ETHNOPOETICS.ORG : a collaboration to extend the valuing and study of global poetries

Differences

This shows you the differences between two versions of the page.

Link to this comparison view

Both sides previous revisionPrevious revision
Next revision		Previous revision
omnipoetics:discourse_between_walt_whitman_and_pedro_mir [2025/02/12 23:18] – [Refrains] joshuaomnipoetics:discourse_between_walt_whitman_and_pedro_mir [2025/04/24 00:41] (current) – admin
Line 1: Line 1:
-====== Map of the America's: A Hemispheric Juxtaposition between The United States and the Carribean (120-3) ======+====== A Map of the Americas: A Hemispheric Juxtaposition between The United States and the Caribbean (120-3) ======
  
 Whitman declares: "The United States themselves are essentially the greatest poem" (112). Can the United States simultaneously exist as a poem and nation? How does this metaphor emphasizes unity, structure, and grapple with the vision of the United States, a singular state that happens to be composed of many nations. In other words, what are the implications of imagining a country really be a poem?  Whitman declares: "The United States themselves are essentially the greatest poem" (112). Can the United States simultaneously exist as a poem and nation? How does this metaphor emphasizes unity, structure, and grapple with the vision of the United States, a singular state that happens to be composed of many nations. In other words, what are the implications of imagining a country really be a poem? 
Line 5: Line 5:
 Rothenberg and Taboada arranged the Map of the America's as a subsection of "A First Gallery", a portion of //The Serpent and the Fire// that concludes with a burst of Walt Whitman ("Come, Said my Soul", "This Compost", "Respondez, or Poem of the Propositions of Nakedness:, and Good-bye My Fancy!", juxtaposed by Pablo Neruda's "Ode to Walt Whitman" (92-98). This second juxtaposition of Whitman with Mir replicates the the composition coordination of Whitman with Caribbean and South American poets advances the principles of omnipoetics:  Rothenberg and Taboada arranged the Map of the America's as a subsection of "A First Gallery", a portion of //The Serpent and the Fire// that concludes with a burst of Walt Whitman ("Come, Said my Soul", "This Compost", "Respondez, or Poem of the Propositions of Nakedness:, and Good-bye My Fancy!", juxtaposed by Pablo Neruda's "Ode to Walt Whitman" (92-98). This second juxtaposition of Whitman with Mir replicates the the composition coordination of Whitman with Caribbean and South American poets advances the principles of omnipoetics: 
  
-no. 2: Omnipoetics as an attempt to create a horizontal corpus of works that can facilitate a mutual communications across borders, bringing it all into a continually expanding "symposium of the whole." (xli). +  * no. 2: Omnipoetics as an attempt to create a horizontal corpus of works that can facilitate a mutual communications across borders, bringing it all into a continually expanding "symposium of the whole." (xli). 
  
 A second engagement with Whitman in conversation with American poets from South American and the Caribbean showcase the new arrangement of literary knowledge at out disposal if we adopt a Hemispheric approach to American Literary studies.  A second engagement with Whitman in conversation with American poets from South American and the Caribbean showcase the new arrangement of literary knowledge at out disposal if we adopt a Hemispheric approach to American Literary studies. 
Line 16: Line 16:
 Whitman's expansive poetics connects the bodies that people cities, the insects that hide under leaves of grass, and the rocks, bugs, and soils—all of these beings composes the expression of the United States according to Whitman's particular arrangement through his poetry. [[https://whitmanarchive.org/item/ppp.00270_00280|"Starting from Paumanok"]] in the "Map of the America's" arrangement attempts to create a new vision of the American Literary imagination through a concentrated and intentional expansion of what it means to be "American". Whitman muses about national unity through an particular embrace of the sounds of the indigenous languages into the poetry of the new America. Whitman reveals his aesthetic of a new American poetry by integrating indigenous names into the body of "Starting from Paumanok". Its important to read these names as phonetic possibilities of a distinctly American English. The presence of Indigenous language though nation names and places names do not exist in the poem for the purpose of information the reader about Indian Wars or to represent the cultural contributions of the particular indigenous people.  Whitman's expansive poetics connects the bodies that people cities, the insects that hide under leaves of grass, and the rocks, bugs, and soils—all of these beings composes the expression of the United States according to Whitman's particular arrangement through his poetry. [[https://whitmanarchive.org/item/ppp.00270_00280|"Starting from Paumanok"]] in the "Map of the America's" arrangement attempts to create a new vision of the American Literary imagination through a concentrated and intentional expansion of what it means to be "American". Whitman muses about national unity through an particular embrace of the sounds of the indigenous languages into the poetry of the new America. Whitman reveals his aesthetic of a new American poetry by integrating indigenous names into the body of "Starting from Paumanok". Its important to read these names as phonetic possibilities of a distinctly American English. The presence of Indigenous language though nation names and places names do not exist in the poem for the purpose of information the reader about Indian Wars or to represent the cultural contributions of the particular indigenous people. 
  
-<poem>+<POEM>
 The red aborigines!  The red aborigines! 
 +
 Leaving natural breaths, sounds of rain and winds, calls as of birds and animals in the woods, syllabled to us for names;  Leaving natural breaths, sounds of rain and winds, calls as of birds and animals in the woods, syllabled to us for names; 
 +
 Okonee, Koosa, Ottawa, Monongahela, Sauk, Natchez, Chattahoochee, Kaqueta, Oronoco, Wabash, Miami, Saginaw, Chippewa, Oshkosh, Walla- Walla;  Okonee, Koosa, Ottawa, Monongahela, Sauk, Natchez, Chattahoochee, Kaqueta, Oronoco, Wabash, Miami, Saginaw, Chippewa, Oshkosh, Walla- Walla; 
 +
 Leaving such to The States, they melt, they depart, charging the water and the land with names. (Rothenberg 120) Leaving such to The States, they melt, they depart, charging the water and the land with names. (Rothenberg 120)
-</poem> +</POEM> 
  
  
Line 65: Line 68:
 The ones who take the tongue of Walt Whitman The ones who take the tongue of Walt Whitman
 for a sign of spraying bullets, for a sign of spraying bullets,
-for a flog of fire.+for a flog of fire. (122) 
 </poem>  </poem> 
  
Line 79: Line 82:
  
 <poem> <poem>
-**Translation by Jonathan Cohen**+**[[https://www.jonathancohenweb.com/mir.html|Translation by Jonathan Cohen ]]** 
 +**XVI**
 O Walt Whitman of aroused beard! O Walt Whitman of aroused beard!
 Here we are without beards, Here we are without beards,
Line 102: Line 106:
 <poem> <poem>
 **[[https://ciudadseva.com/texto/contracanto-a-walt-whitman/| Original Spanish]]**  **[[https://ciudadseva.com/texto/contracanto-a-walt-whitman/| Original Spanish]]** 
 +**XVI**
 ¡Oh, Walt Whitman de barba levantada! ¡Oh, Walt Whitman de barba levantada!
 Aquí estamos sin barba, Aquí estamos sin barba,
Line 115: Line 120:
 aquí estamos aquí estamos
 en pie para justificarte, en pie para justificarte,
-continuo compañero de Manhattan! (XVI)+continuo compañero de Manhattan! 
 </poem> </poem>
 </columns> </columns>
Line 133: Line 138:
  
 <poem> <poem>
-Yo,+**Yo,**
 un hijo del Caribe, un hijo del Caribe,
 precisamente antillano. precisamente antillano.
Line 139: Line 144:
  
 <poem> <poem>
-I,+**I,**
    a son of the Caribbean,    a son of the Caribbean,
 Antillean to be exact. Antillean to be exact.
Line 145: Line 150:
  
 Which is pretty neat if you ask me. Rothenberg thinks so to, or at least his critical framing brings down this subtle linguistic shift in structure, ""Whitman's spirit can only be redeemed by a new pronoun, the //we// of all those nations and people that have been //othered//" (123). I'm not sure if Whitman's //spirit// needs to be redeemed. But the juxtaposition between poets places the readers in a new literary geography composed in the service of omnipoetics.  Which is pretty neat if you ask me. Rothenberg thinks so to, or at least his critical framing brings down this subtle linguistic shift in structure, ""Whitman's spirit can only be redeemed by a new pronoun, the //we// of all those nations and people that have been //othered//" (123). I'm not sure if Whitman's //spirit// needs to be redeemed. But the juxtaposition between poets places the readers in a new literary geography composed in the service of omnipoetics. 
 +
 +
 +{{tag>English USA poem lyric(poem) Race_Culture_Identity Walt_Whitman Original}}
  

Trace:

Navigation

Current:

Alcheringa:

Print/export
QR Code
QR Code omnipoetics:discourse_between_walt_whitman_and_pedro_mir (generated for current page)