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The American Poet in his America
Date of Review: May 15, 2000
"The direct trial of him who would be the greatest poet is today. If he does not flood himself with the immediate age as with vast oceanic tides . . . and if he does not attract his own land body and soul to himself and hang on its neck with incomparable love . . . and if he be not himself the age transfigured . . . let him merge in the general run and wait his development."
Walt Whitman wanted to be the great American poet--the literary transfiguration of the democracy he ardently loved and the people he fervently wished to see united. It is entirely appropriate, then, that a biography of Whitman focus on the culture which surrounded and inspired him. David Reynolds set out to, and for the most part succeeded, in writing just such a biography.
Reynolds' cultural biography delves not only into Whitman's life, but the context which surrounded it. Examples of chapters include the fast-rising publishing industry in Manhattan, political developments, music and theater fads and fancies, science, religion and, of course, the Civil War. Throughout, Reynolds presents a thorough and very accessible portrait of mid-19th century America and Whitman's interaction with it. Reynolds shows that Whitman became the poet of America because of his unique ability to absorb and transform that culture in poetic terms.
Throughout the book Reynolds balances his sweeping, very readable cultural history of 19th century America with a very personal and well-researched biography of the poet himself. One of his most insightful contributions to Whitman scholarship is his analysis of the "negative centers" in Whitman's poetry. Whitman is, after all, the poet who wrote
Trickle drops! my blue veins leaving!
...
From my breast, from within where I was conceal'd, press forth
red drops, confession drops,
Stain every page, stain every song I sing, every word I say, bloody drops...
Too often, more attention is paid to Whitman's optimistic idealism about the promises of American democracy and brotherly love, and the intense pain revealed in certain poems (some of his best in my opinion) is not adequately analyzed. Reynolds brings these negative centers to the surface, and places them in a biographical context. Giving his reader an understanding of the intensely emotional and idealistic Whitman as well as a broad picture of the world in which Whitman lives, Reynolds effectively portrays the poet as cultural seer. We end up believing that Whitman recorded and transformed his cultural in his poetry, just as he set out to do.
Reynolds' book does have a few shortcomings. His treatment of Whitman's homosexuality, for example, is somewhat disappointing. He seems to suggest that homosexuality was accepted in Whitman's society, and doesn't concern himself enough with the anguish it evidently caused the poet. He barely covers Whitman's negative portrayals of women at all--a topic that really deserves its own chapter. He doesn't shed much light on Whitman's relationships with women other than his mother (which has been much discussed), and seems to dismiss some of the difficult poems that have caused some to go so far as to label Whitman misogynist. These omissions are regrettable, since overall the book is thorough and sufficient in scope and content.
Despite a few flaws, though, I highly recommend this biography to any fan or student of Whitman, as well as anyone who desires a comprehensive biography of the man whose influence on American poetry and thought is immeasurable.
