Whitman Best Quotes

I am as bad as the worst, but, thank God, I am as good as the best.

Now I see the secret of making the best person: it is to grow in the open air and to eat and sleep with the earth.

Loafe with me on the grass—loose the stop from your throat; Not words, not music or rhyme I want—not custom or lecture, not even the best; Only the lull I like, the hum of your valved voice.

--> This is thy hour O Soul, thy free flight into the wordless, Away from books, away from art, the day erased, the lesson     done, Thee fully forth emerging, silent, gazing, pondering the     themes thou lovest best, Night, sleep, death and the stars. — Walt Whitman, “A Clear Midnight,” Leaves of Grass. Originally published: July 4, 1855.

I refuse putting from me the best that I am.

The press of my foot to the earth springs a hundred affections, They scorn the best I can do to relate them.

In the evening, when everything is tired and quiet, I sit with Walt Whitman by the rose beds and listen to what that lonely and beautiful spirit has to tell me of night, sleep, death, and the stars. This dusky, silent hour is his; and this is the time when I can best hear the beatings of that most tender and generous heart.

We did meet forty years ago. At that time we were both influenced by Whitman and I said, jokingly in part, 'I don't think anything can be done in Spanish, do you?' Neruda agreed, but we decided it was too late for us to write our verse in English. We'd have to make the best of a second-rate literature.

What shall I give? and which are my miracles? 2. Realism is mine--my miracles--Take freely, Take without end--I offer them to you wherever your feet can carry you or your eyes reach. 3. Why! who makes much of a miracle? As to me, I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach, just in the edge of the water, Or stand under trees in the woods, Or talk by day with any one I love--or sleep in the bed at night with any one I love, Or sit at the table at dinner with my mother, Or look at strangers opposite me riding in the car, Or watch honey-bees busy around the hive, of a summer forenoon, Or animals feeding in the fields, Or birds--or the wonderfulness of insects in the air, Or the wonderfulness of the sundown--or of stars shining so quiet and bright, Or the exquisite, delicate, thin curve of the new moon in spring; Or whether I go among those I like best, and that like me best--mechanics, boatmen, farmers, Or among the savans--or to the _soiree_--or to the opera. Or stand a long while looking at the movements of machinery, Or behold children at their sports, Or the admirable sight of the perfect old man, or the perfect old woman, Or the sick in hospitals, or the dead carried to burial, Or my own eyes and figure in the glass; These, with the rest, one and all, are to me miracles, The whole referring--yet each distinct and in its place. 4. To me, every hour of the light and dark is a miracle, Every inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every cubic foot of the interior swarms with the same; Every spear of grass--the frames, limbs, organs, of men and women, and all that concerns them, All these to me are unspeakably perfect miracles. To me the sea is a continual miracle; The fishes that swim--the rocks--the motion of the waves--the ships, with men in them, What stranger miracles are there?

Human bodies are words, myriads of words; In the best poems reappears the body, man's or woman's, well-shaped,         natural, gay;

It is not upon you alone the dark patches fall, The dark threw its patches down upon me also, The best I had done seem'd to me blank and suspicious, My great thoughts as I supposed them, were they not in reality meagre?

Will you seek afar off? You surely come back at last, In things best known to you finding the best or as good as the best, In folks nearest to you finding also the sweetest and strongest and lovingest, Happiness not in another place, but this place... not for another hour, but this hour

I swear to you the architects shall appear without fall, I swear to you they will understand you and justify you, The greatest among them shall be he who best knows you, and encloses all and is faithful to all, He and the rest shall not forget you, they shall perceive that you are not an iota less than they, You shall be fully glorified in them.

I swear I see what is better than to tell the best, It is always to leave the best untold." -from "A Song of the Rolling Earth

Whitman said, ‘I am as bad as the worst but, thank God, I am as good as the best.’ You ought to spend more time with people who know how bad they are.

Sail, sail thy best, ship of democracy, Of value is thy freight, 'tis not the present only, The past is also stored in thee, Thou holdest not the venture of thyself alone, not of the western continent alone, Earth's resume entire floats upon thy keel, O ship, is steadied by thy spars, With thee Time voyages in trust, the antecedent nations sink or swim with thee, With all their ancient struggles , martyrs, heroes, epics, wars, thou bear'st the other continents, Theirs, theirs as much as thine, the destination-port triumphant..

He is a type of our best — our rarest. Electrical, I was going to say, beyond anyone, perhaps, ever was: charged, surcharged. Not a founder of new philosophies — not of that build. But a towering magnetic presence, filling the air about with light, warmth, inspiration. A great intellect, penetrating, in ways (on his field) the best of our time — to be long kept, cherished, passed on... It should not be surprising that I am drawn to Ingersoll, for he is 'Leaves of Grass.' He lives, embodies, the individuality I preach. 'Leaves of Grass' utters individuality, the most extreme, uncompromising. I see in Bob the noblest specimen —American-flavored—pure out of the soil, spreading, giving, demanding light. {Whitman's thought on his good friend, the great Robert Ingersoll}

Poetic style, when address'd to the Soul, is less definite form, outline, sculpture, and becomes vista, music, half-tints, and even less than half- tints. True, it may be architecture; but again it may be the forest wild-wood, or the best effects thereof, at twilight, the waving oaks and cedars in the wind, and the impalpable odor.

It is not upon you alone the dark patches fall, The dark threw its patches down upon me also, The best I had done seem’d to me blank and suspicious, My great thoughts as I supposed them, were they not in reality meagre? Nor is it you alone who know what it is to be evil, I am he who knew what it was to be evil, I too knitted the old knot of contrariety, Blabb’d, blush’d, resented, lied, stole, grudg’d, Had guile, anger, lust, hot wishes I dared not speak, Was wayward, vain, greedy, shallow, sly, cowardly, malignant, The wolf, the snake, the hog, not wanting in me, The cheating look, the frivolous word, the adulterous wish, not wanting, Refusals, hates, postponements, meanness, laziness, none of these wanting, Was one with the rest, the days and haps of the rest, Was call’d by my nighest name by clear loud voices of young men as they saw me approaching or passing, Felt their arms on my neck as I stood, or the negligent leaning of their flesh against me as I sat, Saw many I loved in the street or ferry-boat or public assembly, yet never told them a word, Lived the same life with the rest, the same old laughing, gnawing, sleeping, Play’d the part that still looks back on the actor or actress, The same old role, the role that is what we make it, as great as we like, Or as small as we like, or both great and small." -from "Crossing Brooklyn Ferry

Loafe with me on the grass, loose the stop from your throat, Not words, not music or rhyme I want, not custom or lecture, not even the best, Only the lull I like, the hum of your valvèd voice.

Even while you should think you had unquestionably caught me, behold! Already you see I have escaped from you. For it is not for what I have put into it that I have written this book, Nor is it by reading it you will acquire it, Nor do those know me best who admire me and vauntingly praise me, Nor will the candidates for my love (unless at most a very few) prove victorious, Nor will my poems do good only, they will do just as much evil, perhaps more, For all is useless without that which you may guess at many times and not hit, that which I hinted at; Therefore release me and depart on your way.

HOW solemn, as one by one, As the ranks returning, all worn and sweaty—as the men file by where I stand; As the faces, the masks appear—as I glance at the faces, studying the masks; (As I glance upward out of this page, studying you, dear friend, whoever you are;) How solemn the thought of my whispering soul, to each in the ranks, and to you; I see behind each mask, that wonder, a kindred soul; O the bullet could never kill what you really are, dear friend, Nor the bayonet stab what you really are: ... The soul! yourself I see, great as any, good as the best, Waiting, secure and content, which the bullet could never kill, Nor the bayonet stab, O friend!

but the genius of the United States is not best or most in its executives or legislatures, nor in its ambassadors or authors or colleges or churches or parlors, nor even in its newspapers or inventors . . . but always most in the common people.

Loafe with me on the grass.... loose the stop from your throat, Not words, not music or rhyme I want.... not custom or lecture, not even the best, Only the lull I like, the hum of your valved voice. I mind how we lay in June, such a transparent summer morning; You settled your head athwart my hips and gently turned over upon me, And parted the shirt from my bosom-bone, and plunged your tongue to my barestript heart, And reached till you felt my beard, and reached till you held my feet.

(I know, it's a poem but oh well). Why! who makes much of a miracle? As to me, I know of nothing else but miracles, Whether I walk the streets of Manhattan, Or dart my sight over the roofs of houses toward the sky, Or wade with naked feet along the beach, just in the edge of the water, Or stand under trees in the woods, Or talk by day with any one I love--or sleep in the bed at night with any one I love, Or sit at table at dinner with my mother, Or look at strangers opposite me riding in the car, Or watch honey-bees busy around the hive, of a summer forenoon, Or animals feeding in the fields, Or birds--or the wonderfulness of insects in the air, Or the wonderfulness of the sun-down--or of stars shining so quiet and bright, Or the exquisite, delicate, thin curve of the new moon in spring; Or whether I go among those I like best, and that like me best-- mechanics, boatmen, farmers, Or among the savans--or to the soiree--or to the opera, Or stand a long while looking at the movements of machinery, Or behold children at their sports, Or the admirable sight of the perfect old man, or the perfect old woman, Or the sick in hospitals, or the dead carried to burial, Or my own eyes and figure in the glass; These, with the rest, one and all, are to me miracles, The whole referring--yet each distinct, and in its place. To me, every hour of the light and dark is a miracle, Every cubic inch of space is a miracle, Every square yard of the surface of the earth is spread with the same, Every foot of the interior swarms with the same; Every spear of grass--the frames, limbs, organs, of men and women, and all that concerns them, All these to me are unspeakably perfect miracles. To me the sea is a continual miracle; The fishes that swim--the rocks--the motion of the waves--the ships, with men in them, What stranger miracles are there?

We believe people are basically good. We recognize and respect everyone as a unique individual. We believe everyone has something to contribute. We encourage people to treat others the way they want to be treated. We believe that an honest, open environment can bring out the best in people.

It is with America as it is with nature: I believe our institutions can digest, absorb, all elements, good and bad, godlike or devilish, that come along: it seems impossible for nature to fail to make good in the processes peculiar to her: in the same way it is impossible for America to fail to turn the worst luck into best--curses into blessings.

This is thy hour O Soul, thy free flight into the wordless, Away from books, away from art, the day erased, the lesson done, Thee fully forth emerging, silent, gazing, pondering the themes thou lovest best. Night, sleep, and the stars. ― Walt Whitman, “A Clear Midnight,” in the section "From Noon to Starry Night" in the seventh edition of Leaves of Grass (1881)

It is not upon you alone the dark patches fall, The dark threw patches down upon me also; The best I had done seemed to me blank and suspicious; My great thoughts, as I supposed them, were they not in reality meagre? would not people laugh at me? It is not you alone who know what it is to be evil; I am he who knew what it was to be evil; I too knitted the old knot of contrariety, Blabbed, blushed, resented, lied, stole, grudged; Had guile, anger, lust, hot wishes I dared not speak; Was wayward, vain, greedy, shallow, sly, cowardly, malignant; The wolf, the snake, the hog, not wanting in me; The cheating look, the frivolous word, the adulterous wish, not wanting; Refusals, hates, postponements, meanness, laziness, none of these wanting.

Of course one’s sense of identification with the nation is inflected by all kinds of particulars, including one’s class, race, gender, and sexual identification. … But [regarding] national character …, aside from references to a national aesthetic — literary, musical, and choreographic, there are two poles I reference: minimalist and maximalist. I love them both — the cryptic poems of Emily Dickinson folded up in tiny packets and hidden away in a box, the sparse, understated choreographies of Merce; but also the “trashy, profane and obscene” poems of Whitman and Ginsberg, [and] Martha Graham’s expressionism. I am, myself, a minimalist. But I love distortion guitar and the wild exhibitionism of so many American artists. Also, these divisions are false. Emily Dickinson, in fact, can be as trashy and obscene as the best of them! Anyway, Dickinson and Whitman are at the heart of this narrative. They are the Dancing Queen and the Guitar Hero.

Muscle and pluck forever! What invigorates life, invigorates death, And the dead advance as much as the living advance, And the future is no more uncertain than the present, And the roughness of the earth and of man encloses as much as the delicatesse of the earth and of man, And nothing endures but personal qualities. What do you think endures? Do you think the great city endures? Or a teeming manufacturing state? or a prepared constitution? or the best-built steamships? Or hotels of granite and iron? or any chef-d’oeuvres of engineering, forts, armaments? Away! These are not to be cherish’d for themselves; They fill their hour, the dancers dance, the musicians play for them; The show passes, all does well enough of course, All does very well till one flash of defiance. The great city is that which has the greatest man or woman; If it be a few ragged huts, it is still the greatest city in the whole world." -from "Song of the Broad-Axe

I believe in you my soul, the other I am must not abase itself to you, And you must not be abased to the other. Loafe with me on the grass, loose the stop from your throat, Not words, not music or rhyme I want, not custom or lecture, not even the best, Only the lull I like, the hum of your valvèd voice. I mind how once we lay such a transparent summer morning, How you settled your head athwart my hips and gently turn’d over upon me, And parted the shirt from my bosom-bone, and plunged your tongue to my bare-stript heart, And reach’d till you felt my beard, and reach’d till you held my feet. Swiftly arose and spread around me the peace and knowledge that pass all the art and argument of the earth, And I know that the hand of God is the promise [originally “elderhand”] of my own, And I know that the spirit of God is the brother of my own, And that all the men ever born are also my brothers, and the women my sisters and lovers, And that a kelson of the creation is love.

This hour I tell things in confidence. I might not tell everybody, but I will tell you. To publish these lines is, of course, to tell everybody. Much as he wants to take us into his confidence, seduce with the warmth and directness of his voice, he's also making one of his sly jokes: he's created an intimacy with all the doors and windows open, in which you could be anyone at all. Even as I laugh at the line, I feel the gesture of his arm around my shoulder, drawing my ear nearer his mouth. What is the difference, in a poem, between performed intimacy and the real thing? What, in a work of art, is not performed? Whitman, perhaps more than any poet before him, explored and exploited poetry's strange duality. In the best poems, we feel the poet's breath, the almost-physical presence of the speaker created by all the tools at the writer's disposal. I sometimes feel that Walt has just walked into the room, as present now as he ever was, a sensual, breathing body that he somehow seems to have constructed of nothing but words.

(On D.W Griffith's The Birth of a Nation) This was the one time in movie history that a man of great ability worked freely, in an unspoiled medium, for an unspoiled audience, on a majestic theme which involved all that he was; and brought to it, besides his abilities as an inventor and artist, absolute passion, pity, courage, and honesty. “The Birth of a Nation” is equal with Brady’s photographs, Lincoln’s speeches, Whitman’s war poems; for all its imperfections and absurdities it is equal, in fact, to the best work that has been done in this country. And among moving pictures it is alone, not necessarily as “the greatest” — whatever that means — but as the one great epic, tragic film.

Our inner lives must be lent a structure and our best thoughts reinforced to counter the continuous pull of distraction and disintegration. Religions have been wise enough to establish elaborate calendars and schedules. How free secular society leaves us by contrast. Secular life is not, of course, unacquainted with calendars and schedules. We know them well in relation to work, and accept the virtues of reminders of lunch meetings, cash-flow projections and tax deadlines. But it expects that we will spontaneously find our way to the ideas that matter to us and gives us weekends off for consumption and recreation. It privileges discovery, presenting us with an incessant stream of new information – and therefore it prompts us to forget everything. We are enticed to go to the cinema to see a newly released film, which ends up moving us to an exquisite pitch of sensitivity, sorrow and excitement. We leave the theatre vowing to reconsider our entire existence in light of the values shown on screen, and to purge ourselves of our decadence and haste. And yet by the following evening, after a day of meetings and aggravations, our cinematic experience is well on its way towards obliteration. We honour the power of culture but rarely admit with what scandalous ease we forget its individual monuments. We somehow feel, however, that it would be a violation of our spontaneity to be presented with rotas for rereading Walt Whitman.

Is this then a touch? . . . . quivering me to a new identity, Flames and ether making a rush for my veins, Treacherous tip of me reaching and crowding to help them, My flesh and blood playing out lightning, to strike what is hardly different from myself, On all sides prurient provokers stiffening my limbs, Straining the udder of my heart for its withheld drip, Behaving licentious toward me, taking no denial, Depriving me of my best as for a purpose, Unbuttoning my clothes and holding me by the bare waist, Deluding my confusion with the calm of the sunlight and pasture fields, Immodestly sliding the fellow-senses away, They bribed to swap off with touch, and go and graze at the edges of me, No consideration, no regard for my draining strength or mu anger, Fetching the rest of the herd around to enjoy them awhile, Then all uniting to stand of a headland and worry me.

Dear Sir—I am not blind to the worth of the wonderful gift of “Leaves of Grass.” I find it the most extraordinary piece of wit and wisdom that America has yet contributed. I am very happy in reading it, as great power makes us happy.… I give you joy of your free and brave thought. I have great joy in it. I find incomparable things said incomparably well, as they must be. I find the courage of treatment which so delights us, and which large perceptions only can inspire. I greet you at the beginning of a great career, which yet must have had a long foreground somewhere, for such a start. I rubbed my eyes a little, to see if this sunbeam were no illusion; but the solid sense of the book is a sober certainty. It has the best merits, namely, of fortifying and encouraging.… I wish to see my benefactor, and have felt much like striking my tasks and visiting New York to pay you my respects. R.W. Emerson

A second case concerns Charles Whitman, the 1966 “Texas Tower” sniper who, after killing his wife and mother, opened fire atop a tower at the University of Texas in Austin, killing sixteen and wounding thirty-two, one of the first school massacres. Whitman was literally an Eagle Scout and childhood choirboy, a happily married engineering major with an IQ in the 99th percentile. In the prior year he had seen doctors, complaining of severe headaches and violent impulses (e.g., to shoot people from the campus tower). He left notes by the bodies of his wife and his mother, proclaiming love and puzzlement at his actions: “I cannot rationaly [sic] pinpoint any specific reason for [killing her],” and “let there be no doubt in your mind that I loved this woman with all my heart.” His suicide note requested an autopsy of his brain, and that any money he had be given to a mental health foundation. The autopsy proved his intuition correct—Whitman had a glioblastoma tumor pressing on his amygdala.

Clear and sweet is my soul, and clear and sweet is all that is not my soul. Lack one lacks both, and the unseen is proved by the seen, Till that becomes unseen and receives proof in its turn. Showing the best and dividing it from the worst age vexes age, Knowing the perfect fitness and equanimity of things, while they discuss I am silent, and go bathe and admire myself. Welcome is every organ and attribute of me, and of any man hearty and clean, Not an inch nor a particle of an inch is vile, and none shall be less familiar than the rest. I am satisfied—I see, dance, laugh, sing; As the hugging and loving bed-fellow sleeps at my side through the night, and withdraws at the peep of the day with stealthy tread, Leaving me baskets cover’d with white towels swelling the house with their plenty, Shall I postpone my acceptation and realization and scream at my eyes, That they turn from gazing after and down the road, And forthwith cipher and show me to a cent, Exactly the value of one and exactly the value of two, and which is ahead?

Yes, my friends, your hunger for history is still pretty segregated. Your knowledge of America often ends at the color line. You end up erasing the black story as the American story, black history as American history. You certainly have an insatiable thirst for history, but only if that history justifies whiteness. Most black folk can’t help but notice what many whites rarely wish, or are compelled, to see: you embrace history as your faithful flame when she kisses you, and yet you spurn her as a cheating mate when she nods or winks at others. You love history when it’s yet another book about, say, the Founding Fathers. No amount of minutia is too tedious. No new fact is too obscure to report. The curiosity about presidents is nearly inexhaustible. History is a friend to white America when it celebrates the glories of American exceptionalism, the beauty of American invention, the genius of the American soul. History is unrestrained bliss when it sings Walt Whitman’s body electric or touts the lyrical vision of the Transcendentalists. History that swings at the plate with Babe Ruth or slides into home with Joe DiMaggio is the American pastime at its best. History hovers low in solemn regard for the men who gave up the ghost at Appomattox and speaks with quiet reverence for the Confederate flags that gleefully waved to secession. Of course all of you don’t sing from the same hymnal. But American history, the collective force of white identity that picks up velocity across the centuries, mouths every note.

The best way to understand the soul of America is read Walt Whitman's poetry

Walt Whitman said, “To have great poets, there must be great audiences.

Mikhail Bakhtin has suggested that truly indigenous, national forms of writing are produced by authors who absorb what Bakhtin calls skaz, roughly translated as “current idiom” or “national voice.” Whitman would develop a similar theory. Later dedicating himself to producing what he called “the idiomatic book of my land,” he would write in 1856: “Great writers penetrate the idioms of their races, and use them with simplicity and power. The masters are they who embody the rude materials of the people and give them the best forms for the place and time.

More prosaically – and forgetting all about that alleged serpent and that hypothetical Kundalini energy – it appears possible to describe the processes in such experiences in modern scientific terminology. One of the best approaches can be seen in psychologist David Cole Gordon’s neglected little masterpiece on the subject of masturbation, Self-Love. It is Professor Gordon’s thesis that “unification” experiences appear on a variety of levels and are much more miscellaneous than has been realized hitherto. In fact, he insists that many experiences regarded as coarse or low are precisely similar, neurologically, to the cosmic trances of Buddha, Jesus, Blake or Whitman.

Whitman believed himself, at the time when Drum-Taps was published, that it was so far the best thing he had written. It certainly contained the best poetry that was written during the war on the subject

You can’t give up the partnership.” She turns, her expression soft. “I want it to be mine because I earned it, not because I brought someone else on board.” “You have earned it.” I cross the room to stand in front of her. “Why walk away from it?” “Because you’re more important than a partnership, Dax. You’ve worked hard to get where you are, too. Besides, I’m great at trusts, but it doesn’t give me the sense of fulfillment I need. When I help a family work through an adoption, or negotiate terms for custody and parental rights, that fills my heart and my soul, and gives me pride and validation. It’s where my passion is.” “But can’t you switch departments and still be partner?” She runs her hands over my chest and grips my lapels. “I want this security for you and Emme. I want you to be happy and I want to make sure you believe, without a doubt, that the partnership wasn’t ever a factor when it came to you and me.” “This is an incredibly selfless thing to do, Kailyn.” I cover her hands with mine. She shakes her head and smiles. “It’s probably the exact opposite of selfless. I love you, Dax. I want you to have this because it’s what’s best for you and Emme, which also happens to be what’s best for me.” “I love everything about you.” I dip my head and kiss her softly. “Especially your perfect heart. Which is why I’m not accepting the partnership. I’ll come to Whitman, but that position is yours. Besides, I have a teenager to raise and a girlfriend I want time with, so partner can wait.

after the war, with the death of Lincoln. To say that Whitman admired Lincoln would be a terrific understatement—he saw the Union itself, America itself, incarnated in him. He would write almost ecstatically about his encounters with Lincoln in Washington, about the two acknowledging one another as they passed in the street. And about Lincoln as a man, as a figure, his praise was without bounds: “The greatest, best, most characteristic, artistic, moral personality,” he would say of him; “How quickly that quaint tall form would have enter’d into the region where men vitalize gods, and gods divinify men!” And, on a more personal level: “After my dear, dear mother, I guess Lincoln gets almost nearer me than anybody else.

If there’s any poet with whom I would pair Whitman, it would be Baudelaire: both of them redefined the elemental project of poetry, and both, to a great extent, indicated the direction, the opportunities, and the parameters of what we now call the modern. The similarities between them are striking: they were born two years apart and incredibly enough were doing their best work during precisely the same period, publishing their seminal books within two years of each other, Leaves of Grass in 1855, Les Fleurs du Mal in 1857.

wanting to create a monument to Shakespeare in the US capital. “The poet is one of our best sources, one of the wells from which we Americans draw our national thought, our faith, and our hope,” Emily Folger explained, drawing on a strain of American literary criticism that saw Shakespeare, paradoxically, as America’s poet. He had influenced the founding fathers, who saw in his villains and tyrants the dangers of monarchy and the need for institutional checks on power. Shakespeare’s history plays heralded the “inauguration of modern democracy,” Walt Whitman wrote, for they put “on record the first full exposé—and by far the most vivid one… of the political theory and results” of a feudal system “which America has come on earth to abnegate and replace.

And my work in this life? None of this will go unrecorded. I will see and say all of it, as clearly and deeply as I can, re-entering, lifting experience in the direction of another dimension of time, where everything I have loved can be known again, more fully, that my joy in it might increase as I take the measure of what I have lost. And my grief may increase as well; Alex and I loved each other, and held together through a troubled and volatile relation as best we could, and in a while we ended it. I truly wish him every good in this life. Sweet hell? Maybe, but so be it.

So, here you are, in this mysterious now. With your history receding like the sound of a hunter’s horn along the wind, with your future rushing toward you like the next season, now is the moment, the only moment that exists, in which becoming can be and in which consciousness can make a difference. Perhaps the highest achievement of consciousness is not the self-serving reiteration of its own glories, its agenda of regressive reinforcement in the face of the large, intimidating cosmos that is our home, but rather its capacity to acknowledge that it has been called to witness, and to serve, to serve something much larger. There is in you room for a second, timeless, and larger life. For, as the poet Walt Whitman wrote in “A Clear Midnight”: This is the hour O Soul, thy free flight into the wordless Away from books, away from art, the day erased, the lesson done, Thee fully forth emerging, silent, gazing, pondering the themes thou lovest best, Night, sleep, death and the stars.

While Lavender wasn't keen on listening to a sermon (if this Whitman was, in fact, a clergy), she longed to study the book of Robert's face further, a book pulled, half burnt, from a fire. So much was written there, from the depths of suffering, Lavender didn't doubt, to ecstasy's heights, and the deep, innate sensibility required to worship---his word---at her floral cart, to see it for what it was, a little cathedral on wheels. She'd never met anyone who grasped flowers' import and beauty---profound, fleeting---to that extent; it was like meeting a kindred soul. Kindred, yet at the same time he seemed to her like someone who'd tumbled, in his best clothes, from some faraway constellation. She'd never met anyone like him.

Gunshots were now allowed. The campaign had been a success, and the company was now perceived, truthfully, as something other than a merchant of death. Du Pont dealt in textiles and plastics, in research of all kinds. Its commercial structure on Cavalcade was remarkable. There was no midshow commercial: instead, du Pont took a two-minute spot at the end. Delivered by Bud Collyer or Gayne Whitman, the spots were informative and, at their best, fascinating. There was no hard sell: they were straight reports of breakthroughs in the laboratory and in the field. The memorable slogan, “Better things for better living, through chemistry,” became part of the American language through constant repetition on Cavalcade

It is easy to enter every moment of a day so burdened down as we try to carry all of our hopes and fears for that day, that we miss the good in every moment. Every moment is worth investing a full moment in. How we approach every moment matters. Shakespeare said in Antony and Cleopatra, “Give me my robe. Put on my crown. I have immortal longings in me.” Our innermost longing is not merely to survive, but to thrive, and we share that longing with everyone else. Connection comes most intimately from looking for that innermost longing in others and ourselves. Love says, as Jordan Peterson wrote, “I want the best, for what wants the best in you.” We ought to love ourselves and want the best for what wants the best in us. There is a longing inside to love without reserve or limits and allow ourselves to be loved with ultimate vulnerability. We are more than what we can hide behind a mask, and there is no reason we should try to hide it. We are not the chemical mess we feel like at times, we are amazing—we defy the law of the universe that says all things trend towards chaos and emptiness. Walt Whitman said, “I am not contained between my hat and my boots.” We are not contained between our fears and our past experiences either. We are born with awareness, imagination and will-power, and combined with any other awareness, imagination and will-power both will be increased; that is the value of connecting. What we are born with is all we have or need to give. You were born worthy of connection, don’t ever second guess it! Yes, it may be dangerous to open up and let people into our life, but it is fatal to attempt to keep people out. Choose love, choose to see the goodness in life unbiasedly wherever it may be, and choose to make life better for yourself and everyone, whether or not anyone else wants to help. It is very normal and understandable to want to feel heard, seen and appreciated; at some point however, we have to make the decision to say what most merits hearing, do what is most worth seeing, and give what is most worth appreciating, whether or not anyone sees, hears or appreciates it. There is a saying that “integrity is how you act when you think no one is looking.” I say that character is what we do despite all that would sway us otherwise, whether that be potential for fame or fear of insignificance. "No positive effort is so small that good things won’t come from it, so do it!

A Clear Midnight” This is thy O Soul, thy free flight into the wordless, Away from books, away from art, the day erased, the lesson done, Thee fully fourth emerging, silent, gazing, pondering the themes thou lovest best, Night, sleep, death, and the stars. -Walt Whitman

best poems do not fall into any single—or even double or triple—historical category. The current book tries to overcome piecemeal approaches to literary history by reconstructing the life and times of America’s most representative poet. With a figure as familiar as Whitman, a certain amount of recapitulation or synthesis of known information is inevitable, and I am indebted to many fine studies of him. But the interaction between his life and writings and their historical background has been reported only fragmentarily. Whitman constantly called attention to the historical origins of his poetry. “In estimating my volumes,” he wrote, “the world’s current times and deeds, and their spirit, must first be profoundly estimated.” The poet fails, he wrote, “if he does not flood himself with the immediate age as with vast oceanic tides […] if he be not himself the age transfigured.” In his own copious reading, he had an undying fascination for all aspects of a writer’s contexts