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| omnipoetics:discourse_between_walt_whitman_and_pedro_mir [2025/02/13 01:22] – admin | omnipoetics:discourse_between_walt_whitman_and_pedro_mir [2025/04/24 00:41] (current) – admin |
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| ====== 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) ====== |
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| 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? |
| 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. |
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| <poem> | <POEM> |
| The red aborigines! | The red aborigines! |
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| 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; |
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| 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; |
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| 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> |
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| 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. |
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| | {{tag>English USA poem lyric(poem) Race_Culture_Identity Walt_Whitman Original}} |
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