Camden
9 P M March 19
'881
I was out yesterday to my friends the Harneds2, & took a 3 or 4 mile drive
afterward at sunset. The weather is pleasent—seems settled—I still write
bits for the H[erald]3—Haywood4 the Mass: free lover here to-day, very cordial &c. I
treat him politely but that is all.5 I rec'd yrs: with L[ippincott]'s
declination6—Eakin[s]7 has taken away his picture & I havn't seen him for
ten days8
W W
Correspondent:
Richard Maurice Bucke (1837–1902) was a
Canadian physician and psychiatrist who grew close to Whitman after reading Leaves of Grass in 1867 (and later memorizing it) and
meeting the poet in Camden a decade later. Even before meeting Whitman, Bucke
claimed in 1872 that a reading of Leaves of Grass led him
to experience "cosmic consciousness" and an overwhelming sense of epiphany.
Bucke became the poet's first biographer with Walt
Whitman (Philadelphia: David McKay, 1883), and he later served as one
of his medical advisors and literary executors. For more on the relationship of
Bucke and Whitman, see Howard Nelson, "Bucke, Richard Maurice," Walt Whitman: An
Encyclopedia, ed. J.R. LeMaster and Donald D. Kummings (New York:
Garland Publishing, 1998).
Notes
- 1. This postal card is
addressed: Dr R M Bucke | Asylum | London | Ontario Canada. It is postmarked:
Camden, N.J. | Mar | 20 | 10 30 AM | 88 | Transit. [back]
- 2. Thomas Biggs Harned
(1851–1921) was one of Whitman's literary executors. Harned was a lawyer
in Philadelphia and, having married Augusta Anna Traubel (1856–1914), was
Horace Traubel's brother-in-law. For more on him, see Dena Mattausch, "Harned, Thomas Biggs (1851–1921)," Walt
Whitman: An Encyclopedia, ed. J.R. LeMaster and Donald D. Kummings (New
York: Garland Publishing, 1998). For more on his relationship with Whitman, see
Thomas Biggs Harned, Memoirs of Thomas B. Harned, Walt
Whitman's Friend and Literary Executor, ed. Peter Van Egmond (Hartford:
Transcendental Books, 1972). [back]
- 3. In late 1887, James Gordon Bennett,
Jr., editor of the New York Herald, invited Whitman to
contribute a series of poems and prose pieces for the paper. From December 1887
through August 1888, 33 of Whitman's poems appeared. [back]
- 4. Ezra H. Heywood
(1829–1893), a radical reformer and an advocate of free love, was arrested
on October 26, 1881, because he printed "To a Common Prostitute" and "A Woman
Waits for Me" in The Word and attempted to mail the
journals. On October 27, 1882, O'Connor noted a
newspaper report of Heywood's arrest: "I don't like Heywood's ways, and I don't
like the Free-Love theories at all, but he has his rights, which these devils
trample on" (Horace Traubel, With Walt Whitman in Camden,
Monday, March 11, 1889). See also the letter from Whitman to O'Connor
of November 12, 1882. [back]
- 5. On March 23, 1888,
Whitman lent Heywood $15 (Whitman's Commonplace Book, Charles E. Feinberg
Collection of the Papers of Walt Whitman, 1839–1919, Library of Congress,
Washington, D.C.). [back]
- 6. On his way back from
Florida Bucke stayed briefly in Philadelphia and discussed publication of
Whitman's poetry with J. B. Lippincott Company. On March 6 the publisher wrote
to Bucke: "We have carefully considered the question of making a proposition for
the publication of Walt Whitman's Poems, but have concluded that we could not
use his works to advantage" (Charles E. Feinberg Collection of the Papers of
Walt Whitman, 1839–1919, Library of Congress, Washington, D.C.). [back]
- 7. Thomas Eakins (1844–1919) was
an American painter. His relationship with Whitman was characterized by deep
mutual respect, and he soon became a close friend of the poet. For more on
Eakins, see Philip W. Leon, "Eakins, Thomas (1844–1916)," Walt Whitman: An
Encyclopedia, ed. J.R. LeMaster and Donald D. Kummings (New York:
Garland Publishing, 1998). [back]
- 8. Apparently Eakins brought
his painting of Whitman back to Camden on March 23, 1888 (Whitman's Commonplace
Book, and see also Whitman's letter to Bucke dated April
8, 1888). William Sloane Kennedy noted that it was hanging in
Whitman's "shanty" in May, and commented: "It is a work of fine technical merit,
has power in it beyond a doubt; but the expression and pose are not liked by
many. To me it has something of the look of a jovial and somewhat dissipated old
Dutch toper, such as Rubens or Teniers might have painted" (Reminiscences of Walt Whitman [London: Alexander Gardner, 1896],
30). [back]