In this essay, Eddie S. Glaude, Jr. addresses the historical and contemporary
failures of American democracy. Using the metaphor of “the
magician’s serpent,” Glaude brings Walt Whitman’s views on
democracy into the full light of America’s failure to resolve the problem
of race. Glaude places Whitman’s Democratic Vistas
(1871) in conversation with James Baldwin’s No Name in the
Street (1972) in order to construct a different sort of reading
practice that can both engage with Whitman’s views on democracy and
reckon with what George Hutchinson calls Whitman’s “white
imperialist self and ideology” as an indication of the limits of a
certain radical democratic imagining.
Poet of comrades: WaltWhitman and
the Bolton Whitman Fellowship
These I singing in spring collect for lovers,
(For who but I should understand lovers and all their sorrow and joy?
And who but I should be the poet of comrades?)
(from ‘These I Singing in Spring’)
I see not America only, not only Liberty’s nation but other nations
(from ‘Years of the Modern’)
Old age poses special risks for poets. The fear must always be that the diminution of physical capacity will correspond with a diminution of poetic
capacity, a fear augmented for
This book addresses the special relationship from the perspective of post-Second World War British governments. It argues that Britain's foreign policy challenges the dominant idea that its power has been waning and that it sees itself as the junior partner to the hegemonic US. The book also shows how at moments of international crisis successive British governments have attempted to re-play the same foreign policy role within the special relationship. It discusses the power of a profoundly antagonistic relationship between Mark Twain and Walter Scott. The book demonstrates Stowe's mis-reading and mis-representation of the Highland Clearances. It explains how Our Nig, the work of a Northern free black, also provides a working-class portrait of New England farm life, removed from the frontier that dominates accounts of American agrarian life. Telegraphy - which transformed transatlantic relations in the middle of the century- was used by spiritualists as a metaphor for the ways in which communications from the other world could be understood. The story of the Bolton Whitman Fellowship is discussed. Beside Sarah Orne Jewett's desk was a small copy of the well-known Raeburn portrait of Sir Walter Scott. Henry James and George Eliot shared a transatlantic literary network which embodied an easy flow of mutual interest and appreciation between their two milieux. In her autobiography, Gertrude Stein assigns to her lifelong companion the repeated comment that she has met three geniuses in her life: Stein, Picasso, and Alfred North Whitehead.
Their essay, however, concludes by arguing that ‘Eliot’s determinedly
Eurocentric critical paradigm’ which has been enormously inﬂuential in
the conception of High Modernism, is exclusive rather than inclusive and
has actually militated against full understanding of works by writers such
as Barnes, despite his championing of her work.
In an essay on WaltWhitman and the Bolton Whitman Fellowship
Carolyn Masel gives a fascinating account of the ultimately widespread
eﬀects of a relationship established between the poet and his most
devoted British readers; she details
The last of the ancients
the first of the moderns?
Do I contradict myself?
Very well then I contradict myself
(I am large, I contain multitudes)
(WaltWhitman, Song of Myself, ll. 1325–7)
In one of his fragments Rousseau spoke of a man who ‘was one of the
moderns [but] who had an ancient soul’ (III: 643). This could have been
an epitaph for his many autobiographical statements. Rousseau was a weak
and often insecure individual but he was also a man with an astonishing
confidence in his literary abilities. As early as in the Discourse sur les sciences
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
, from major literary works such as Charlotte Brontë's Jane Eyre (1847) and WaltWhitman's Leaves of Grass (1855), to the educational reforms of Horace Mann, and the workings of the criminal justice systems of both countries. If the scientific and intellectual elite were sceptical of phrenology by the mid-century, the ‘doctrine served as a cohesive cultural factor’,
and in the second half of the nineteenth century, it ‘became in many ways more deeply entrenched than ever in everyday thought and expression
began to circulate among intellectuals in Old
New York, it ‘was kept under lock and key, and brought out, like tobacco,
only in the absence of ‘the ladies’, to whom the name of WaltWhitman
was unmentionable, if not utterly unknown’.29 He, in fact, appears in her
Old New York novel, The Spark (1924), as Old Walt, a hero to the Civil
War soldiers he had nursed, although his experimental poetry seems like
‘rubbish’ to them.
Melville, a distant member of Old New York society, is another nineteenth-century writer who intrigued both women. Wharton, who read
logics that produced both nonhuman and human as ambivalent bodies.
Singing the body electric staged what subsequently became known as the
‘liveness debate’ between Phelan and Auslander as musical comedy.
The cast of My Square Lady was brought back to (beyond?) life at the
end of the performance in a rousing, camp chorus finale. The lyric is
Laughing at science in the theatre
from WaltWhitman’s poem via the musical number by Michael Gore
and Dean Pitchford from the 1980 film of Fame about a talented group
of young people at a stage school. The