Series:

Iowa Whitman

5 total works

Cover of Song of Myself

Song of Myself

by Walt Whitman

Published 23 November 1993

Do I contradict myself?
Very well then I contradict myself.
(I am large, I contain multitudes.)

Abundant, ecstatic, generous, courageous - this is the first American epic poem, a celebration of selfhood and a catalogue of nineteenth-century American life of all ages and races. Revolutionary in style and controversial in content when it was first published in 1855, Whitman's masterwork has since inspired generations with its intoxicating rhythms and images, and its inclusive, praiseful joy.

THE ORIGINAL 1855 TEXT

Cover of Life and Adventures of Jack Engle
In 1852, young Walt Whitman - a down-on-his-luck housebuilder in Brooklyn - was hard at work writing two books. One would become one of the most famous volumes of poetry in American history, a free-verse revelation beloved the world over, Leaves of Grass. The other, a novel, would be published under a pseudonym and serialized in a newspaper. A short, rollicking story of orphanhood, avarice, and adventure in New York City, Life and Adventures of Jack Engle appeared to little fanfare.
Then it disappeared.
No one laid eyes on it until 2016, when literary scholar Zachary Turpin, University of Houston, followed a paper trail deep into the Library of Congress, where the sole surviving copy of Jack Engle has lain waiting for generations. Now, after more than 160 years, the University of Iowa Press is honored to reprint this lost work, restoring a missing piece of American literature by one of the world's greatest authors, written as he verged on immortality.

Cover of Leaves of Grass, 1860

Leaves of Grass, 1860

by Walt Whitman

Published 1 September 2009
In May 1860, Walt Whitman published a third edition of "Leaves of Grass." His timing was compelling. Printed during a period of regional, ideological, and political divisions, written by a poet intimately concerned with the idea of a United States as "essentially the greatest poem," this new edition was Whitman's last best hope for national salvation. Now available in a facsimile edition, "Leaves of Grass, 1860" faithfully reproduces Whitman's attempt to create a "Great construction of the New Bible" to save the nation on the eve of civil war and, for the first time, frames the book in historical rather than literary terms.
In his third edition, Whitman added 146 new poems to the 32 that comprised the second edition, reorganized the book into a bible of American civic religion that could be cited chapter and verse, and included erotic poetry intended to bind the nation in organic harmony. This 150th anniversary edition includes a facsimile reproduction of the original 1860 volume, a thought-provoking introduction by antebellum historian and Whitman scholar Jason Stacy that situates Whitman in nineteenth-century America, and annotations that provide detailed historical context for Whitman's poems.
A profoundly rich product of a period when America faced its greatest peril, this third edition finds the poet transforming himself into a prophet of spiritual democracy and the Whitman we celebrate today--boisterous, barbaric, and benevolent. Reprinting it now continues the poet's goal of proclaiming for "the whole of America for each / individual, without exception . . . uncompromising liberty and equality."

Cover of Every Hour, Every Atom

Every Hour, Every Atom

by Walt Whitman

Published 1 July 2020
Some of the dimmest years in Walt Whitman's life precede the advent of Leaves of Grass in 1855, when he was working as a journalist and fiction writer. Starting around 1850, what he'd begun writing in his personal notebooks was far more enigmatic than anything he'd done before.

One of Whitman's most secretive projects during this time frame was a novel, Life and Adventures of Jack Engle; serialized anonymously in the spring of 1852, and rediscovered and properly published in 2017. The key to the novel's later discovery were plot notes Whitman had made in one of his private notebooks.

Whitman's invaluable notebooks have been virtually inaccessible to the public, until now. Maintaining the early notebooks' wild, syncretic feel and sample illustrations of Whitman's beautiful and unkempt pages, scholars Zachary Turpin and Matt Miller's thorough transcriptions have made these notebooks available to all; sharing Whitman's secret space for developing his poetry, his writing, his philosophy, and himself.

Cover of The Million Dead, Too, Summ'd Up
This book is the first to offer a comprehensive selection of Walt Whitman's Civil War poetry and prose with a full commentary on each work. Ed Folsom and Christopher Merrill carry on a dialogue with Whitman (and with each other) as they invite readers to trace how Whitman's writing about the Civil War develops, shifts, and manifests itself in different genres throughout the years of the war. The book offers forty selections of Whitman's war writings, including not only the well-known war poems but also his prose and personal letters. Each are followed by Folsom's critical examination and then by Merrill's afterword, suggesting broader contexts for thinking about the selection.

The real democratic reader, Whitman said, 'must himself or herself construct indeed the poem, argument, history, metaphysical essay-the text furnishing the hints, the clue, the start or frame-work,' because what is needed for democracy to flourish is 'a nation of supple and athletic minds.' Folsom and Merrill model this kind of active reading and encourage both seasoned and new readers of Whitman's war writings to enter into the challenging and exhilarating mode of talking back to Whitman, arguing with him, and learning from him.