Walt Whitman's poem was first published in the 1856 collection Leaves of Grass.

More than 80 poems by 50 American and British masters celebrate real and metaphorical journeys. Poems by Whitman, Byron, Millay, Sandburg, Langston Hughes, Emily Dickinson, Robert Frost, Shelley, Tennyson, Yeats, many others.

This collection of poetry was written by the Irish poet Louis J. McQuilland, whose poems were previously published in magazines such as the Vanity Fair. His works revolve around topics such as medieval royals, bloody revolutions, and the Irish identity.

Presents a collection of critical essays on the works of Walt Whitman.

Since 1855, Walt Whitman's Song of Myself has been enjoyed, debated, parodied and imitated by readers, critics and artists crossing national and linguistic boundaries. Many argue that it is the most influential poem ever written by an American. This sourcebook and critical edition provides easy access to: * information on the contexts of Whitman's work, including biographical details and a chronology * an overview of the critical reception of the poem and extracts from important criticism, reprinted with clear introductory headnotes * key passages from the original 1855 edition, with commentary and annotation * the full 'final' 1881 edition of the poem. Cross-references link the critical, contextual and textual sections of the volume, encouraging an integrated understanding of this creative and controversial text. Complementing a wealth of material with suggestions for further reading, this volume is ideal for readers with no knowledge of the poem, or for those returning anew to a favourite text.

Written in a fine and lucid prose style, T. S. Eliot and American Poetry presents a critical study of Eliot's major poems as it examines what America means to its poets. Eliot's contribution to a poetic dialogue on this subject with Ralph Waldo Emerson, Edgar Allan Poe, Walt Whitman, Hart Crane, Robert Lowell, John Ashbery, and other literary figures plays a significant role in this groundbreaking study. Investigating Eliot's literary inheritance through his familial traditions, represented particularly by his mother, Charlotte Eliot, and in terms of the American Renaissance, Lee Oser addresses all phases of Eliot's career as a poet. Following an introduction that reevaluates the importance of Poe and Whitman for Eliot and modernism, the discussion proceeds from Eliot's reaction against the progressive ethos of late Puritan culture, to the appearance in his writing of numerous figures of exile and disinheritance as an expression of lost American patrimony, to his flight from the realm of history, and his eventual return to the spiritual and cultural traditions of New England. A final chapter weighs Eliot's impact on Robert Lowell, John Ashbery, and Elizabeth Bishop. Through its dialectical view of American literary and intellectual history, T. S. Eliot and American Poetry constructs a practical methodology for comparing Eliot with other American poets. Juxtaposing Eliot's poems, lectures, and essays (including generous excerpts from Eliot's uncollected prose) with landmark texts by Emerson, Poe, Whitman, and many others, Oser engages in a deeper analysis of Eliot's Americanness than has hitherto been possible. In addressing Eliot's treatment of America as symbol and topos, the work presents a multifaceted chronicle of Eliot's development that enriches formalist and historicist approaches alike. T. S. Eliot and American Poetry makes numerous original contributions to the field of literary history. No previous work has so richly pursued Eliot's literary and familial inheritance, as well as his legacy to American poetry; the result is a highly nuanced perspective on contemporary debates about poetry, criticism, and culture.

A nomad and a swindler embark on an eccentric road trip in this picaresque, philosophical novel by the author of The Man Who Planted Trees. The south of France, 1950: A solitary vagabond walks through the villages, towns, valleys, and foothills of the region between northern Provence and the Alps. He picks up work along the way and spends the winter as the custodian of a walnut-oil mill. He also picks up a problematic companion: a cardsharp and con man, whom he calls “the Artist.” The action moves from place to place, and episode to episode, in truly picaresque fashion. Everything is told in the first person, present tense, by the vagabond narrator, who goes unnamed. He himself is a curious combination of qualities—poetic, resentful, cynical, compassionate, flirtatious, and self-absorbed. While The Open Road can be read as loosely strung entertainment, interspersed with caustic reflections, it can also be interpreted as a projection of the relationship of author, art, and audience. But it is ultimately an exploration of the tensions and boundaries between affection and commitment, and of the competing needs for solitude, independence, and human bonds. As always in Jean Giono, the language is rich in natural imagery and as ruggedly idiomatic as it is lyrical.