Walt Whitman, página 3 de 12

A superb selection of poems, letters and prose from the war years. "O Captain! My Captain!," "When Lilacs Last in the Dooryard Bloom'd," "Adieu to a S

The poetry of Walt Whitman is the cornerstone of modern American verse. He was America's first truly great poet and his influence is still evident today. The first edition of Whitman's "Leaves of Grass, published in 1855, was a revolutionary manifesto declaring America's independence from European cultural domination. His rhapsodic free verse broke radically with poetic, tradition: it was poetry about America, its democracy, its people, and its hopes. It was uniquely American without apology--brash, proud, optimistic, and filled with the bustling energy of the new and growing nation. This collection brings together Whitman's greatest and most famous poems spanning the whole of his career. From the groundbreaking first edition of "Leaves of Grass are seven poems, including "Song of Myself" and "I Sing the Body Electric." From later editions there are such masterpieces as "Crossing Brooklyn Ferry," "Out of the Cradle Endlessly Rocking," and "I Hear America Singing." Also included is Whitman's great cycle of Civil War Poems, "Drum-Taps, which he wrote in the months when he was ministering to the wounded in battlefield hospitals. Concluding this collection is one of his last poems, "Good-bye My Fancy!"--his touching farewell to his muse, his life, and his readers. More than one hundred years after his death, Walt Whitman's poetry has become part of the American heritage. It is a visionary which speaks as aptly to readers today as it will to future generations. As he says in "Crossing Brooklyn Ferry," "others...look back on me because I look'd forward to them." Whitman's poetry is a link that connects all Americans--past, present, and future. This book features a deluxe cover, ribbon marker, top stain, and decorative endpaper with a nameplate.

Whitman published his Leaves of Grass in 1855 and prepared eight other editions during the next thirty-five years. These incorporated completely new poems as well as extensive changes in those that had already appeared. The changes served to emphasize the prophetic strand in his poetry - Whitman as the exuberant champion of political and sexual emancipation. Francis Murphy has chosen to print the final 'death-bed' edition (1891-2) of Leaves of Grass, in accordance with a note of instruction left by the poet to his future editors. But earlier versions of many poems are also given in the notes so that the reader can follow Whitman's development. In addition, the 1855 version of one of his most important poems, Song of Myself, is given in full in an appendix. Whitman's early poems appear in another appendix, so that, apart from manuscript fragments left on his death, the present edition contains all of Whitman's known work.

In 1855, the first edition of Leaves of Grass appeared, consisting of twelve untitled poems and a preface outlining the author's poetics. An initial commercial failure, this volume was the first stage of a massive, lifelong enterprise. Six editions and some thirty-seven years later, Leaves of Grass would become one of the central works m the history of world poetry. This Vintage Books/The Library of America edition includes both the 1855 first edition in its exact, original form and the magnificent final edition of 1891-1892. For the first time, the authoritative editions of works by major American novelists, poets, scholars, and essayists collected in the hardcover volumes of The Library of America are being published singly in a series of handsome paperback books. A distinguished writer has contributed an introduction for each volume, which also includes a chronology of the author's life and career, an essay on the text, and notes.

Walt Whitman foi'l poeta de la llibertá y la inclusión: el poeta de les minoríes, y de les muyeres, y el de los desheredaos. Foi'l primer bardu modernu d'América y el cantor de la so democracia recién parida. Panteísta, xabaz y pansexual, místicu y llibertín, Whitman cultivó también l'autosuficiencia del trescendentalismu emersonianu, y foi capaz de crear con too ello un canon poéticu y lliterariu optimista, vital ya inéditu, pa la so nación de munches naciones (la que, de siguío, diba ser llamada a dominar el mundo).La lletra impreso nes páxines d'esti Cantar de mi mesmu ye la del país del gris oceánicu y los cazadores de ballenes; ye la lletra de la democracia moderna a les puertes d'una guerra, la de los llabriegos y el trigu, la de los algodonales; ye la lletra de les ciudades nacientes, y les mines, y los tramperos; la de la tierra sagráo de los indios invadíos; la lletra de los güeyos ensin fondu de los gües, la del deséu calláu de les muyeres, y las de los esclavos y lo shomes llibres; ye la lletra de los colonos y les races; la lletra de los Creos y los sentíos; la de los cuerpos y les ánimes.La prestosíasim traducción d'esti Cantar… fírmala Milio Ureta, y vien escrita n'asturianu centroriental. L'escritor ribeseyanu fainos el regalu de la más alta lliteratura americana, envuelta en papel de periódicu y papel de cera; vistida en pañu y en tela vichy. Y la llingua asturiana -con esti Whitman- ta en tiempo de festexar.Tu que yá lo ties too lleío y entendío de Walt Whitman; o que quiciabes nun yeres allugalu más allá d'El Club de los Poetes Muertos, o'l desenllaz lliterariu de la cocina de metanfetamines de Breaking Bad… atiendi si almites conseyu, y da-y oportunidá a esti Cantar de mi mesmu que ties nes manes. Eso sí, tate al quite: vas nortiar más pelo bravo que pelo sabío, y sicasí, vas alcontrate nes fueyes… Llueu nos cuentes.

Obra escogida de un poeta inigualable en la tradición literaria americana.Traducción de Concha ZardoyaIntroducción de Edgardo Dobry, profesor de Filología en la Universidad de BarcelonaWalt Whitman fue el poeta de la democracia, de la naturaleza, del deismo, dela libertad, la sexualidad, la sensualidad y el vitalismo. Sus celebres Hojas de hierba lo situan en la tradicion de los mas grandes poetas de todos los tiempos. A caballo entre la filosofia, la mistica y la reflexion mas personal, en cada uno de sus versos canta al mundo que lo rodea a sabiendas de su inextricable pertenencia a el. Inconmensurable lirico, tambien abundan a lo largo de su obra las cronicas y los apuntes de corte periodistico -como sus Jornadas en America y las Perspectivas democraticas-, en cuyas palabras no sabe esconderse, sin embargo, ese fluir cadencioso de una sensibilidad sin parangon.Edgardo Dobry nos acerca al caracter universal de la obra Whitman y recuerda al lector que no solo hallo su propia voz, sino que el eco de su canto sigue resonando en la literatura. La version al español de Concha Zardoya, poetisa chilena, da cuenta del poder de esta voz.Reseña: La editorial Penguin Clasicos ha tenido la maravillosa idea de recoger en Obra escogida parte de su trabajo en un unico tomo traducido por la poeta chilena Concha Zardoya y con introduccion de Edgardo Dobry. El resultado es un maravilloso e imprescindible libro para los amantes de la poesia. Y para los que no conozcan a Whitman, encontraran en este libro unaperfecta manera de profundizar en la obra de uno de los grandes genios de la poesia. Victoria Mera, Libros y literatura

To mark 160 years since its first publication, a new edition of the great American poet's most famous workDo I contradict myself?Very well then I contradict myself.(I am large, I contain multitudes.)Abundant, ecstatic, generous, courageousthis is the first American epic poem, a celebration of selfhood and a catalogue of 19th-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 classic book of verse by one of America's greatest poets. First published in 1855, "Leaves of Grass" was subsequently revised and edited by Whitman many times. Editor Stephen Mitchell has returned to the earliest edition, which he maintains best captured the vigor and freshness of Whitman's style.

Un canto a la vida, a la libertad, al yo, a la belleza, a la poesía..."Camarada, esto no es un libro; quien toca esto toca a un hombre". Así define Walt Whitman (1819-1892) una obra que construyó a lo largo de casi cuarenta años. Fruto de una epoca y de un lugar -la Norteamerica del siglo XIX-, este gran poema epico nace y crece con la intencion de definir al hombre y a la nacion americana frente al dominio cultural anglosajon. Su polemica ruptura, formal y conceptual, con el canon poetico tradicional fue tal, que se dice que toda la poesia norteamericana posterior es un continuo dialogo con Whitman; incluso buena parte de la poesia occidental, desde el español Garcia Lorca hasta el caribeño Walcott, bebe de esta fuente de inspiracion.

Lleno de vida ahora, compacto, visible, yo, de cuarenta años de edad, en el año octogesimo tercero de los Estados, a quien viva dentro de un siglo, o dentro de cualquier numero de siglos, a ti, que no has nacido todavia, a ti te buscan estos cantos.