leo Blake, curator of the House, and his volunteer staff for a wonderful tour.

Whitman’s Tomb at Harleigh Cemetery
After our tour of the house, we headed over to Whitman’s gravesite. We arrived to find the front gates shut and locked, even though we arrived a few minutes before closing time. While we tried to figure out what to do, I walked around the the cemetery looking for someone to talk to. Nearby, I found a section of the wrought-iron fence that had been bent open. After I went through, hoping to talk to a representative of the cemetery, I turned to find students and faculty from the project following me through the hole in the fence!

Entrance to the Harleigh cemetery. Note the closed gate.

Finding no one around, we walked down the road a bit until we arrived at the tomb that Whitman had designed for himself and his family members:

Students and faculty members gather in front of Whitman's tomb. Thanks to Claire Fontaine for the shot.

And then, we read together the closing lines of Whitman’s “Song of Myself.” (video to follow). It was a fitting and beautiful way to end our time together.

The Smallest Sprout Shows There is Really No Death
Onward and outward. The project is drawing to a close, of sorts, but I have the sense that it will never end for many of us. Like one of the elastic, limber, ellipsis-trailing lines of Whitman’s 1855 Leaves of Grass, Looking for Whitman will continue to fling its likeness outward; and those of us who were a part of it, or who watched it from afar, will continue to draw from it as we find it under our bootsoles, filtering and fibering the soil in which we grow.

Acknowledgments
My deepest thanks to those who supported this project, including:

The NEH Digital Humanities Start-Up Grant Program, offered through the NEH Office of Digital Humanities in partnership with the Institute of Museum and Library Services. I am grateful to the NEH and to the Office of Digital Humanities for their support, and I hope that this project can serve as an example for others interested in multi-campus educational projects.

I am also grateful to the colleges represented in this project for the generous support and encouragement that they have given to the participants. In particular, I would like to thank the following people for their support of this project:

Dr. Bonne August, Provost and Vice President, New York City College of
Technology, CUNY

Barbara Burke, Patty Barba, Eleanor Bergonzo, Yasemin Jones from the Grants Office of the New York City College of Technology, CUNY.

Dr. Teresa A. Kennedy, Professor and Chair, Department of English,
Linguistics, and Communication, University of Mary Washington

Dr. Nina Mikhalevsky, Acting Provost and Vice President for Strategy and
Policy, Professor of Philosophy, University of Mary Washington

Dr. Michael A. Palis, Interim Dean, Faculty of Arts and Sciences Graduate
School, Rutgers University-Camden

This project would not have been successful without the efforts of its deeply committed faculty members and staff. For their enthusiasm, excitement, energy, and expertise, I would like to thank:

Lead Faculty Members
New York
Matthew K. Gold, New York City College of Technology and CUNY Graduate Center

Karen Karbiener, New York University (2009 Fulbright Scholar at the University of Novi Sad, Serbia)

Virginia/Washington
Brady Earnhart, University of Mary Washington

Mara Scanlon, University of Mary Washington

Camden
Tyler Hoffman, Rutgers University-Camden

Carol Singley, Rutgers University-Camden

Director of Technology
Jim Groom, University of Mary Washington

Director of Project Support
Claire M. Fontaine, CUNY Graduate Center

Scholarly Adviser
David S.  Reynolds, CUNY Graduate Center

Pedagogical Advisers
Steve Brier, CUNY Graduate Center
Mills Kelly, George Mason University

Affiliated Institutions, Centers, People, and Groups
Brooklyn Historical Society (New York)
Chatham Manor (Virginia)
Kim Roberts (Washington, D.C.)
Library of Congress Manuscripts Division (Washington, D.C.)
The Walt Whitman Association (Camden)
The Walt Whitman House (Camden)
The Walt Whitman Project (New York)

Website Development Team
Website Banner Design: Yue Chen

Coding, Development, Layout: Cast Iron Coding

Guru: Jim Groom

Cleaner: Boone Gorges

Most of all, I’d like to thank the students who took part in Looking for Whitman. Without your hard work, none of this would have been possible.

—

“Looking for Whitman” has been designated a “We the People” project by the National Endowment for the Humanities.

Last week’s student conference in Camden brought “Looking for Whitman” to a rousing, poignant close. Four months after the classes involved in the project had ended, students from the University of Mary Washington, Rutgers-Camden, and City Tech gathered together to share their experiences and to meet one another in person. Understandably, students from the University of Novi Sad were not able to make the trip across the Atlantic Ocean to be with us in person.

There was something special about this day that reflected the entire spirit of the project. It was fed, no doubt, by the amazing cadre of students from UMW who boarded a bus at 6am on a Saturday morning to take a five-hour bus ride up to Camden for a conference related to a class that they had taken in the previous semester. Led by faculty members who had devoted intense amounts of energy to the project, these students arrived at Camden at a fever pitch. They weren’t there for a conference; they were there for a revival.

What intensity these students brought with them!! They came into the room wearing Whitmanic beards, clutching their texts, brimming with excitement. And that excitement bolstered us throughout the day.

UMW students arrive in Camden festooned with Whitman beards, t-shirts, and shoes.

We knew we were very lucky to have this group with us. It can be difficult — particularly at commuter campuses like City Tech and Rutgers — to round up students four months after a class has ended, let along to convince them to take a two-hour trip from NYC or a five-hour trip from Virginia for a student conference–especially at the end of the semester, with finals and senior thesis projects looming. I know that many students wanted to attend but couldn’t because of work or family obligations. Many Rutgers graduate students couldn’t because of concurrently scheduled comprehensive exams.

UMW students felt right at home on the RU campus; here are Sam and Brendan posing with a statue of Walt:

Sam P. and Brendan B. pose with Walt himself.

A Generative Conference
Early on, we decided that this conference would not be presentational, but generative. We wanted the conference to be an active event that embodied the pedagogical imperatives of the project as a whole: students would not just lecture about the work they had done during the Fall 2009 semester, but would also create new work to accompany it. To this end, we handed out FlipCams to all students there and encouraged them to take footage of the day. In the coming days and weeks, I look forward to seeing the posts that will come out of that footage.

Some of the highlights of the day included:

– Small group discussions in which students and faculty members shared their experiences in the project and discussed the Whitman they had found in their project location.

– A viewing, over lunch, of several videos created during the course of the project. These included:

Two Videos from Novi Sad
We watched two videos from students at the University of Novi Sad that deserve special mention. As Professor Karbiener noted, many Whitman poems have not yet been translated into Serbian. In her class, Prof. Karbiener chose to concentrate on the Calamus section of Leaves of Grass, which contains some of Whitman’s most sexual poems. This was a brave choice, given Whitman’s sexuality and a Serbian culture that is not always understanding of gay rights.

Even braver and more inspiring, Prof. Karbiener’s students chose to translate some of Whitman’s most openly sexual verse into Serbian for the first time. Here are two deeply moving films depicting readings and interpretations of those verses:

“to a stranger (Calamus 22)”

This film from Indira at the University of Novi Sad feels like a mashup of Godard, neorealist Italian film, and Whitman. It’s a stunning piece of work that gets to the heart of Whitman’s democratic vision by putting his most open words in the mouths of ordinary Serbian citizens as they go about their daily lives.

“Walt Whitman, Calamus 9”

A powerful meditation on and translation of Whitman’s poem from Elma at the University of Novi Sad

Wonderful Videos From Other Campuses:

In Search of Wendall Slickman

A rollicking twenty-minute rock ‘n roll mockumentary by Sam P. of UMW about a figure named “Wendall Slickman,” a hybrid figure of Walt Whitman and Elvis Presley

Whitman, Commercialism, and the Digital Age. Will Whitman Survive?

Virginia S. of UMW created this beautiful cinepoem marked by a moving reading of Leaves of Grass playing over video footage of traveled roads, sweeping waves, and setting suns.

City of Ships

A moving cinepoem that takes us through Whitman’s Camden and Philadelphia by Rutgers-Camden student Tara Wood. This video was highlighted in an article about the Looking for Whitman project.

City Tech students bring us Whitman’s New York by finding his presence in two busy hubs of the city Whitman loved:

Ermir finds Whitman In Times Square:

And Fabricio finds him in Grand Central:

To be sure, these videos are just a sample of the amazing student work completed during the Fall 2009 semester. In the coming weeks and months, the Looking for Whitman team will continue to unearth and organize riches from the project. Stay tuned, and thanks so much to all students involved in the project for their good work!

A Trip to Mickle Street
At mid-afternoon, we hopped on a bus and rode a few blocks to visit Whitman’s House on Mickle Street — the only house he ever owned, and the house in which he spent the last eight years of his life. (During the course of our own project, Prof. Hoffman’s class wrote scripts for the Visitor’s Center that will soon be built at the site).

Students gather in the backyard of the Whitman house after a tour.

I’ll let the students who were visiting the house for the first time speak about this experience, but I’ll just say that it was wonderful to observe the awe with which these students approached the house.

Many thanks to Leo Blake, curator of the House, and his volunteer staff for a wonderful tour.

Whitman’s Tomb at Harleigh Cemetery
After our tour of the house, we headed over to Whitman’s gravesite. We arrived to find the front gates shut and locked, even though we arrived a few minutes before closing time. While we tried to figure out what to do, I walked around the the cemetery looking for someone to talk to. Nearby, I found a section of the wrought-iron fence that had been bent open. After I went through, hoping to talk to a representative of the cemetery, I turned to find students and faculty from the project following me through the hole in the fence!

Entrance to the Harleigh cemetery. Note the closed gate.

Finding no one around, we walked down the road a bit until we arrived at the tomb that Whitman had designed for himself and his family members:

Students and faculty members gather in front of Whitman's tomb. Thanks to Claire Fontaine for the shot.

And then, we read together the closing lines of Whitman’s “Song of Myself.” (video to follow). It was a fitting and beautiful way to end our time together.

The Smallest Sprout Shows There is Really No Death
Onward and outward. The project is drawing to a close, of sorts, but I have the sense that it will never end for many of us. Like one of the elastic, limber, ellipsis-trailing lines of Whitman’s 1855 Leaves of Grass, Looking for Whitman will continue to fling its likeness outward; and those of us who were a part of it, or who watched it from afar, will continue to draw from it as we find it under our bootsoles, filtering and fibering the soil in which we grow.

Acknowledgments
My deepest thanks to those who supported this project, including:

The NEH Digital Humanities Start-Up Grant Program, offered through the NEH Office of Digital Humanities in partnership with the Institute of Museum and Library Services. I am grateful to the NEH and to the Office of Digital Humanities for their support, and I hope that this project can serve as an example for others interested in multi-campus educational projects.

I am also grateful to the colleges represented in this project for the generous support and encouragement that they have given to the participants. In particular, I would like to thank the following people for their support of this project:

Dr. Bonne August, Provost and Vice President, New York City College of
Technology, CUNY

Barbara Burke, Patty Barba, Eleanor Bergonzo, Yasemin Jones from the Grants Office of the New York City College of Technology, CUNY.

Dr. Teresa A. Kennedy, Professor and Chair, Department of English,
Linguistics, and Communication, University of Mary Washington

Dr. Nina Mikhalevsky, Acting Provost and Vice President for Strategy and
Policy, Professor of Philosophy, University of Mary Washington

Dr. Michael A. Palis, Interim Dean, Faculty of Arts and Sciences Graduate
School, Rutgers University-Camden

This project would not have been successful without the efforts of its deeply committed faculty members and staff. For their enthusiasm, excitement, energy, and expertise, I would like to thank:

Lead Faculty Members
New York
Matthew K. Gold, New York City College of Technology and CUNY Graduate Center

Karen Karbiener, New York University (2009 Fulbright Scholar at the University of Novi Sad, Serbia)

Virginia/Washington
Brady Earnhart, University of Mary Washington

Mara Scanlon, University of Mary Washington

Camden
Tyler Hoffman, Rutgers University-Camden

Carol Singley, Rutgers University-Camden

Director of Technology
Jim Groom, University of Mary Washington

Director of Project Support
Claire M. Fontaine, CUNY Graduate Center

Scholarly Adviser
David S.  Reynolds, CUNY Graduate Center

Pedagogical Advisers
Steve Brier, CUNY Graduate Center
Mills Kelly, George Mason University

Affiliated Institutions, Centers, People, and Groups
Brooklyn Historical Society (New York)
Chatham Manor (Virginia)
Kim Roberts (Washington, D.C.)
Library of Congress Manuscripts Division (Washington, D.C.)
The Walt Whitman Association (Camden)
The Walt Whitman House (Camden)
The Walt Whitman Project (New York)

Website Development Team
Website Banner Design: Yue Chen

Coding, Development, Layout: Cast Iron Coding

Guru: Jim Groom

Cleaner: Boone Gorges

Most of all, I’d like to thank the students who took part in Looking for Whitman. Without your hard work, none of this would have been possible.

—

“Looking for Whitman” has been designated a “We the People” project by the National Endowment for the Humanities.

And here is the brief paper commenting on the chaos I have tried to control:

All These I Feel or Am:

Whitman as Hip-Shaker, Self-Promoter, and Idol

By reading Walt Whitman (the poet; the icon) through the images and sounds/musical attitudes associated with Elvis Presley, and creating the hybrid character Wendell Slickman, I originally intended to investigate the general cast of American celebrity.  Presley and Whitman, by my original thesis, could be used to trace a shared (and therefore repeated/repeatable) pattern of ascendancy in the American public eye, relying first on a provocative, highly sexualized presentation to garner early celebrity, and then on a mid-to-late-career campaign to sanitize that sexual image in favor of a more wholesome, continent-encompassing form of American iconicity.  The result would have been a relatively linear narrative, possible to tell in a video that spoke from beginning to end.

I almost misled myself.  In actuality, Whitman and Presley evince both impulses, to sexually sensationalize and to self-sanctify, from the beginnings of their careers onward.  I also realized, and just as pressingly, that my goal was not to use Whitman and Presley as equal partners in a sweeping commentary on American cultural mores.  Instead, Presley serves as a sort of shorthand for the ICONIC AMERICAN, while his libido-flaunting musical medium allows me to reify the more dramatically performative aspects of “Song of Myself.”  The rock ‘n’ roll documentary, a standard venue for discussing rock musicians that comes fraught with its own stylistic baggage, further allows me a set of characters—performer, commentator, collaborators—that help dramatize what I take to be the central textual enterprise of “Song of Myself”: integrating vastly disparate types of narrative authority into an identifiably central voice, a single figure from which radiates both the kosmos and a set of aphoristic claims large enough to fit it.  Whitman essentially creates that core presence by constantly asserting it, thus presenting an illusion of unity that, if not for the force of his repetitive self-assertion, might easily break apart into disconnected (catalogic) observations, or splinter into disconnected speakers for every different voice or style he absorbs.

Much like Elvis, but to an arguably lesser degree, Whitman stands among a rarefied class of American figures whose fame and cultural relevance derive in great part from heavily disseminated images of him, prompting many American cultural consumers to “assume they know Whitman the poet because they are familiar with some graphic image of him” (Allen 128).  That image most frequently follows the template laid out by William Douglas O’Connor, one of Whitman’s so-called disciples, in a pamphlet that gave Whitman the moniker that has long stood as an emblem of his literary/cultural latter-day sainthood.  “The Good Gray Poet: A Vindication,” published in 1867, valorizes Whitman repeatedly to the point of Christliness, proclaiming that Whitman’s “is the great goodness, the great chastity of spiritual strength and sanity” (2).  Bridging the apparent gulf between this image and Elvis’ venerated hip-shaking, O’Connor goes to great rhetorical lengths to characterize Whitman as “one of the greatest sons of men” at least nominally because the poet had just been dismissed from the Department of the Interior due to the supposed immorality of the 1860 Leaves of Grass (Blake 186).  Whitman’s unblinking acknowledgment of the “disorderly fleshy and sensual” (Library of America 50) constitutes the immorality discovered in his work.  But quite significantly, O’Connor defends that “fleshiness” as just the quality that dignifies Whitman’s writing.

“The Good Gray Poet” calls up the “indecent passages” created by a litany of other writers, like Shakespeare, Dante, Plutarch, Virgil, Goethe, and Byron—those “among the demi-gods of human thought” (O’Connor 8)—and even invokes the Bible’s references to genitalia and sexual contact, in order to color Whitman’s supposed indecency with a golden holiness.  Though O’Connor’s efforts may seem like little more than good discipleship, his pamphlet’s broad and persistent influence has allowed even Whitman’s current readers to inherit an impression of the poet as something of an American apostle, while the pamphlet originating the “good gray poet” title sanctifies Whitman’s performance of sexuality, if not necessarily homoerotic desire, as an expression of his natural godliness.  This management of Whitman’s iconic status bears striking resemblance to the common pop-culture impulse to spiritualize eroticism and deify sexy performers, an impulse represented perhaps most popularly by Elvis fans’ desire to both lust after and create shrines to “the King,” untroubled by the possible contradiction between those two acts (Doss 76).

However, Whitman’s followers cannot be held entirely responsible for their emphasis on the godliness of Whitman’s sexiness—not when the poet’s own writings champion that same conceptual transformation.  Starting with the 1855 version of “Song of Myself,” long before Whitman and his handlers had retroactively consolidated a better (“good-er?”), grayer Poet persona, the poet delivered this avowal: “Magnifying and applying come I, / Outbidding at the start the old cautious hucksters, / The most they offer for mankind and eternity less than a spirt of my own seminal wet, / Taking myself the exact dimensions of Jehovah and laying them away” (Library of America 73).  Whitman’s speaking persona here not only endows his sexuality with kosmic significance, linking his “seminal wet” with “offers” made to “mankind and eternity,” but also suggests by this stanza’s sequence that the same “seminal spirt” might equal the “dimensions of Jehovah.”  Sex and spirituality thus emanate in like proportion from the single poetic/priapic source.  Why? How?  In large part, because the persona says so.

Whitman’s rhetorical practice in “Song of Myself” finds him both enacting and attempting to neutralize this tension between the flesh-man and the prophetic poet, taking on voices that switch unpredictably from the erotic to the elegiac, and from unrestrained sexuality to reverent self-commentary.  For example, Whitman lends the passage of “Song of Myself” most frequently described as an orgasm an aftershock denouement that remains in the kind of explicit but elevated hyper-phallicism that precedes climax: “Sprouts take and accumulate…. stand by the curb prolific and vital, / Landscapes projected masculine full-sized and golden.”  The next stanza, though a continuation of that thought, and itself including a relatively “graphic” image of the “obstetric forceps of the surgeon,” actually opens with a sudden turn to the philosophical and aphoristic, with the persona heavily reminding the reader that “all truths wait in all things” (56).  Though the two passages share a common grandness of scale, the first quite clearly emerges out of the “indecent” trajectory of foregoing pages, while the second might be found in any “wisdom literature.”  Presumably, the reader should look for no disjunction between the two statements, since the persona wishes him or her to find none.

In fact, Whitman’s chief poetic project seems to be a muscular synthesis of disconnected vocal styles and subjects by virtue of his single, exceptional, even godlike personality.  Using a Bakhtinian analytical model to search “Song of Myself” for signs of textual dialogism, Dana Phillips argues that the poem’s long catalogues, often containing fragments of narrative like the “suicide” that “sprawls on the bloody floor of the bedroom” (Library of America 33) but preventing those fragments from taking on an intelligibly linear sequence, create “dissipating, centrifugal effects” (204).  By Phillips’ argument, Whitman’s speaker must constantly assert a “unified and unifying” identity, insisting on “his own lyric personhood” in order to “usurp… the utterances of others” (209).  True to its title, “Song of Myself” remains monologically “poetic” in Phillips’ reading of Bakhtin’s term; appropriately, Whitman’s persona admits “many long dumb voices” only with the condition that they come “through me” (Library of America 50).  In my video, I have sought to separate the single Whitman into at least two distinct voices: the demonstratively sexual performer (Wendell proper); and the eloquent, self-promoting “authority” who seems to study an outside specimen but actually specializes in himself (the rock scholargist—scholar/clergyman—who fabricates Wendell’s journal and self-penned eulogy).  By lending both characters long stretches of “Song of Myself,” I sought both to dramatize the division within Whitman’s self-claimed oneness, and to use Whitman’s text as a unifying presence that blurs the division between Wendell and his disciple(s).

This separation of performative Whitman (perhaps best exemplified by the relatively nonsexual line “It is time to explain myself…. let us stand up” (Library of America 79)) and his self-commenting counterpart further enables me to visually represent the ways in which Whitman envisioned the populace that would deliver him iconic status.  Referring principally to the 1855 Leaves Preface’s Emersonian claim that “the proof of a poet is that his country absorbs him as affectionately as he has absorbed it” (26), David Haven Blake contends that, because “the audience’s image was central to sustaining [Whitman’s] identity as the authentically American bard,” the poet “would use his poems to project a fictive celebrity until true admirers materialized” (63).  The “scholargist” in my video stands in both for Whitman’s disciples and for the poet’s willingness to act as his own greatest fan, thereby illustrating the great disparity between Whitman’s own sense of himself as the fulcrum on which his nation turns, and the reality of American cultural politics that kept his “immoral” brand of aesthetic self-affirmation from receiving the limitless audience he had imagined.  By insisting so stridently that these divided selves must be identified with the persona as a single generative being, Whitman thus accompanies his countless cries for camaraderie with the sense that he carries the burden of a colossal loneliness equal to his self-proclaimed singularity.

Works Cited

Allen, Gay Wilson.  “The Iconography of Walt Whitman.”  The Artistic Legacy of Walt Whitman: A Tribute to Gay Wilson Allen.  Ed.    Edwin Haviland Miller.  New York: New York University Press, 1970.  127-152.  Print.

Blake, David Haven.  Walt Whitman and the Culture of American Celebrity.  New Haven: Yale University Press, 2006.  Print.

Doss, Erika.  Elvis Culture: Fans, Faith & Image.  Lawrence, Kansas: University Press of Kansas, 1999.  Print.

O’Connor, William Douglas.  “The Good Gray Poet: A Vindication.”  The Walt Whitman Archive.  Ed. Ed Folsom and Kenneth M. Price.  Web.  24 November 2009.

Phillips, Dana.  “Whitman and Genre: The Dialogic in ‘Song of Myself.’”  Bloom’s Modern Critical Interpretations: Walt Whitman’s “Song of Myself.”  Ed. Harold Bloom.  Philadelphia: Chelsea House, 2003.  195-221.  Print.

Whitman, Walt.  Poetry and Prose.  Ed. Justin Kaplan.  New York: Library of America, 1996.  Print.

And…

Finally, I have prepared a brief guide to the movie’s references/background, in order of appearance:

1. Opening graveyard scene: shot in and around my family’s plot at Elmwood Cemetery in Norfolk, Virginia.  Ellwood and Lucy Lee, whose stone is visible in the title shot, were/are my great-great-grandparents.

2. “1935-1992”: Combines Presley’s birth-date with Whitman’s century-removed year of passing.

3. Performance 1: “I’m Just a Lonely Guy,” released in 1955 on Specialty Records as the B-side to “Tutti Frutti.”  All performances shot in this basement are loosely modeled after the sit-down, girls-sitting-around presentation seen during Elvis’ “1968 Comeback” television performances (for example, see http://www.youtube.com/watch?v=t1OLU5IsJ7g).

4. Scholargist: “I have heard what the talkers were talking…. the talk of the beginning and the end… Always the procreant urge of the world” (Library of America 28).

5. Performance 2: “That’s All Right, Mama,” written by Arthur Crudup and released as Elvis’ first single in 1954 on Sun Records.  Contains a verse based on Whitman’s line “Press close barebosomed night!” (47).

6. Shacky Mansionette: extremely loose approximation of Sam Phillips, owner of and producer for Sun (in this case, Slam) Records.

7.  Shacky: “Bootsoles” (88).

8. End of “That’s All Right”: “YAWP” (87).

9. Performance 3: “One Night (of Sin),” written by Dave Bartholomew, Pearl King, and Anita Steiman and released by Elvis in 1958 on RCA.  Elvis tamed the original version, which was preoccupied with a night of sexual profligacy that the lyrics claim would “make the earth stand still,” and substituted these suggestive themes with a banal proposition of faithful monogamy (“One night with you / is what I’m now praying for / The things we two could plan / would make my dreams come true”).  Quite notably, Elvis returned to the original first verse in his ’68 “Comeback” performance of “One Night,” choosing to re-sexualize a song that he and his handlers had long before sanitized. (See http://www.youtube.com/watch?v=plQIs3zoDHE for the 1968 version.)

10.  Scholargist: “They do not know how immortal, but I know” (33), with “eternal” replacing “immortal.”

11.  “”: “I might not tell everybody but I will tell you” (45).

12.  “”: Wendell as “the [singer] of the body… and of the soul” (46).

13.  “”: Wendell Slickman, “one of the roughs, a “kosm[ic]” conman (50).

14.  Performance 4: “Milk Cow Blues Boogie,” written by Kokomo Arnold and released by Presley in 1954 on Sun Records.  All performances shot in this close-framed, hair-in-bun style refer to Elvis’ famous waist-up, shoulder-shaking performance of “Heartbreak Hotel” filmed in 1956 (see http://www.youtube.com/watch?v=bKYf8LGRyHw).

15.  Scholargist: “What is commonest and cheapest and nearest and easiest is” him (38).

16.  Wendell: “Very well, then (I contradict myself)” (87).

17.  Scholargist: “Disorderly fleshy and sensual” (50).

18.  “”: “Gathering and showing more always and with velocity” (58).

19.  Performance 5: “Baby Let’s Play House,” written by Arthur Gunter and released by Elvis in 1954 on Sun Records.

20.  Scholargist: “I do not decline to be the [singer] of wickedness… Evil propels me and the reform of evil propels me” (48).

21.  “”: “With the twirl of my tongue I encompass worlds and volumes of worlds” (52).

22.  Performance 5: “Heartbreak Hotel,” written by Mae Boren Axton, Thomas Durden, and Presley, and released on RCA in 1956.  This performance relies on a stanza from “Song of Myself”: “There was never any more inception than there is now, / Nor any more youth or age than there is now; / And will never be any more perfection than there is now, / Nor any more heaven or hell than there is now” (28).

23.  Scholargist: “O Christ!  My fit is mastering me!” (69).

24.   “”: “I do not despise you priests; / My faith is the greatest of faiths and the least of faiths” (77).

25.  Performance 6: “Trying to Get to You,” written by Rose Marie McCoy and released by Elvis first as a 1955 Sun single, and then as a track on his first RCA album, Elvis Presley.  One of the few early Elvis songs to explicitly describe the continental grandness of Whitman’s poetry (the song begins “I’ve been traveling over mountains”), “Trying” begins in this version with a characteristically sweeping self-assertion by Whitman’s speaker: “I pass death with the dying, and birth with the new-washed babe…. and am not contained between my hat and boots” (32), “and can never be shaken away” (33).

26.  Scholargist: “All these I feel or am” (65).

27.  “”: “These are the thoughts of men in all ages and lands, they are not original with me… If they are not the riddle or the untying of the riddle… If they are not just as close as they are distant they are nothing” (43).

28.  “”: “You shall no longer take things at second or third hand” (28).

29.  Performance 7: “Queen Jane Approximately,” written Bob Dylan and appearing on his 1965 album Highway 61 Revisited on Columbia Records.  This performance’s first verse includes a paraphrased form of Whitman’s “lunatic… carried at last to the asylum a confirmed case,” restructured to fit the mood and rhyme scheme of Dylan’s song:

When the lunatic carried from the foot of his mother’s mattress

Is waiting for her in a home for the insane,

And he sends all of his poems to the wrong address,

Won’t you come see me, Queen Jane?

The chorus is also extended to include another Whitman line:

Won’t you come see me, long-hair?

“I am the man, I suffered, I was there” (64).

30.  Scholargist: “There is that in [this]…. I do not know what it is…. but I know it is in [this]” (86)

31.  “”, paraphrased: “Perhaps I might tell you more… OUTLINES! …. It is not chaos or death…. it is form and union and plan…. it is eternal life…. it is happiness” (87).

32.  Eulogy: a patchwork of moments in “Song of Myself” I find especially elegiac, even self-eulogizing.

“My final merit I refuse you… I refuse putting from me the best I am” (53).  “Logic and sermons never convince, / The damp of the night drives deeper into my soul” (56).  “Ever myself and my neighbors, refreshing and wicked and real, / Ever the old inexplicable query… ever the sobbing liquid of life, / Ever the bandage under the chin…. ever the tressels of death” (75).  “And as to you corpse I think you are good manure, but that does not offend me” (86).  I remember…. I resume the overstaid fraction, / The grave of rock multiplies what has been confided to it…. or to any graves, / The corpses rise…. The gashes heal…. the fastenings roll away” (71).  “The last scud of the day holds back for me, / It flings my likeness after the rest and true as any on the shadowed wilds, / It coaxes me to the vapor and the dusk. / I depart as air…. I shake my white locks at the runaway sun, / I effuse my flesh in eddies and drift it in lacy jags” (87-88).  “By my life-lumps!  becoming already a creator! / Putting myself here and now to the ambushed womb of the shadows!” (75).

33.  Performance 8: “Anywhere I Lay My Head,” written by Tom Waits and placed at the end of his 1985 album Rain Dogs (Island Records).  Because of its lyrical intensity, articulated in bodily images that are at once familiar and unfamiliarly lurching (“My head is spinning ‘round, / My heart is in my shoes”), and because of the way in which the chorus manages to feel both self-assured and remarkably lonely (“Anywhere I lay my head, boys, / That’s where I’ll call my home”), I have long found this one of the most Whitmanic songs in C(c)reation.  In order to more directly call out the funereal quality of the song, I aligned “Anywhere” with part of “Peace in the Valley,” the highly recognizable gospel song by Thomas Dorsey that Elvis performed on the Ed Sullivan show in 1957 (see: http://www.youtube.com/watch?v=ZNE9wsh8ld4).

As stated in the video’s credits, all of these arrangements (including the vocal parts for the last scene), performances, and lyrical alterations were created specifically for “In Search of Wendell Slickman.”

And here is the brief paper commenting on the chaos I have tried to control:

All These I Feel or Am:

Whitman as Hip-Shaker, Self-Promoter, and Idol

By reading Walt Whitman (the poet; the icon) through the images and sounds/musical attitudes associated with Elvis Presley, and creating the hybrid character Wendell Slickman, I originally intended to investigate the general cast of American celebrity.  Presley and Whitman, by my original thesis, could be used to trace a shared (and therefore repeated/repeatable) pattern of ascendancy in the American public eye, relying first on a provocative, highly sexualized presentation to garner early celebrity, and then on a mid-to-late-career campaign to sanitize that sexual image in favor of a more wholesome, continent-encompassing form of American iconicity.  The result would have been a relatively linear narrative, possible to tell in a video that spoke from beginning to end.

I almost misled myself.  In actuality, Whitman and Presley evince both impulses, to sexually sensationalize and to self-sanctify, from the beginnings of their careers onward.  I also realized, and just as pressingly, that my goal was not to use Whitman and Presley as equal partners in a sweeping commentary on American cultural mores.  Instead, Presley serves as a sort of shorthand for the ICONIC AMERICAN, while his libido-flaunting musical medium allows me to reify the more dramatically performative aspects of “Song of Myself.”  The rock ‘n’ roll documentary, a standard venue for discussing rock musicians that comes fraught with its own stylistic baggage, further allows me a set of characters—performer, commentator, collaborators—that help dramatize what I take to be the central textual enterprise of “Song of Myself”: integrating vastly disparate types of narrative authority into an identifiably central voice, a single figure from which radiates both the kosmos and a set of aphoristic claims large enough to fit it.  Whitman essentially creates that core presence by constantly asserting it, thus presenting an illusion of unity that, if not for the force of his repetitive self-assertion, might easily break apart into disconnected (catalogic) observations, or splinter into disconnected speakers for every different voice or style he absorbs.

Much like Elvis, but to an arguably lesser degree, Whitman stands among a rarefied class of American figures whose fame and cultural relevance derive in great part from heavily disseminated images of him, prompting many American cultural consumers to “assume they know Whitman the poet because they are familiar with some graphic image of him” (Allen 128).  That image most frequently follows the template laid out by William Douglas O’Connor, one of Whitman’s so-called disciples, in a pamphlet that gave Whitman the moniker that has long stood as an emblem of his literary/cultural latter-day sainthood.  “The Good Gray Poet: A Vindication,” published in 1867, valorizes Whitman repeatedly to the point of Christliness, proclaiming that Whitman’s “is the great goodness, the great chastity of spiritual strength and sanity” (2).  Bridging the apparent gulf between this image and Elvis’ venerated hip-shaking, O’Connor goes to great rhetorical lengths to characterize Whitman as “one of the greatest sons of men” at least nominally because the poet had just been dismissed from the Department of the Interior due to the supposed immorality of the 1860 Leaves of Grass (Blake 186).  Whitman’s unblinking acknowledgment of the “disorderly fleshy and sensual” (Library of America 50) constitutes the immorality discovered in his work.  But quite significantly, O’Connor defends that “fleshiness” as just the quality that dignifies Whitman’s writing.

“The Good Gray Poet” calls up the “indecent passages” created by a litany of other writers, like Shakespeare, Dante, Plutarch, Virgil, Goethe, and Byron—those “among the demi-gods of human thought” (O’Connor 8)—and even invokes the Bible’s references to genitalia and sexual contact, in order to color Whitman’s supposed indecency with a golden holiness.  Though O’Connor’s efforts may seem like little more than good discipleship, his pamphlet’s broad and persistent influence has allowed even Whitman’s current readers to inherit an impression of the poet as something of an American apostle, while the pamphlet originating the “good gray poet” title sanctifies Whitman’s performance of sexuality, if not necessarily homoerotic desire, as an expression of his natural godliness.  This management of Whitman’s iconic status bears striking resemblance to the common pop-culture impulse to spiritualize eroticism and deify sexy performers, an impulse represented perhaps most popularly by Elvis fans’ desire to both lust after and create shrines to “the King,” untroubled by the possible contradiction between those two acts (Doss 76).

However, Whitman’s followers cannot be held entirely responsible for their emphasis on the godliness of Whitman’s sexiness—not when the poet’s own writings champion that same conceptual transformation.  Starting with the 1855 version of “Song of Myself,” long before Whitman and his handlers had retroactively consolidated a better (“good-er?”), grayer Poet persona, the poet delivered this avowal: “Magnifying and applying come I, / Outbidding at the start the old cautious hucksters, / The most they offer for mankind and eternity less than a spirt of my own seminal wet, / Taking myself the exact dimensions of Jehovah and laying them away” (Library of America 73).  Whitman’s speaking persona here not only endows his sexuality with kosmic significance, linking his “seminal wet” with “offers” made to “mankind and eternity,” but also suggests by this stanza’s sequence that the same “seminal spirt” might equal the “dimensions of Jehovah.”  Sex and spirituality thus emanate in like proportion from the single poetic/priapic source.  Why? How?  In large part, because the persona says so.

Whitman’s rhetorical practice in “Song of Myself” finds him both enacting and attempting to neutralize this tension between the flesh-man and the prophetic poet, taking on voices that switch unpredictably from the erotic to the elegiac, and from unrestrained sexuality to reverent self-commentary.  For example, Whitman lends the passage of “Song of Myself” most frequently described as an orgasm an aftershock denouement that remains in the kind of explicit but elevated hyper-phallicism that precedes climax: “Sprouts take and accumulate…. stand by the curb prolific and vital, / Landscapes projected masculine full-sized and golden.”  The next stanza, though a continuation of that thought, and itself including a relatively “graphic” image of the “obstetric forceps of the surgeon,” actually opens with a sudden turn to the philosophical and aphoristic, with the persona heavily reminding the reader that “all truths wait in all things” (56).  Though the two passages share a common grandness of scale, the first quite clearly emerges out of the “indecent” trajectory of foregoing pages, while the second might be found in any “wisdom literature.”  Presumably, the reader should look for no disjunction between the two statements, since the persona wishes him or her to find none.

In fact, Whitman’s chief poetic project seems to be a muscular synthesis of disconnected vocal styles and subjects by virtue of his single, exceptional, even godlike personality.  Using a Bakhtinian analytical model to search “Song of Myself” for signs of textual dialogism, Dana Phillips argues that the poem’s long catalogues, often containing fragments of narrative like the “suicide” that “sprawls on the bloody floor of the bedroom” (Library of America 33) but preventing those fragments from taking on an intelligibly linear sequence, create “dissipating, centrifugal effects” (204).  By Phillips’ argument, Whitman’s speaker must constantly assert a “unified and unifying” identity, insisting on “his own lyric personhood” in order to “usurp… the utterances of others” (209).  True to its title, “Song of Myself” remains monologically “poetic” in Phillips’ reading of Bakhtin’s term; appropriately, Whitman’s persona admits “many long dumb voices” only with the condition that they come “through me” (Library of America 50).  In my video, I have sought to separate the single Whitman into at least two distinct voices: the demonstratively sexual performer (Wendell proper); and the eloquent, self-promoting “authority” who seems to study an outside specimen but actually specializes in himself (the rock scholargist—scholar/clergyman—who fabricates Wendell’s journal and self-penned eulogy).  By lending both characters long stretches of “Song of Myself,” I sought both to dramatize the division within Whitman’s self-claimed oneness, and to use Whitman’s text as a unifying presence that blurs the division between Wendell and his disciple(s).

This separation of performative Whitman (perhaps best exemplified by the relatively nonsexual line “It is time to explain myself…. let us stand up” (Library of America 79)) and his self-commenting counterpart further enables me to visually represent the ways in which Whitman envisioned the populace that would deliver him iconic status.  Referring principally to the 1855 Leaves Preface’s Emersonian claim that “the proof of a poet is that his country absorbs him as affectionately as he has absorbed it” (26), David Haven Blake contends that, because “the audience’s image was central to sustaining [Whitman’s] identity as the authentically American bard,” the poet “would use his poems to project a fictive celebrity until true admirers materialized” (63).  The “scholargist” in my video stands in both for Whitman’s disciples and for the poet’s willingness to act as his own greatest fan, thereby illustrating the great disparity between Whitman’s own sense of himself as the fulcrum on which his nation turns, and the reality of American cultural politics that kept his “immoral” brand of aesthetic self-affirmation from receiving the limitless audience he had imagined.  By insisting so stridently that these divided selves must be identified with the persona as a single generative being, Whitman thus accompanies his countless cries for camaraderie with the sense that he carries the burden of a colossal loneliness equal to his self-proclaimed singularity.

Works Cited

Allen, Gay Wilson.  “The Iconography of Walt Whitman.”  The Artistic Legacy of Walt Whitman: A Tribute to Gay Wilson Allen.  Ed.    Edwin Haviland Miller.  New York: New York University Press, 1970.  127-152.  Print.

Blake, David Haven.  Walt Whitman and the Culture of American Celebrity.  New Haven: Yale University Press, 2006.  Print.

Doss, Erika.  Elvis Culture: Fans, Faith & Image.  Lawrence, Kansas: University Press of Kansas, 1999.  Print.

O’Connor, William Douglas.  “The Good Gray Poet: A Vindication.”  The Walt Whitman Archive.  Ed. Ed Folsom and Kenneth M. Price.  Web.  24 November 2009.

Phillips, Dana.  “Whitman and Genre: The Dialogic in ‘Song of Myself.’”  Bloom’s Modern Critical Interpretations: Walt Whitman’s “Song of Myself.”  Ed. Harold Bloom.  Philadelphia: Chelsea House, 2003.  195-221.  Print.

Whitman, Walt.  Poetry and Prose.  Ed. Justin Kaplan.  New York: Library of America, 1996.  Print.

And…

Finally, I have prepared a brief guide to the movie’s references/background, in order of appearance:

1. Opening graveyard scene: shot in and around my family’s plot at Elmwood Cemetery in Norfolk, Virginia.  Ellwood and Lucy Lee, whose stone is visible in the title shot, were/are my great-great-grandparents.

2. “1935-1992”: Combines Presley’s birth-date with Whitman’s century-removed year of passing.

3. Performance 1: “I’m Just a Lonely Guy,” released in 1955 on Specialty Records as the B-side to “Tutti Frutti.”  All performances shot in this basement are loosely modeled after the sit-down, girls-sitting-around presentation seen during Elvis’ “1968 Comeback” television performances (for example, see http://www.youtube.com/watch?v=t1OLU5IsJ7g).

4. Scholargist: “I have heard what the talkers were talking…. the talk of the beginning and the end… Always the procreant urge of the world” (Library of America 28).

5. Performance 2: “That’s All Right, Mama,” written by Arthur Crudup and released as Elvis’ first single in 1954 on Sun Records.  Contains a verse based on Whitman’s line “Press close barebosomed night!” (47).

6. Shacky Mansionette: extremely loose approximation of Sam Phillips, owner of and producer for Sun (in this case, Slam) Records.

7.  Shacky: “Bootsoles” (88).

8. End of “That’s All Right”: “YAWP” (87).

9. Performance 3: “One Night (of Sin),” written by Dave Bartholomew, Pearl King, and Anita Steiman and released by Elvis in 1958 on RCA.  Elvis tamed the original version, which was preoccupied with a night of sexual profligacy that the lyrics claim would “make the earth stand still,” and substituted these suggestive themes with a banal proposition of faithful monogamy (“One night with you / is what I’m now praying for / The things we two could plan / would make my dreams come true”).  Quite notably, Elvis returned to the original first verse in his ’68 “Comeback” performance of “One Night,” choosing to re-sexualize a song that he and his handlers had long before sanitized. (See http://www.youtube.com/watch?v=plQIs3zoDHE for the 1968 version.)

10.  Scholargist: “They do not know how immortal, but I know” (33), with “eternal” replacing “immortal.”

11.  “”: “I might not tell everybody but I will tell you” (45).

12.  “”: Wendell as “the [singer] of the body… and of the soul” (46).

13.  “”: Wendell Slickman, “one of the roughs, a “kosm[ic]” conman (50).

14.  Performance 4: “Milk Cow Blues Boogie,” written by Kokomo Arnold and released by Presley in 1954 on Sun Records.  All performances shot in this close-framed, hair-in-bun style refer to Elvis’ famous waist-up, shoulder-shaking performance of “Heartbreak Hotel” filmed in 1956 (see http://www.youtube.com/watch?v=bKYf8LGRyHw).

15.  Scholargist: “What is commonest and cheapest and nearest and easiest is” him (38).

16.  Wendell: “Very well, then (I contradict myself)” (87).

17.  Scholargist: “Disorderly fleshy and sensual” (50).

18.  “”: “Gathering and showing more always and with velocity” (58).

19.  Performance 5: “Baby Let’s Play House,” written by Arthur Gunter and released by Elvis in 1954 on Sun Records.

20.  Scholargist: “I do not decline to be the [singer] of wickedness… Evil propels me and the reform of evil propels me” (48).

21.  “”: “With the twirl of my tongue I encompass worlds and volumes of worlds” (52).

22.  Performance 5: “Heartbreak Hotel,” written by Mae Boren Axton, Thomas Durden, and Presley, and released on RCA in 1956.  This performance relies on a stanza from “Song of Myself”: “There was never any more inception than there is now, / Nor any more youth or age than there is now; / And will never be any more perfection than there is now, / Nor any more heaven or hell than there is now” (28).

23.  Scholargist: “O Christ!  My fit is mastering me!” (69).

24.   “”: “I do not despise you priests; / My faith is the greatest of faiths and the least of faiths” (77).

25.  Performance 6: “Trying to Get to You,” written by Rose Marie McCoy and released by Elvis first as a 1955 Sun single, and then as a track on his first RCA album, Elvis Presley.  One of the few early Elvis songs to explicitly describe the continental grandness of Whitman’s poetry (the song begins “I’ve been traveling over mountains”), “Trying” begins in this version with a characteristically sweeping self-assertion by Whitman’s speaker: “I pass death with the dying, and birth with the new-washed babe…. and am not contained between my hat and boots” (32), “and can never be shaken away” (33).

26.  Scholargist: “All these I feel or am” (65).

27.  “”: “These are the thoughts of men in all ages and lands, they are not original with me… If they are not the riddle or the untying of the riddle… If they are not just as close as they are distant they are nothing” (43).

28.  “”: “You shall no longer take things at second or third hand” (28).

29.  Performance 7: “Queen Jane Approximately,” written Bob Dylan and appearing on his 1965 album Highway 61 Revisited on Columbia Records.  This performance’s first verse includes a paraphrased form of Whitman’s “lunatic… carried at last to the asylum a confirmed case,” restructured to fit the mood and rhyme scheme of Dylan’s song:

When the lunatic carried from the foot of his mother’s mattress

Is waiting for her in a home for the insane,

And he sends all of his poems to the wrong address,

Won’t you come see me, Queen Jane?

The chorus is also extended to include another Whitman line:

Won’t you come see me, long-hair?

“I am the man, I suffered, I was there” (64).

30.  Scholargist: “There is that in [this]…. I do not know what it is…. but I know it is in [this]” (86)

31.  “”, paraphrased: “Perhaps I might tell you more… OUTLINES! …. It is not chaos or death…. it is form and union and plan…. it is eternal life…. it is happiness” (87).

32.  Eulogy: a patchwork of moments in “Song of Myself” I find especially elegiac, even self-eulogizing.

“My final merit I refuse you… I refuse putting from me the best I am” (53).  “Logic and sermons never convince, / The damp of the night drives deeper into my soul” (56).  “Ever myself and my neighbors, refreshing and wicked and real, / Ever the old inexplicable query… ever the sobbing liquid of life, / Ever the bandage under the chin…. ever the tressels of death” (75).  “And as to you corpse I think you are good manure, but that does not offend me” (86).  I remember…. I resume the overstaid fraction, / The grave of rock multiplies what has been confided to it…. or to any graves, / The corpses rise…. The gashes heal…. the fastenings roll away” (71).  “The last scud of the day holds back for me, / It flings my likeness after the rest and true as any on the shadowed wilds, / It coaxes me to the vapor and the dusk. / I depart as air…. I shake my white locks at the runaway sun, / I effuse my flesh in eddies and drift it in lacy jags” (87-88).  “By my life-lumps!  becoming already a creator! / Putting myself here and now to the ambushed womb of the shadows!” (75).

33.  Performance 8: “Anywhere I Lay My Head,” written by Tom Waits and placed at the end of his 1985 album Rain Dogs (Island Records).  Because of its lyrical intensity, articulated in bodily images that are at once familiar and unfamiliarly lurching (“My head is spinning ‘round, / My heart is in my shoes”), and because of the way in which the chorus manages to feel both self-assured and remarkably lonely (“Anywhere I lay my head, boys, / That’s where I’ll call my home”), I have long found this one of the most Whitmanic songs in C(c)reation.  In order to more directly call out the funereal quality of the song, I aligned “Anywhere” with part of “Peace in the Valley,” the highly recognizable gospel song by Thomas Dorsey that Elvis performed on the Ed Sullivan show in 1957 (see: http://www.youtube.com/watch?v=ZNE9wsh8ld4).

As stated in the video’s credits, all of these arrangements (including the vocal parts for the last scene), performances, and lyrical alterations were created specifically for “In Search of Wendell Slickman.”

A VOICE FROM DEATH.

(The Johnstown, Penn., cataclysm, May 31, 1889.)

A VOICE FROM DEATH.

(The Johnstown, Penn., cataclysm, May 31, 1889.)

A VOICE FROM DEATH.

(The Johnstown, Penn., cataclysm, May 31, 1889.)

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

Click here to view the embedded video.

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.




direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

Click here to view the embedded video.

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

Click here to view the embedded video.

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

Click here to view the embedded video.

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

Click here to view the embedded video.

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.




direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

Click here to view the embedded video.

direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.




direct youtube link (if you want to watch it “fullscreen”)

Final note:

All music chosen for this cinepoem was either of the time that “City of Ships” was written (1865) or by local musicians in either Philadelphia or New Jersey.

The poem in its entirety

Come up from the fields, father, here’s a letter from our Pete,
And come to the front door, mother, here’s
a letter from thy dear son.

Lo, ’tis autumn,
Lo, where the trees, deeper green, yellower and redder,
Cool and sweeten Ohio’s villages with leaves
fluttering in the moderate wind,
Where apples ripe in the orchards hang and
grapes on the trellis’d vines,
(Smell you the smell of the grapes on the vines?
Smell you the buckwheat where the bees were lately buzzing?)
Above all, lo, the sky so calm, so transparent
after the rain, and with wondrous clouds,
Below too, all calm, all vital and beautiful,
and the farm prospers well.

Down in the fields all prospers well,
But now from the fields come, father, come
at the daughter’s call,
And come to the entry, mother, to the front door come right away.
Fast as she can she hurries, something ominous,
her steps trembling,
She does not tarry to smooth her hair nor
adjust her cap.

Open the envelope quickly,
0 this is not our son’s writing, yet his name
is sign’d,
0 a strange hand writes for our dear son,
0 stricken mother’s soul!
All swims before her eyes, flashes with black,
she catches the main words only,
Sentences broken, gunshot wound in the breast,
cavalry skirmish, taken to hospital,
At present low, but will soon be better.

Ah, now the single figure to me,
Amid all teeming and wealthy Ohio with all
its cities and farms,
Sickly white in the face and dull in the head,
very faint,
By the jamb of a door leans.

Grieve not so, dear mother (the just-grown
daughter speaks through her sobs,
The little sisters huddle around speechless and
dismay’d),
See, dearest mother, the letter says Pete will
soon be better.

Alas, poor boy, he will never be better (nor maybe
needs to be better, that brave and simple soul),
While they stand at home at the door he is
dead already,
The only son is dead.

But the mother needs to be better,
She with thin form presently drest in black,
By day her meals untouch’d, then at night
fitfully sleeping, often waking,
In the midnight waking, weeping, longing with
one deep longing,
0 that she might withdraw unnoticed, silent
from life escape and withdraw,
To follow, to seek, to be with her dear dead
son.

The poem in its entirety

Come up from the fields, father, here’s a letter from our Pete,
And come to the front door, mother, here’s
a letter from thy dear son.

Lo, ’tis autumn,
Lo, where the trees, deeper green, yellower and redder,
Cool and sweeten Ohio’s villages with leaves
fluttering in the moderate wind,
Where apples ripe in the orchards hang and
grapes on the trellis’d vines,
(Smell you the smell of the grapes on the vines?
Smell you the buckwheat where the bees were lately buzzing?)
Above all, lo, the sky so calm, so transparent
after the rain, and with wondrous clouds,
Below too, all calm, all vital and beautiful,
and the farm prospers well.

Down in the fields all prospers well,
But now from the fields come, father, come
at the daughter’s call,
And come to the entry, mother, to the front door come right away.
Fast as she can she hurries, something ominous,
her steps trembling,
She does not tarry to smooth her hair nor
adjust her cap.

Open the envelope quickly,
0 this is not our son’s writing, yet his name
is sign’d,
0 a strange hand writes for our dear son,
0 stricken mother’s soul!
All swims before her eyes, flashes with black,
she catches the main words only,
Sentences broken, gunshot wound in the breast,
cavalry skirmish, taken to hospital,
At present low, but will soon be better.

Ah, now the single figure to me,
Amid all teeming and wealthy Ohio with all
its cities and farms,
Sickly white in the face and dull in the head,
very faint,
By the jamb of a door leans.

Grieve not so, dear mother (the just-grown
daughter speaks through her sobs,
The little sisters huddle around speechless and
dismay’d),
See, dearest mother, the letter says Pete will
soon be better.

Alas, poor boy, he will never be better (nor maybe
needs to be better, that brave and simple soul),
While they stand at home at the door he is
dead already,
The only son is dead.

But the mother needs to be better,
She with thin form presently drest in black,
By day her meals untouch’d, then at night
fitfully sleeping, often waking,
In the midnight waking, weeping, longing with
one deep longing,
0 that she might withdraw unnoticed, silent
from life escape and withdraw,
To follow, to seek, to be with her dear dead
son.

The poem in its entirety

Come up from the fields, father, here’s a letter from our Pete,
And come to the front door, mother, here’s
a letter from thy dear son.

Lo, ’tis autumn,
Lo, where the trees, deeper green, yellower and redder,
Cool and sweeten Ohio’s villages with leaves
fluttering in the moderate wind,
Where apples ripe in the orchards hang and
grapes on the trellis’d vines,
(Smell you the smell of the grapes on the vines?
Smell you the buckwheat where the bees were lately buzzing?)
Above all, lo, the sky so calm, so transparent
after the rain, and with wondrous clouds,
Below too, all calm, all vital and beautiful,
and the farm prospers well.

Down in the fields all prospers well,
But now from the fields come, father, come
at the daughter’s call,
And come to the entry, mother, to the front door come right away.
Fast as she can she hurries, something ominous,
her steps trembling,
She does not tarry to smooth her hair nor
adjust her cap.

Open the envelope quickly,
0 this is not our son’s writing, yet his name
is sign’d,
0 a strange hand writes for our dear son,
0 stricken mother’s soul!
All swims before her eyes, flashes with black,
she catches the main words only,
Sentences broken, gunshot wound in the breast,
cavalry skirmish, taken to hospital,
At present low, but will soon be better.

Ah, now the single figure to me,
Amid all teeming and wealthy Ohio with all
its cities and farms,
Sickly white in the face and dull in the head,
very faint,
By the jamb of a door leans.

Grieve not so, dear mother (the just-grown
daughter speaks through her sobs,
The little sisters huddle around speechless and
dismay’d),
See, dearest mother, the letter says Pete will
soon be better.

Alas, poor boy, he will never be better (nor maybe
needs to be better, that brave and simple soul),
While they stand at home at the door he is
dead already,
The only son is dead.

But the mother needs to be better,
She with thin form presently drest in black,
By day her meals untouch’d, then at night
fitfully sleeping, often waking,
In the midnight waking, weeping, longing with
one deep longing,
0 that she might withdraw unnoticed, silent
from life escape and withdraw,
To follow, to seek, to be with her dear dead
son.

Location : 406 Princess Elizabeth St.

Poem: Whoever You Are Now Holding Me in Hand

The contest is comprised of three stages, the first of which I’ve been actively following. Starting off in New York City the story is told via the Levis website http://goforth.levi.com/fortune where there are audio recordings left in digital portrayals of wax cylinders ( which Whitman recorded “I hear America singing” on).

The clues lead you to a location and time, where someone actually has to go and pick up physical objects related to the story, as well as unlocking the next digital audio clue. The game has been dubbed an Alternate Reality Game: where a fictional game or story requires the participants to actively use the real world to complete the game. The physical clues at locations sometimes include ciphers- puzzles that while its unsure if they give any direct information to the location of the treasure, the third phase of the game involves a cipher that leads to the location, so these early ones are mostly to help you understand cipher methods.

What I’ve really enjoyed about playing along with this game is that it actually educates the players not only on this fictional character, but the works of Walt Whitman and a history of America through local stories and folklore that wouldn’t be found in a general American History overview. Things like Lafitte’s Blacksmith Shop  of New Orleans- a former front for the pirate Jean Lafitte turned into a bar, the sinking of the SS Central America of Charleston- one of the largest depositories of gold ever found in America, Robert Leroy Parker AKA Butch Cassidy and his ranch in Wyoming, or Joseph “Bunco” Kelly and the nefarious Shanghai Tunnels of Oregon. These are just a few of the things the story interacts with through the clues and it forces contestants to go to these places and see this part of our country.

Another wonderful part of this contest is the technology actively used within the contest. The creators did a great deal of work thoughtfully planning it out – using not only the website but a character/game support identity based via Twitter and Facebook- as well as dispersing cryptic media packages to many retails across the country especially those known for being denim jean aficionados. But the contestants themselves have worked to create resources for everyone to use and work with to become better informed. This includes a wiki at http://goforth.wikibruce.com as a resource for the multilayered game play. The website http://whereisthemaninthehat.tumblr.com/ was created by a player to let everyone else document their journeys to clue drop offs and allows everyone to submit their videos and photos. In preparation for phase two, a quiz that narrows the contestants down to only the first 100 people to complete it fully, web based chat rooms were set up so that many players could actively discuss clues with one another. The website offered by Levis does offer a discussion page, but it requires refreshing the page and potentially having a large number of new posts and having to search for a response to what you just said rather than a dynamically changing site that many are used to with current websites. For many of the clue drop offs, people were able to find webcams at locations so that we could all observe what happened in close to real time. At the Rochester Hotel clue pickup in Durango, CO the two contestants that went actually used their laptop to provide steaming video personally to view clues painted on the wall. The fact that this contest started now is interesting, because much like this site and the Whitman Archive it is using current technology to celebrate Whitman and the spirit of America.

There are drawbacks to the contest though. Obviously the main goal of this entire game is to generate an interest in Levis products. It’s very likely and almost a little hurtful to think that someone within the Levis’ corporate doesn’t really care about Whitman, or America, just about generating profits.

What’s really more concerning to me is that while this contest has forced people from all age groups out in search of America, what happens when it ends? Who’s ideal of America is being sought after? Something tells me that Whitman would despise that we’re not carving our own path. His words weren’t a path laid out, but rather a call to bolster oneself and move forward with undaunted determination to seek something out for yourself.

That being said, I’m still following the game. Yesterday I took the quiz in the Phase 2 portion of the game, and if I qualify in first 100 at the announcement tomorrow night at 9pm, I’ll be receiving a final cipher that I need to solve first in order to go forth in search of the treasure. Results to come soon!

The contest is comprised of three stages, the first of which I’ve been actively following. Starting off in New York City the story is told via the Levis website http://goforth.levi.com/fortune where there are audio recordings left in digital portrayals of wax cylinders ( which Whitman recorded “I hear America singing” on).

The clues lead you to a location and time, where someone actually has to go and pick up physical objects related to the story, as well as unlocking the next digital audio clue. The game has been dubbed an Alternate Reality Game: where a fictional game or story requires the participants to actively use the real world to complete the game. The physical clues at locations sometimes include ciphers- puzzles that while its unsure if they give any direct information to the location of the treasure, the third phase of the game involves a cipher that leads to the location, so these early ones are mostly to help you understand cipher methods.

What I’ve really enjoyed about playing along with this game is that it actually educates the players not only on this fictional character, but the works of Walt Whitman and a history of America through local stories and folklore that wouldn’t be found in a general American History overview. Things like Lafitte’s Blacksmith Shop  of New Orleans- a former front for the pirate Jean Lafitte turned into a bar, the sinking of the SS Central America of Charleston- one of the largest depositories of gold ever found in America, Robert Leroy Parker AKA Butch Cassidy and his ranch in Wyoming, or Joseph “Bunco” Kelly and the nefarious Shanghai Tunnels of Oregon. These are just a few of the things the story interacts with through the clues and it forces contestants to go to these places and see this part of our country.

Another wonderful part of this contest is the technology actively used within the contest. The creators did a great deal of work thoughtfully planning it out – using not only the website but a character/game support identity based via Twitter and Facebook- as well as dispersing cryptic media packages to many retails across the country especially those known for being denim jean aficionados. But the contestants themselves have worked to create resources for everyone to use and work with to become better informed. This includes a wiki at http://goforth.wikibruce.com as a resource for the multilayered game play. The website http://whereisthemaninthehat.tumblr.com/ was created by a player to let everyone else document their journeys to clue drop offs and allows everyone to submit their videos and photos. In preparation for phase two, a quiz that narrows the contestants down to only the first 100 people to complete it fully, web based chat rooms were set up so that many players could actively discuss clues with one another. The website offered by Levis does offer a discussion page, but it requires refreshing the page and potentially having a large number of new posts and having to search for a response to what you just said rather than a dynamically changing site that many are used to with current websites. For many of the clue drop offs, people were able to find webcams at locations so that we could all observe what happened in close to real time. At the Rochester Hotel clue pickup in Durango, CO the two contestants that went actually used their laptop to provide steaming video personally to view clues painted on the wall. The fact that this contest started now is interesting, because much like this site and the Whitman Archive it is using current technology to celebrate Whitman and the spirit of America.

There are drawbacks to the contest though. Obviously the main goal of this entire game is to generate an interest in Levis products. It’s very likely and almost a little hurtful to think that someone within the Levis’ corporate doesn’t really care about Whitman, or America, just about generating profits.

What’s really more concerning to me is that while this contest has forced people from all age groups out in search of America, what happens when it ends? Who’s ideal of America is being sought after? Something tells me that Whitman would despise that we’re not carving our own path. His words weren’t a path laid out, but rather a call to bolster oneself and move forward with undaunted determination to seek something out for yourself.

That being said, I’m still following the game. Yesterday I took the quiz in the Phase 2 portion of the game, and if I qualify in first 100 at the announcement tomorrow night at 9pm, I’ll be receiving a final cipher that I need to solve first in order to go forth in search of the treasure. Results to come soon!

The contest is comprised of three stages, the first of which I’ve been actively following. Starting off in New York City the story is told via the Levis website http://goforth.levi.com/fortune where there are audio recordings left in digital portrayals of wax cylinders ( which Whitman recorded “I hear America singing” on).

The clues lead you to a location and time, where someone actually has to go and pick up physical objects related to the story, as well as unlocking the next digital audio clue. The game has been dubbed an Alternate Reality Game: where a fictional game or story requires the participants to actively use the real world to complete the game. The physical clues at locations sometimes include ciphers- puzzles that while its unsure if they give any direct information to the location of the treasure, the third phase of the game involves a cipher that leads to the location, so these early ones are mostly to help you understand cipher methods.

What I’ve really enjoyed about playing along with this game is that it actually educates the players not only on this fictional character, but the works of Walt Whitman and a history of America through local stories and folklore that wouldn’t be found in a general American History overview. Things like Lafitte’s Blacksmith Shop  of New Orleans- a former front for the pirate Jean Lafitte turned into a bar, the sinking of the SS Central America of Charleston- one of the largest depositories of gold ever found in America, Robert Leroy Parker AKA Butch Cassidy and his ranch in Wyoming, or Joseph “Bunco” Kelly and the nefarious Shanghai Tunnels of Oregon. These are just a few of the things the story interacts with through the clues and it forces contestants to go to these places and see this part of our country.

Another wonderful part of this contest is the technology actively used within the contest. The creators did a great deal of work thoughtfully planning it out – using not only the website but a character/game support identity based via Twitter and Facebook- as well as dispersing cryptic media packages to many retails across the country especially those known for being denim jean aficionados. But the contestants themselves have worked to create resources for everyone to use and work with to become better informed. This includes a wiki at http://goforth.wikibruce.com as a resource for the multilayered game play. The website http://whereisthemaninthehat.tumblr.com/ was created by a player to let everyone else document their journeys to clue drop offs and allows everyone to submit their videos and photos. In preparation for phase two, a quiz that narrows the contestants down to only the first 100 people to complete it fully, web based chat rooms were set up so that many players could actively discuss clues with one another. The website offered by Levis does offer a discussion page, but it requires refreshing the page and potentially having a large number of new posts and having to search for a response to what you just said rather than a dynamically changing site that many are used to with current websites. For many of the clue drop offs, people were able to find webcams at locations so that we could all observe what happened in close to real time. At the Rochester Hotel clue pickup in Durango, CO the two contestants that went actually used their laptop to provide steaming video personally to view clues painted on the wall. The fact that this contest started now is interesting, because much like this site and the Whitman Archive it is using current technology to celebrate Whitman and the spirit of America.

There are drawbacks to the contest though. Obviously the main goal of this entire game is to generate an interest in Levis products. It’s very likely and almost a little hurtful to think that someone within the Levis’ corporate doesn’t really care about Whitman, or America, just about generating profits.

What’s really more concerning to me is that while this contest has forced people from all age groups out in search of America, what happens when it ends? Who’s ideal of America is being sought after? Something tells me that Whitman would despise that we’re not carving our own path. His words weren’t a path laid out, but rather a call to bolster oneself and move forward with undaunted determination to seek something out for yourself.

That being said, I’m still following the game. Yesterday I took the quiz in the Phase 2 portion of the game, and if I qualify in first 100 at the announcement tomorrow night at 9pm, I’ll be receiving a final cipher that I need to solve first in order to go forth in search of the treasure. Results to come soon!

Here are some recaps of the trip from students in the course:

techwhit: Brooklyn Historical Museum Visit

fabfab: BHS Recap

oatakan: Old, Cold and Cool Place

jenniferying: jennifer for nov 10

Here are some recaps of the trip from students in the course:

techwhit: Brooklyn Historical Museum Visit

fabfab: BHS Recap

oatakan: Old, Cold and Cool Place

jenniferying: jennifer for nov 10

Here are some recaps of the trip from students in the course:

techwhit: Brooklyn Historical Museum Visit

fabfab: BHS Recap

oatakan: Old, Cold and Cool Place

jenniferying: jennifer for nov 10

Here are some recaps of the trip from students in the course:

techwhit: Brooklyn Historical Museum Visit

fabfab: BHS Recap

oatakan: Old, Cold and Cool Place

jenniferying: jennifer for nov 10

Here are some recaps of the trip from students in the course:

techwhit: Brooklyn Historical Museum Visit

fabfab: BHS Recap

oatakan: Old, Cold and Cool Place

jenniferying: jennifer for nov 10

Cartoon

Free Lance Star, 11/3/09

WW notebook #94, Library of Congress American Memory site

WW notebook, photo by MNS, Library of Congress

The one on top is from a link to the Library of Congress I gave the class a few weeks ago, urging them to use these digitized images to study what OMW recorded about the soldiers.  The bottom was taken on our field trip, and is surprisingly focused given that I, Brady Earnhart, and our students were nearly all literally in tears in that weird institutional room with lockers, blackened windows, and government-issue tables.  Unless we were crying with simple gratitude for the incredible time that Barbara Bair had given us (or because we were soaked to the bloody skin  and had been standing for 10 hours with two or three to go), why were we?  Nothing was much easier to read in person, as those of us who stumbled reading aloud can attest (writing still spidery, bleeding through paper, plastic protection on many items reflected flourescent glare, etc.).  We couldn’t touch anything (though, good lord, we certainly breathed all over it), couldn’t feel the paper, the wood, the leather, the hair (the hair!).

Whitman's hair, deathbed edition, photo by MNS 10/24/09

I couldn’t even smell the leather of that haversack or of its decay, and I have one good super-sniffer.

cue to tears: the haversack, photo by MNS 10/24/09

Obviously, what I am suggesting is this: the artifacts of the Library of Congress archive were in some ways no more accessible or immediate (indeed, let’s be honest, a lot LESS accessible or even immediate if we mean time instead of proximity) than the digitized images of those artifacts online.  I saw that the inside of the haversack is brown canvas.  Brendon found a fingerprint and will NOT entertain suggestions that it belongs to anyone but Walt Whitman.  But tears?

Presence.  Through the blog we are present to each other online even when we are physically apart during the week (or have never seen each other: hallooo out there, Brooklyn, Camden, and Novi Sad!).  Agreed.  But finally Saturday we were (good) old-fashioned groupies, we were Whitman lovers, and we were bodies (finer than prayer, but, geez, we were a bit rank by Hour Ten of the marathon).  We desired the physical–the textured, the pasted, the water-stained.  We may have cried because the broken skins of brittle pages and fragile covers, the light-sensitive [associative digression: Whitman's Camden eyeglasses: so small, and with one lens protectively glazed over after strokes] and subsequently entombed haversack, and the tickets to a lecture on Lincoln long since delivered were as close to Whitman (brittle, entombed…) as we are going to get, as present as we can be.  Unlike the wounded soldiers, we won’t get the healing presence of his 200-pound, hirsute, maroon-coated, deep-pocketed self.  But it turns out that the digitized can’t hold a gas lamp to the physically present, and even if it’s paper and not flesh, I’ll take it.  Whitmaniacs, pass the tissues.

WW notebook #94, Library of Congress American Memory site

WW notebook, photo by MNS, Library of Congress

The one on top is from a link to the Library of Congress I gave the class a few weeks ago, urging them to use these digitized images to study what OMW recorded about the soldiers.  The bottom was taken on our field trip, and is surprisingly focused given that I, Brady Earnhart, and our students were nearly all literally in tears in that weird institutional room with lockers, blackened windows, and government-issue tables.  Unless we were crying with simple gratitude for the incredible time that Barbara Bair had given us (or because we were soaked to the bloody skin  and had been standing for 10 hours with two or three to go), why were we?  Nothing was much easier to read in person, as those of us who stumbled reading aloud can attest (writing still spidery, bleeding through paper, plastic protection on many items reflected flourescent glare, etc.).  We couldn’t touch anything (though, good lord, we certainly breathed all over it), couldn’t feel the paper, the wood, the leather, the hair (the hair!).

Whitman's hair, deathbed edition, photo by MNS 10/24/09

I couldn’t even smell the leather of that haversack or of its decay, and I have one good super-sniffer.

cue to tears: the haversack, photo by MNS 10/24/09

Obviously, what I am suggesting is this: the artifacts of the Library of Congress archive were in some ways no more accessible or immediate (indeed, let’s be honest, a lot LESS accessible or even immediate if we mean time instead of proximity) than the digitized images of those artifacts online.  I saw that the inside of the haversack is brown canvas.  Brendon found a fingerprint and will NOT entertain suggestions that it belongs to anyone but Walt Whitman.  But tears?

Presence.  Through the blog we are present to each other online even when we are physically apart during the week (or have never seen each other: hallooo out there, Brooklyn, Camden, and Novi Sad!).  Agreed.  But finally Saturday we were (good) old-fashioned groupies, we were Whitman lovers, and we were bodies (finer than prayer, but, geez, we were a bit rank by Hour Ten of the marathon).  We desired the physical–the textured, the pasted, the water-stained.  We may have cried because the broken skins of brittle pages and fragile covers, the light-sensitive [associative digression: Whitman’s Camden eyeglasses: so small, and with one lens protectively glazed over after strokes] and subsequently entombed haversack, and the tickets to a lecture on Lincoln long since delivered were as close to Whitman (brittle, entombed…) as we are going to get, as present as we can be.  Unlike the wounded soldiers, we won’t get the healing presence of his 200-pound, hirsute, maroon-coated, deep-pocketed self.  But it turns out that the digitized can’t hold a gas lamp to the physically present, and even if it’s paper and not flesh, I’ll take it.  Whitmaniacs, pass the tissues.

WW notebook #94, Library of Congress American Memory site

WW notebook, photo by MNS, Library of Congress

The one on top is from a link to the Library of Congress I gave the class a few weeks ago, urging them to use these digitized images to study what OMW recorded about the soldiers.  The bottom was taken on our field trip, and is surprisingly focused given that I, Brady Earnhart, and our students were nearly all literally in tears in that weird institutional room with lockers, blackened windows, and government-issue tables.  Unless we were crying with simple gratitude for the incredible time that Barbara Bair had given us (or because we were soaked to the bloody skin  and had been standing for 10 hours with two or three to go), why were we?  Nothing was much easier to read in person, as those of us who stumbled reading aloud can attest (writing still spidery, bleeding through paper, plastic protection on many items reflected flourescent glare, etc.).  We couldn’t touch anything (though, good lord, we certainly breathed all over it), couldn’t feel the paper, the wood, the leather, the hair (the hair!).

Whitman's hair, deathbed edition, photo by MNS 10/24/09

I couldn’t even smell the leather of that haversack or of its decay, and I have one good super-sniffer.

cue to tears: the haversack, photo by MNS 10/24/09

Obviously, what I am suggesting is this: the artifacts of the Library of Congress archive were in some ways no more accessible or immediate (indeed, let’s be honest, a lot LESS accessible or even immediate if we mean time instead of proximity) than the digitized images of those artifacts online.  I saw that the inside of the haversack is brown canvas.  Brendon found a fingerprint and will NOT entertain suggestions that it belongs to anyone but Walt Whitman.  But tears?

Presence.  Through the blog we are present to each other online even when we are physically apart during the week (or have never seen each other: hallooo out there, Brooklyn, Camden, and Novi Sad!).  Agreed.  But finally Saturday we were (good) old-fashioned groupies, we were Whitman lovers, and we were bodies (finer than prayer, but, geez, we were a bit rank by Hour Ten of the marathon).  We desired the physical–the textured, the pasted, the water-stained.  We may have cried because the broken skins of brittle pages and fragile covers, the light-sensitive [associative digression: Whitman’s Camden eyeglasses: so small, and with one lens protectively glazed over after strokes] and subsequently entombed haversack, and the tickets to a lecture on Lincoln long since delivered were as close to Whitman (brittle, entombed…) as we are going to get, as present as we can be.  Unlike the wounded soldiers, we won’t get the healing presence of his 200-pound, hirsute, maroon-coated, deep-pocketed self.  But it turns out that the digitized can’t hold a gas lamp to the physically present, and even if it’s paper and not flesh, I’ll take it.  Whitmaniacs, pass the tissues.

WW notebook #94, Library of Congress American Memory site

WW notebook, photo by MNS, Library of Congress

The one on top is from a link to the Library of Congress I gave the class a few weeks ago, urging them to use these digitized images to study what OMW recorded about the soldiers.  The bottom was taken on our field trip, and is surprisingly focused given that I, Brady Earnhart, and our students were nearly all literally in tears in that weird institutional room with lockers, blackened windows, and government-issue tables.  Unless we were crying with simple gratitude for the incredible time that Barbara Bair had given us (or because we were soaked to the bloody skin  and had been standing for 10 hours with two or three to go), why were we?  Nothing was much easier to read in person, as those of us who stumbled reading aloud can attest (writing still spidery, bleeding through paper, plastic protection on many items reflected flourescent glare, etc.).  We couldn’t touch anything (though, good lord, we certainly breathed all over it), couldn’t feel the paper, the wood, the leather, the hair (the hair!).

Whitman's hair, deathbed edition, photo by MNS 10/24/09

I couldn’t even smell the leather of that haversack or of its decay, and I have one good super-sniffer.

cue to tears: the haversack, photo by MNS 10/24/09

Obviously, what I am suggesting is this: the artifacts of the Library of Congress archive were in some ways no more accessible or immediate (indeed, let’s be honest, a lot LESS accessible or even immediate if we mean time instead of proximity) than the digitized images of those artifacts online.  I saw that the inside of the haversack is brown canvas.  Brendon found a fingerprint and will NOT entertain suggestions that it belongs to anyone but Walt Whitman.  But tears?

Presence.  Through the blog we are present to each other online even when we are physically apart during the week (or have never seen each other: hallooo out there, Brooklyn, Camden, and Novi Sad!).  Agreed.  But finally Saturday we were (good) old-fashioned groupies, we were Whitman lovers, and we were bodies (finer than prayer, but, geez, we were a bit rank by Hour Ten of the marathon).  We desired the physical–the textured, the pasted, the water-stained.  We may have cried because the broken skins of brittle pages and fragile covers, the light-sensitive [associative digression: Whitman's Camden eyeglasses: so small, and with one lens protectively glazed over after strokes] and subsequently entombed haversack, and the tickets to a lecture on Lincoln long since delivered were as close to Whitman (brittle, entombed…) as we are going to get, as present as we can be.  Unlike the wounded soldiers, we won’t get the healing presence of his 200-pound, hirsute, maroon-coated, deep-pocketed self.  But it turns out that the digitized can’t hold a gas lamp to the physically present, and even if it’s paper and not flesh, I’ll take it.  Whitmaniacs, pass the tissues.

WW notebook #94, Library of Congress American Memory site

WW notebook, photo by MNS, Library of Congress

The one on top is from a link to the Library of Congress I gave the class a few weeks ago, urging them to use these digitized images to study what OMW recorded about the soldiers.  The bottom was taken on our field trip, and is surprisingly focused given that I, Brady Earnhart, and our students were nearly all literally in tears in that weird institutional room with lockers, blackened windows, and government-issue tables.  Unless we were crying with simple gratitude for the incredible time that Barbara Bair had given us (or because we were soaked to the bloody skin  and had been standing for 10 hours with two or three to go), why were we?  Nothing was much easier to read in person, as those of us who stumbled reading aloud can attest (writing still spidery, bleeding through paper, plastic protection on many items reflected flourescent glare, etc.).  We couldn’t touch anything (though, good lord, we certainly breathed all over it), couldn’t feel the paper, the wood, the leather, the hair (the hair!).

Whitman's hair, deathbed edition, photo by MNS 10/24/09

I couldn’t even smell the leather of that haversack or of its decay, and I have one good super-sniffer.

cue to tears: the haversack, photo by MNS 10/24/09

Obviously, what I am suggesting is this: the artifacts of the Library of Congress archive were in some ways no more accessible or immediate (indeed, let’s be honest, a lot LESS accessible or even immediate if we mean time instead of proximity) than the digitized images of those artifacts online.  I saw that the inside of the haversack is brown canvas.  Brendon found a fingerprint and will NOT entertain suggestions that it belongs to anyone but Walt Whitman.  But tears?

Presence.  Through the blog we are present to each other online even when we are physically apart during the week (or have never seen each other: hallooo out there, Brooklyn, Camden, and Novi Sad!).  Agreed.  But finally Saturday we were (good) old-fashioned groupies, we were Whitman lovers, and we were bodies (finer than prayer, but, geez, we were a bit rank by Hour Ten of the marathon).  We desired the physical–the textured, the pasted, the water-stained.  We may have cried because the broken skins of brittle pages and fragile covers, the light-sensitive [associative digression: Whitman's Camden eyeglasses: so small, and with one lens protectively glazed over after strokes] and subsequently entombed haversack, and the tickets to a lecture on Lincoln long since delivered were as close to Whitman (brittle, entombed…) as we are going to get, as present as we can be.  Unlike the wounded soldiers, we won’t get the healing presence of his 200-pound, hirsute, maroon-coated, deep-pocketed self.  But it turns out that the digitized can’t hold a gas lamp to the physically present, and even if it’s paper and not flesh, I’ll take it.  Whitmaniacs, pass the tissues.

WW notebook #94, Library of Congress American Memory site

WW notebook, photo by MNS, Library of Congress

The one on top is from a link to the Library of Congress I gave the class a few weeks ago, urging them to use these digitized images to study what OMW recorded about the soldiers.  The bottom was taken on our field trip, and is surprisingly focused given that I, Brady Earnhart, and our students were nearly all literally in tears in that weird institutional room with lockers, blackened windows, and government-issue tables.  Unless we were crying with simple gratitude for the incredible time that Barbara Bair had given us (or because we were soaked to the bloody skin  and had been standing for 10 hours with two or three to go), why were we?  Nothing was much easier to read in person, as those of us who stumbled reading aloud can attest (writing still spidery, bleeding through paper, plastic protection on many items reflected flourescent glare, etc.).  We couldn’t touch anything (though, good lord, we certainly breathed all over it), couldn’t feel the paper, the wood, the leather, the hair (the hair!).

Whitman's hair, deathbed edition, photo by MNS 10/24/09

I couldn’t even smell the leather of that haversack or of its decay, and I have one good super-sniffer.

cue to tears: the haversack, photo by MNS 10/24/09

Obviously, what I am suggesting is this: the artifacts of the Library of Congress archive were in some ways no more accessible or immediate (indeed, let’s be honest, a lot LESS accessible or even immediate if we mean time instead of proximity) than the digitized images of those artifacts online.  I saw that the inside of the haversack is brown canvas.  Brendon found a fingerprint and will NOT entertain suggestions that it belongs to anyone but Walt Whitman.  But tears?

Presence.  Through the blog we are present to each other online even when we are physically apart during the week (or have never seen each other: hallooo out there, Brooklyn, Camden, and Novi Sad!).  Agreed.  But finally Saturday we were (good) old-fashioned groupies, we were Whitman lovers, and we were bodies (finer than prayer, but, geez, we were a bit rank by Hour Ten of the marathon).  We desired the physical–the textured, the pasted, the water-stained.  We may have cried because the broken skins of brittle pages and fragile covers, the light-sensitive [associative digression: Whitman's Camden eyeglasses: so small, and with one lens protectively glazed over after strokes] and subsequently entombed haversack, and the tickets to a lecture on Lincoln long since delivered were as close to Whitman (brittle, entombed…) as we are going to get, as present as we can be.  Unlike the wounded soldiers, we won’t get the healing presence of his 200-pound, hirsute, maroon-coated, deep-pocketed self.  But it turns out that the digitized can’t hold a gas lamp to the physically present, and even if it’s paper and not flesh, I’ll take it.  Whitmaniacs, pass the tissues.

Edwin Booth BOOST

Here Edwin is looking pensive (or moping about his footwear):

Edwin Booth, thespian

And here is a famous photo we saw at Ford’s, with John Wilkes lurking around at Lincoln’s second inaugural (Lincoln center, JWB top row).  Read more at this blog post on The Blind Flaneur.

JWB stalking MLL

This nauseating bit about JWB is something I learned this summer at Harper’s Ferry.  Here, from Wikipedia:

Strongly opposed to the abolitionists who sought to end slavery in the U.S., Booth attended the hanging on December 2, 1859, of abolitionist leader John Brown, who was executed for leading a raid on the Federal armory at Harpers Ferry (in present-day West Virginia).^[60] Booth had been rehearsing at the Richmond Theatre when he abruptly decided to join the Richmond Grays, a volunteer militia of 1,500 men travelling to Charles Town for Brown’s hanging, to guard against any attempt by abolitionists to rescue Brown from the gallows by force.^[60][61] When Brown was hanged without incident, Booth stood in uniform near the scaffold and afterwards expressed great satisfaction with Brown’s fate, although he admired the condemned man’s bravery in facing death stoically.^[40][62]

-walt whitman-

_

fulton ferry landing by google

_
These passages from Walt Whitman are carved in the hand-railing of the Fulton Ferry Landing pier.

While I was standing at the pier and looking out at Manhattan, I could still imagine,  how it might have had been in early 1800. The crowd of tourists visiting the space and creating “chaos” who is going to take the best spot to take a picture. Reading the passages from Whitman

Cross from shore to shore,
Countless crowds of passengers!

We experience this everyday in the subways, or buses, where everyone is rushing to go somewhere. Whitman liked riding with ferry because it made him interact with people more.

-walt whitman-

_

fulton ferry landing by google

_
These passages from Walt Whitman are carved in the hand-railing of the Fulton Ferry Landing pier.

While I was standing at the pier and looking out at Manhattan, I could still imagine,  how it might have had been in early 1800. The crowd of tourists visiting the space and creating “chaos” who is going to take the best spot to take a picture. Reading the passages from Whitman

Cross from shore to shore,
Countless crowds of passengers!

We experience this everyday in the subways, or buses, where everyone is rushing to go somewhere. Whitman liked riding with ferry because it made him interact with people more.

-walt whitman-

_

fulton ferry landing by google

_
These passages from Walt Whitman are carved in the hand-railing of the Fulton Ferry Landing pier.

While I was standing at the pier and looking out at Manhattan, I could still imagine,  how it might have had been in early 1800. The crowd of tourists visiting the space and creating “chaos” who is going to take the best spot to take a picture. Reading the passages from Whitman

Cross from shore to shore,
Countless crowds of passengers!

We experience this everyday in the subways, or buses, where everyone is rushing to go somewhere. Whitman liked riding with ferry because it made him interact with people more.

-walt whitman-

_

fulton ferry landing by google

_
These passages from Walt Whitman are carved in the hand-railing of the Fulton Ferry Landing pier.

While I was standing at the pier and looking out at Manhattan, I could still imagine,  how it might have had been in early 1800. The crowd of tourists visiting the space and creating “chaos” who is going to take the best spot to take a picture. Reading the passages from Whitman

Cross from shore to shore,
Countless crowds of passengers!

We experience this everyday in the subways, or buses, where everyone is rushing to go somewhere. Whitman liked riding with ferry because it made him interact with people more.

-walt whitman-

_

fulton ferry landing by google

_
These passages from Walt Whitman are carved in the hand-railing of the Fulton Ferry Landing pier.

While I was standing at the pier and looking out at Manhattan, I could still imagine,  how it might have had been in early 1800. The crowd of tourists visiting the space and creating “chaos” who is going to take the best spot to take a picture. Reading the passages from Whitman

Cross from shore to shore,
Countless crowds of passengers!

We experience this everyday in the subways, or buses, where everyone is rushing to go somewhere. Whitman liked riding with ferry because it made him interact with people more.

-walt whitman-

_

fulton ferry landing by google

_
These passages from Walt Whitman are carved in the hand-railing of the Fulton Ferry Landing pier.

While I was standing at the pier and looking out at Manhattan, I could still imagine,  how it might have had been in early 1800. The crowd of tourists visiting the space and creating “chaos” who is going to take the best spot to take a picture. Reading the passages from Whitman

Cross from shore to shore,
Countless crowds of passengers!

We experience this everyday in the subways, or buses, where everyone is rushing to go somewhere. Whitman liked riding with ferry because it made him interact with people more.

Whitman, American Rebel Idol.

A few examples:

Walt Whitman High, Bethesda, MD

Walt Whitman High School, Huntington Station, NY

The Walt Whitman Bridge (PA-NJ)

The Walt Whitman Mall (Huntington Station, NY)

Walt Wit Beer (Philly)

LOC image, Whitman cigar box from 1898

Whitman-Walker AIDS clinic, Washington DC

Walt Whitman Hotel, Camden , NJ

Walt Whitman T from LOLA (one of many)

Walt Whitman Fence Company (NY)

Mad Magazine, 1967

Campers at Camp Walt Whitman, Piermont, NH

Jesse Merandy (CUNY) with WW impersonator (Camden)

Walt Whitman Service Area

What?

Historical marker (NY)

Walt Whitman Golf (Bethesda)

WW Park (Brooklyn)

Obvious College Football connection

As you’ve probably noticed, we’ve just completed a major first step in the redesign of our own web-based project. You should be seeing a new header image on the home page of the site, along with new sitewide navigation and better frontpage tag navigation. Our “courses” and “projects” tabs now allow visitors to quickly and easily access various parts of the site.

This is only the first step, though. Coming soon will be a reworking of the main section of the frontpage so that we’ll be better able to feature the work of students in the course (right now, the righthand sidebar is extraordinarily active, while the main section of the homepage is relatively static). We’ll also be installing the new header across various parts of the website (especially the profile sections) to create a more seamless browsing experience.

We hope you like these new changes. If you have ideas for ways we could improve the design or functionality of the site, please let us know by leaving a comment on this post on the Announcements blog.

As you’ve probably noticed, we’ve just completed a major first step in the redesign of our own web-based project. You should be seeing a new header image on the home page of the site, along with new sitewide navigation and better frontpage tag navigation. Our “courses” and “projects” tabs now allow visitors to quickly and easily access various parts of the site.

This is only the first step, though. Coming soon will be a reworking of the main section of the frontpage so that we’ll be better able to feature the work of students in the course (right now, the righthand sidebar is extraordinarily active, while the main section of the homepage is relatively static). We’ll also be installing the new header across various parts of the website (especially the profile sections) to create a more seamless browsing experience.

We hope you like these new changes. If you have ideas for ways we could improve the design or functionality of the site, please let us know by leaving a comment on this post on the Announcements blog.

As you’ve probably noticed, we’ve just completed a major first step in the redesign of our own web-based project. You should be seeing a new header image on the home page of the site, along with new sitewide navigation and better frontpage tag navigation. Our “courses” and “projects” tabs now allow visitors to quickly and easily access various parts of the site.

This is only the first step, though. Coming soon will be a reworking of the main section of the frontpage so that we’ll be better able to feature the work of students in the course (right now, the righthand sidebar is extraordinarily active, while the main section of the homepage is relatively static). We’ll also be installing the new header across various parts of the website (especially the profile sections) to create a more seamless browsing experience.

We hope you like these new changes. If you have ideas for ways we could improve the design or functionality of the site, please let us know by leaving a comment on this post on the Announcements blog.

As you’ve probably noticed, we’ve just completed a major first step in the redesign of our own web-based project. You should be seeing a new header image on the home page of the site, along with new sitewide navigation and better frontpage tag navigation. Our “courses” and “projects” tabs now allow visitors to quickly and easily access various parts of the site.

This is only the first step, though. Coming soon will be a reworking of the main section of the frontpage so that we’ll be better able to feature the work of students in the course (right now, the righthand sidebar is extraordinarily active, while the main section of the homepage is relatively static). We’ll also be installing the new header across various parts of the website (especially the profile sections) to create a more seamless browsing experience.

We hope you like these new changes. If you have ideas for ways we could improve the design or functionality of the site, please let us know by leaving a comment on this post on the Announcements blog.

As you’ve probably noticed, we’ve just completed a major first step in the redesign of our own web-based project. You should be seeing a new header image on the home page of the site, along with new sitewide navigation and better frontpage tag navigation. Our “courses” and “projects” tabs now allow visitors to quickly and easily access various parts of the site.

This is only the first step, though. Coming soon will be a reworking of the main section of the frontpage so that we’ll be better able to feature the work of students in the course (right now, the righthand sidebar is extraordinarily active, while the main section of the homepage is relatively static). We’ll also be installing the new header across various parts of the website (especially the profile sections) to create a more seamless browsing experience.

We hope you like these new changes. If you have ideas for ways we could improve the design or functionality of the site, please let us know by leaving a comment on this post on the Announcements blog.

As you’ve probably noticed, we’ve just completed a major first step in the redesign of our own web-based project. You should be seeing a new header image on the home page of the site, along with new sitewide navigation and better frontpage tag navigation. Our “courses” and “projects” tabs now allow visitors to quickly and easily access various parts of the site.

This is only the first step, though. Coming soon will be a reworking of the main section of the frontpage so that we’ll be better able to feature the work of students in the course (right now, the righthand sidebar is extraordinarily active, while the main section of the homepage is relatively static). We’ll also be installing the new header across various parts of the website (especially the profile sections) to create a more seamless browsing experience.

We hope you like these new changes. If you have ideas for ways we could improve the design or functionality of the site, please let us know by leaving a comment on this post on the Announcements blog.

As you’ve probably noticed, we’ve just completed a major first step in the redesign of our own web-based project. You should be seeing a new header image on the home page of the site, along with new sitewide navigation and better frontpage tag navigation. Our “courses” and “projects” tabs now allow visitors to quickly and easily access various parts of the site.

This is only the first step, though. Coming soon will be a reworking of the main section of the frontpage so that we’ll be better able to feature the work of students in the course (right now, the righthand sidebar is extraordinarily active, while the main section of the homepage is relatively static). We’ll also be installing the new header across various parts of the website (especially the profile sections) to create a more seamless browsing experience.

We hope you like these new changes. If you have ideas for ways we could improve the design or functionality of the site, please let us know by leaving a comment on this post on the Announcements blog.

Announcements – project-wide announcements
WhitTech – our tech-support blog

Our hope is that adding these feeds to your course sites will increase the visibility of important posts that should have relevance for everyone involved in the project. If you or your professor decides that the course blog is better suited only to student and faculty posts, we can easily remove these new blogs from the feed.

We had a wonderful first week of the project, and I’m excited by how much energy and enthusiasm I’m seeing on the site.

But I want to encourage all of you to make a special effort to reach out to students in locations other than your own. Visit the Courses page and read the blog posts of students from other classes. Check out our member directory and use member wires to communicate with one another. Check out existing groups and feel free to create your own.

In short, play with the site and use it to its fullest capacity. And please remember that a site redesign is coming soon.

Announcements – project-wide announcements
WhitTech – our tech-support blog

Our hope is that adding these feeds to your course sites will increase the visibility of important posts that should have relevance for everyone involved in the project. If you or your professor decides that the course blog is better suited only to student and faculty posts, we can easily remove these new blogs from the feed.

We had a wonderful first week of the project, and I’m excited by how much energy and enthusiasm I’m seeing on the site.

But I want to encourage all of you to make a special effort to reach out to students in locations other than your own. Visit the Courses page and read the blog posts of students from other classes. Check out our member directory and use member wires to communicate with one another. Check out existing groups and feel free to create your own.

In short, play with the site and use it to its fullest capacity. And please remember that a site redesign is coming soon.

Announcements – project-wide announcements
WhitTech – our tech-support blog

Our hope is that adding these feeds to your course sites will increase the visibility of important posts that should have relevance for everyone involved in the project. If you or your professor decides that the course blog is better suited only to student and faculty posts, we can easily remove these new blogs from the feed.

We had a wonderful first week of the project, and I’m excited by how much energy and enthusiasm I’m seeing on the site.

But I want to encourage all of you to make a special effort to reach out to students in locations other than your own. Visit the Courses page and read the blog posts of students from other classes. Check out our member directory and use member wires to communicate with one another. Check out existing groups and feel free to create your own.

In short, play with the site and use it to its fullest capacity. And please remember that a site redesign is coming soon.

“Welcome Sign” by Flickr user davidking

As Project Director of “Looking for Whitman,” it gives me great pleasure to welcome students from the University of Mary Washington, New York City College of Technology, Rutgers
University-Camden, and University of Novi Sad to our project website!

This is an exciting moment in higher education, when traditional methods of teaching and learning are changing dramatically as new kinds of technologies allow us to connect our classrooms to the world in exciting ways.

And that’s what this project is all about: taking individual classrooms of students from different institutions and connecting them to one another as they embark upon a joint semester-long study of Walt Whitman’s poetry and the places in which he lived.

Each school involved in the project has been carefully chosen for its lead faculty members, its location, and (of course) for its students. ”Looking for Whitman” centers on three locations, each very important to Walt Whitman’s life and work:

In New York, where Whitman lived from his birth to mid-life, students from the New York City College of Technology, CUNY will explore Whitman’s connections to the Brooklyn Waterfront, Lower Manhattan, and Long Island, and will focus particularly on Whitman’s early work, including the landmark 1855 first edition of Leaves of Grass. At the University of Mary Washington in Fredericksburg, Virginia, students will consider Whitman’s mid-career experiences as a nurse in the Civil War, and will focus on his war-related writing of the 1860s. Students in two classes at Rutgers University-Camden will explore Whitman’s late career as they investigate Camden, the city in which Whitman spent the final decades of his long life. Our fourth location, in Serbia, is a wonderful addition to the project that will make it international in scope.

The faculty members involved in this project have been meeting for the better part of a year to come up with plans for the Fall 2009 semester. We’re excited about the connections and collaborations that are going to take place through our joint projects and assignments, and we hope that you, the students involved in the project, will take advantage of this website to document your encounters with Whitman’s fascinating writing.

Walt Whitman was an author for whom nothing was more important than connecting to his audience. He wanted to shrink the distance between writer and reader, to reach up out of the page to touch the eyes and hands exploring his body of work.

In 2009, the connections that Whitman dreamed about in the nineteenth century can be realized in new ways. As you spend the semester taking photos, making movies, writing essays, exploring research archives, and, most importantly, reading poetry, we hope that you’ll share your discoveries with your peers, and with the world, as generously and with as much enthusiasm as Walt shared his work with us.

Allons! The road is before us!

It is safe—I have tried it—my own feet have tried it well.

Allons! Be not detain’d!

Let the paper remain on the desk unwritten, and the book on the shelf unopen’d!

Let the tools remain in the workshop! let the money remain unearn’d!

Let the school stand! mind not the cry of the teacher!

Let the preacher preach in the pulpit! let the lawyer plead in the court, and the judge expound the law.

Mon enfant! I give you my hand!

I give you my love, more precious than money,

I give you myself, before preaching or law;

Will you give me yourself? Will you come travel with me?

Shall we stick by each other as long as we live?

– From “Song of the Open Road“

I can’t wait to hear what your own Song of the Open Road will sound like.

– Prof. Matthew Gold, New York City College of Technology, CUNY

“Welcome Sign” by Flickr user davidking

As Project Director of “Looking for Whitman,” it gives me great pleasure to welcome students from the University of Mary Washington, New York City College of Technology, Rutgers
University-Camden, and University of Novi Sad to our project website!

This is an exciting moment in higher education, when traditional methods of teaching and learning are changing dramatically as new kinds of technologies allow us to connect our classrooms to the world in exciting ways.

And that’s what this project is all about: taking individual classrooms of students from different institutions and connecting them to one another as they embark upon a joint semester-long study of Walt Whitman’s poetry and the places in which he lived.

Each school involved in the project has been carefully chosen for its lead faculty members, its location, and (of course) for its students. ”Looking for Whitman” centers on three locations, each very important to Walt Whitman’s life and work:

In New York, where Whitman lived from his birth to mid-life, students from the New York City College of Technology, CUNY will explore Whitman’s connections to the Brooklyn Waterfront, Lower Manhattan, and Long Island, and will focus particularly on Whitman’s early work, including the landmark 1855 first edition of Leaves of Grass. At the University of Mary Washington in Fredericksburg, Virginia, students will consider Whitman’s mid-career experiences as a nurse in the Civil War, and will focus on his war-related writing of the 1860s. Students in two classes at Rutgers University-Camden will explore Whitman’s late career as they investigate Camden, the city in which Whitman spent the final decades of his long life. Our fourth location, in Serbia, is a wonderful addition to the project that will make it international in scope.

The faculty members involved in this project have been meeting for the better part of a year to come up with plans for the Fall 2009 semester. We’re excited about the connections and collaborations that are going to take place through our joint projects and assignments, and we hope that you, the students involved in the project, will take advantage of this website to document your encounters with Whitman’s fascinating writing.

Walt Whitman was an author for whom nothing was more important than connecting to his audience. He wanted to shrink the distance between writer and reader, to reach up out of the page to touch the eyes and hands exploring his body of work.

In 2009, the connections that Whitman dreamed about in the nineteenth century can be realized in new ways. As you spend the semester taking photos, making movies, writing essays, exploring research archives, and, most importantly, reading poetry, we hope that you’ll share your discoveries with your peers, and with the world, as generously and with as much enthusiasm as Walt shared his work with us.

Allons! The road is before us!

It is safe—I have tried it—my own feet have tried it well.

Allons! Be not detain’d!

Let the paper remain on the desk unwritten, and the book on the shelf unopen’d!

Let the tools remain in the workshop! let the money remain unearn’d!

Let the school stand! mind not the cry of the teacher!

Let the preacher preach in the pulpit! let the lawyer plead in the court, and the judge expound the law.

Mon enfant! I give you my hand!

I give you my love, more precious than money,

I give you myself, before preaching or law;

Will you give me yourself? Will you come travel with me?

Shall we stick by each other as long as we live?

– From “Song of the Open Road“

I can’t wait to hear what your own Song of the Open Road will sound like.

– Prof. Matthew Gold, New York City College of Technology, CUNY

“Welcome Sign” by Flickr user davidking

As Project Director of “Looking for Whitman,” it gives me great pleasure to welcome students from the University of Mary Washington, New York City College of Technology, Rutgers
University-Camden, and University of Novi Sad to our project website!

This is an exciting moment in higher education, when traditional methods of teaching and learning are changing dramatically as new kinds of technologies allow us to connect our classrooms to the world in exciting ways.

And that’s what this project is all about: taking individual classrooms of students from different institutions and connecting them to one another as they embark upon a joint semester-long study of Walt Whitman’s poetry and the places in which he lived.

Each school involved in the project has been carefully chosen for its lead faculty members, its location, and (of course) for its students. ”Looking for Whitman” centers on three locations, each very important to Walt Whitman’s life and work:

In New York, where Whitman lived from his birth to mid-life, students from the New York City College of Technology, CUNY will explore Whitman’s connections to the Brooklyn Waterfront, Lower Manhattan, and Long Island, and will focus particularly on Whitman’s early work, including the landmark 1855 first edition of Leaves of Grass. At the University of Mary Washington in Fredericksburg, Virginia, students will consider Whitman’s mid-career experiences as a nurse in the Civil War, and will focus on his war-related writing of the 1860s. Students in two classes at Rutgers University-Camden will explore Whitman’s late career as they investigate Camden, the city in which Whitman spent the final decades of his long life. Our fourth location, in Serbia, is a wonderful addition to the project that will make it international in scope.

The faculty members involved in this project have been meeting for the better part of a year to come up with plans for the Fall 2009 semester. We’re excited about the connections and collaborations that are going to take place through our joint projects and assignments, and we hope that you, the students involved in the project, will take advantage of this website to document your encounters with Whitman’s fascinating writing.

Walt Whitman was an author for whom nothing was more important than connecting to his audience. He wanted to shrink the distance between writer and reader, to reach up out of the page to touch the eyes and hands exploring his body of work.

In 2009, the connections that Whitman dreamed about in the nineteenth century can be realized in new ways. As you spend the semester taking photos, making movies, writing essays, exploring research archives, and, most importantly, reading poetry, we hope that you’ll share your discoveries with your peers, and with the world, as generously and with as much enthusiasm as Walt shared his work with us.

Allons! The road is before us!

It is safe—I have tried it—my own feet have tried it well.

Allons! Be not detain’d!

Let the paper remain on the desk unwritten, and the book on the shelf unopen’d!

Let the tools remain in the workshop! let the money remain unearn’d!

Let the school stand! mind not the cry of the teacher!

Let the preacher preach in the pulpit! let the lawyer plead in the court, and the judge expound the law.

Mon enfant! I give you my hand!

I give you my love, more precious than money,

I give you myself, before preaching or law;

Will you give me yourself? Will you come travel with me?

Shall we stick by each other as long as we live?

– From “Song of the Open Road“

I can’t wait to hear what your own Song of the Open Road will sound like.

– Prof. Matthew Gold, New York City College of Technology, CUNY

“Welcome Sign” by Flickr user davidking

As Project Director of “Looking for Whitman,” it gives me great pleasure to welcome students from the University of Mary Washington, New York City College of Technology, Rutgers
University-Camden, and University of Novi Sad to our project website!

This is an exciting moment in higher education, when traditional methods of teaching and learning are changing dramatically as new kinds of technologies allow us to connect our classrooms to the world in exciting ways.

And that’s what this project is all about: taking individual classrooms of students from different institutions and connecting them to one another as they embark upon a joint semester-long study of Walt Whitman’s poetry and the places in which he lived.

Each school involved in the project has been carefully chosen for its lead faculty members, its location, and (of course) for its students. ”Looking for Whitman” centers on three locations, each very important to Walt Whitman’s life and work:

In New York, where Whitman lived from his birth to mid-life, students from the New York City College of Technology, CUNY will explore Whitman’s connections to the Brooklyn Waterfront, Lower Manhattan, and Long Island, and will focus particularly on Whitman’s early work, including the landmark 1855 first edition of Leaves of Grass. At the University of Mary Washington in Fredericksburg, Virginia, students will consider Whitman’s mid-career experiences as a nurse in the Civil War, and will focus on his war-related writing of the 1860s. Students in two classes at Rutgers University-Camden will explore Whitman’s late career as they investigate Camden, the city in which Whitman spent the final decades of his long life. Our fourth location, in Serbia, is a wonderful addition to the project that will make it international in scope.

The faculty members involved in this project have been meeting for the better part of a year to come up with plans for the Fall 2009 semester. We’re excited about the connections and collaborations that are going to take place through our joint projects and assignments, and we hope that you, the students involved in the project, will take advantage of this website to document your encounters with Whitman’s fascinating writing.

Walt Whitman was an author for whom nothing was more important than connecting to his audience. He wanted to shrink the distance between writer and reader, to reach up out of the page to touch the eyes and hands exploring his body of work.

In 2009, the connections that Whitman dreamed about in the nineteenth century can be realized in new ways. As you spend the semester taking photos, making movies, writing essays, exploring research archives, and, most importantly, reading poetry, we hope that you’ll share your discoveries with your peers, and with the world, as generously and with as much enthusiasm as Walt shared his work with us.

Allons! The road is before us!

It is safe—I have tried it—my own feet have tried it well.

Allons! Be not detain’d!

Let the paper remain on the desk unwritten, and the book on the shelf unopen’d!

Let the tools remain in the workshop! let the money remain unearn’d!

Let the school stand! mind not the cry of the teacher!

Let the preacher preach in the pulpit! let the lawyer plead in the court, and the judge expound the law.

Mon enfant! I give you my hand!

I give you my love, more precious than money,

I give you myself, before preaching or law;

Will you give me yourself? Will you come travel with me?

Shall we stick by each other as long as we live?

– From “Song of the Open Road“

I can’t wait to hear what your own Song of the Open Road will sound like.

– Prof. Matthew Gold, New York City College of Technology, CUNY

Dear friend, whoever you are, take this kiss,

I give it especially to you—Do not forget me,

I feel like one who has done his work—I progress on,

The unknown sphere, more real than I dreamed, more direct, darts awakening rays about me—So Long!

Remember my words—I love you—I depart from materials,

I am as one disembodied, triumphant, dead.

It’s a memorable goodbye, full of passion and demonstrations of genuine affection.  And Whitman comes as close as he ever did, to manifesting his love—to touching us physically, to breaking down old, assumed boundaries of time and place.  As we run our fingers over the lines of the third edition, the “kiss” of letter-pressed page 456 provides proof of the printer’s bodily contact (hey Walt, weren’t you overseeing the printing up there in Boston?  Might you have pressed those letters into the page, to reach us on the ‘other side’?).  And as we flip the last page, close the back cover, and take our hand off the book, Whitman comes as close as he ever will to being disembodied and dead to us.

These lines received only minor revisions through the next twenty years.  But in the 1881-82 edition of the Leaves—the sixth edition—Whitman added a completely new fourth line: 

I receive now again of my many translations, from my avataras ascending, while others doubtless await me

Like many of Whitman’s late poems and revisions, this line adds a new spiritual dimension to the raw bigness of his exaltations and exhortations.  Though he might be changing the spelling (and gender?) of the original Hindu word, Whitman does seem to be thinking of avatar(a) as the incarnate, earthbound form of a deity.  Death is the only thing that’ll get this kosmos off the streets!  So then, Whitman’s avatar is holiness at street level, a manifestation of the divine that can be seen and touched by anybody.

Now (yikes), back to “Change Avatar.”  And I’m sure experienced bloggers and gamers are rolling their eyes at my complication of a simple idea:  a “graphic representation of a person or character in a computer-generated environment, esp. one which represents a user in an interactive game or setting, and which can move about in its surroundings and interact with other characters” (Oxford English Dictionary, Online Edition).  But for folks like me who actively love the poet right back, celebrate the revolution of his art and receive joy and satisfaction from teaching his message, choosing an avatar is a daunting task.

Too easy, I think, to put Whitman’s own beloved visage in the clipboard square.   Instead, I recall a favorite line from the first poem of the first edition, later entitled “Song of Myself”:

            In all people I see myself—none more, and not one a barleycorn less

So, patient reader, I give you… me. 

But this is me at what might have been my most Whitmanic moment yet—this is me standing within the front hallway of 99 Ryerson Street in Brooklyn, where America’s greatest poet completed America’s greatest book of poetry.

Ryerson Street was described as a “street of mechanics’ homes” during Whitman’s day, and it still is home to an assortment of hardworking Brooklynites.  The mechanics, students, and local shop owners who dwell here now, live with the constant roar of the Brooklyn Queens Expressway (elevated across Ryerson, just a few blocks away)… and the ghost of America’s greatest poet.

As a Whitman scholar, I am fascinated by the relationship between his poetry and his own interest in physical space and place—specifically, in the connection between the growth of the Leaves and the spectacular rise of New York City as the world’s center for culture, communication, and commerce.  Indeed, the book I’m currently completing is titled Walt Whitman and New York: The Urban Roots of Leaves of Grass.  So when I teach my Whitman courses at NYU or Columbia, I make a point of not just telling them about Whitman’s beloved Brooklyn or Mannahatta, but showing them what Whitman saw, experienced, predicated, and celebrated.  We follow Whitman’s footsteps around Brooklyn Heights, where the 1855 edition was printed; around Newspaper Row, where the young journalist got his start; down to what remains of Pfaff’s Cellar, America’s first Bohemian hotspot and Whitman’s hangout in the late 1850s; on the Staten Island Ferry,  in an effort to simulate those countless rides on the Fulton Ferry.

My favorite tour is our perambulation around Fort Greene Park (established as Brooklyn’s first official park in 1847, because of Whitman’s almost-daily newspaper editorials calling for the need for green space in his neighborhood), then down the now omnibus-less Myrtle Avenue (passing the site of the offices of Whitman’s Brooklyn Freeman) on our way home to Walt’s house at 99 Ryerson.  I want students to experience how Whitman’s daily walks here in 1855 fed the developing project of the Leaves.  Myrtle Avenue is still a lively commercial thoroughfare; and just as Whitman enjoyed window-shopping at Joseph Muchmore’s china shop  (at #37), we take in the diverse goods and products on display at Kiini Ubura Jewelry or, well, Karen’s Body Beautiful (J). 

In the summer of 2008, I took my Columbia students of “Walt Whitman and New York” on this pilgrimage route.  As we approached the three-story, yellow-sided building on the east side of Ryerson, I could feel their surprise at the unassuming modesty of Walt’s house.   Is this where Whitman dreamed up lines like: “this is the city… and I am one of the citizens”?  Or “the mother quietly at home placing the dishes on the suppertable”?  Or “Walt Whitman, A Brooklyn Boy”?   Had Emerson and Thoreau really ascended this plain and solid stoop, to search for the author of Leaves of Grass?  If Walt is really the poet of place, then this is the Whitmanic Navel.  I ask them to take time to absorb and translate the magic of ‘being here.’

“Who are you looking for?”  came a voice from a big brown car parked out front of the house.  It didn’t take long for me to answer.

“Walt Whitman.”

“Well, he lived here, you know.”  The congenial Brooklynite turned out to be the owner of the building.  After hearing about our pilgrimage, and seeing the interest and enthusiasm on our faces, he opened up his heart—and his home to us.  And without further ado, he welcomed all 26 of us through the ground floor entrance and up the staircases that Walt daily ascended and descended in 1855.

Though the house is now divided up into smaller apartments (Pratt students and recent immigrants now live in closer quarters than the Whitman family did), the spirit of the house still felt broad, muscular— “braced in the beams.”  I felt the solidness and soundess of the construction as I grasped the generous wooden banister and climbed the good-sized stairs.  Walt is here.  In the floorboards, the doorknobs, the old float-glass window panes.  And in our faces as we passed through this magical place. 

That’s me and my student Billie Eddington (an accomplished singer who set several of Whitman’s poems to music, for her final project) standing on Walt’s front landing. 

And that’s Ira Stup and me, absolutely beaming with Whitmanic enthusiasm just inside Walt’s threshold.

And that’s the story of my avatar.  Phew.  If you’re still there, you might just have the patience to follow the narrative of the much longer and more complicated story to come… which brings me next to the title of this blog…M

“Share This” links on Flickr:

When you get that “Share This” link from flickr, what you get is a link to a page  http://www.flickr.com/photos/39579711@N0…), not to a photo.  Remember that photos usually have a .jpg extension at the end of the file name.

There are three ways around this that I know of.  Maybe Jim has others.

METHOD 1: GRAB THE LINK OF THE IMAGE
On the flickr photo page, right click on the image.  If you’re using Firefox, click “View Image” in the submenu that comes up.  Copy that URL.  Notice that the URL leads to a file that ends in jpg
– If you use Internet Explorer, right click on the image, click “properties,” copy the URL you see there

METHOD 2:  SAVE PHOTO TO YOUR COMPUTER, THEN UPLOAD TO BLOG
Step 1: Download image:  On the flickr photo page, click “All sizes” about the photo.  Click on the link to the size you want.  Click “Download the (S/MED/LG) Size.  Save file to a folder on your computer.
Step 2: Upload image to blog.  On blog post, click “Add image” above post editing box.  On Add media files from your computer, browse to folder with saved image.  Upload image.

METHOD 3:  COPY EMBED CODE FROM FLICKR, PASTE INTO POST EDITING BOX
Step 1:  Click “Share This” on flickr photo page
Step 2:  Click “Grab the HTML” on pop-up menu.  Click inside box, when code highlighted/selected, click Control-C to copy
Step 3:  Go to post editing page.  Above the post editing box, click “HTML” so that it, not “Visual, is selected
Step 4:  Paste (Control-V) code into post box.
Step 5: Publish post

“Share This” links on Flickr:

When you get that “Share This” link from flickr, what you get is a link to a page (http://www.flickr.com/photos/39579711@N02/3641816508/), not to a photo.  Remember that photos usually have a .jpg extension at the end of the file name.

There are three ways around this that I know of.  Maybe Jim has others.

METHOD 1: GRAB THE LINK OF THE IMAGE
On the flickr photo page, right click on the image.  If you’re using Firefox, click “View Image” in the submenu that comes up.  Copy that URL.  Notice that the URL leads to a file that ends in jpg
– If you use Internet Explorer, right click on the image, click “properties,” copy the URL you see there

METHOD 2:  SAVE PHOTO TO YOUR COMPUTER, THEN UPLOAD TO BLOG
Step 1: Download image:  On the flickr photo page, click “All sizes” about the photo.  Click on the link to the size you want.  Click “Download the (S/MED/LG) Size.  Save file to a folder on your computer.
Step 2: Upload image to blog.  On blog post, click “Add image” above post editing box.  On Add media files from your computer, browse to folder with saved image.  Upload image.

METHOD 3:  COPY EMBED CODE FROM FLICKR, PASTE INTO POST EDITING BOX
Step 1:  Click “Share This” on flickr photo page
Step 2:  Click “Grab the HTML” on pop-up menu.  Click inside box, when code highlighted/selected, click Control-C to copy
Step 3:  Go to post editing page.  Above the post editing box, click “HTML” so that it, not “Visual, is selected
Step 4:  Paste (Control-V) code into post box.
Step 5: Publish post