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Camden P M1
July 23 '90
—So K2 is back all right & this is his
letter—The same
subject continued with me—bodily matters fair—Have just written to
some (unknown) friends—quite a cluster of them, men & women, Bernard
O'Dowd3 their spokesman—in Melbourne, Victoria, who persistently
read & inwardly digest L of G. there at the antipodes & get along with it
(as far as the law allows)—O'D's letters please me—Nothing very new
with me—Y'r letters rec'd4—quiet
here to day—fine weather—McKay5
sent over for big book6 yesterday—Horace T7 cannot get away till
October—Did I tell you that a monument designer, Phila: has bro't me a
design8 for the Cemetary vault9 (do
you remember Blake's10 "Death"?11)
Best love to you all—
Walt Whitman
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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 letter is addressed:
Dr Bucke | Asylum | London | Ontario | Canada. It is postmarked: Camden, N.J. |
Jul 23(?) | 6 PM | 90, Buffalo, N.Y. | Jul | 2? | 9 AM | 1890 | Transit,
Philadelphia, PA | Jul | 23 | ? PM | 1890 | Transit. [back]
- 2. William Sloane Kennedy
(1850–1929) was on the staff of the Philadelphia American and the Boston Transcript; he also
published biographies of Longfellow, Holmes, and Whittier (Dictionary of American Biography [New York: Charles Scribner's Sons, 1933], 336–337). Apparently Kennedy called on
the poet for the first time on November 21, 1880 (William Sloane Kennedy, Reminiscences of Walt Whitman [London: Alexander
Gardener, 1896], 1). Though Kennedy was to become a fierce defender of Whitman,
in his first published article he admitted reservations about the "coarse
indecencies of language" and protested that Whitman's ideal of democracy was
"too coarse and crude"; see The Californian, 3 (February
1881), 149–158. For more about Kennedy, see Katherine Reagan, "Kennedy, William Sloane (1850–1929)," Walt
Whitman: An Encyclopedia, ed. J.R. LeMaster and Donald D. Kummings (New
York: Garland Publishing, 1998). [back]
- 3. According to Whitman's Commonplace Book, the
poet wrote to O'Dowd on July 12 after receiving a letter on the preceding day.
The location of the letter is not known, but the authors of Bernard O'Dowd (1954), Victor Kennedy and Nettie Palmer, claim to have
seen a copy; see Walt Whitman Review 7 (1961),
28n. [back]
- 4. See Bucke's letter of July 20, 1890. [back]
- 5. David McKay (1860–1918) took
over Philadelphia-based publisher Rees Welsh's bookselling and publishing
businesses in 1881–82. McKay and Rees Welsh published the 1881 edition of
Leaves of Grass after opposition from the Boston
District Attorney prompted James R. Osgood & Company of Boston, the original publisher,
to withdraw. McKay also went on to publish Specimen Days &
Collect, November Boughs, Gems
from Walt Whitman, Complete Prose Works,
and the final Leaves of Grass, the so-called deathbed edition. For
more information about McKay, see Joel Myerson, "McKay, David (1860–1918)," Walt Whitman: An
Encyclopedia, ed. J.R. LeMaster and Donald D. Kummings (New York:
Garland Publishing, 1998). [back]
- 6. Whitman's Complete Poems & Prose (1888), a volume Whitman often referred to
as the "big book," was published by the poet himself—in an arrangement
with publisher David McKay, who allowed Whitman to use the plates for both Leaves of Grass and Specimen
Days—in December 1888. With the help of Horace Traubel, Whitman made
the presswork and binding decisions for the volume. Frederick Oldach bound the
book, which included a profile photo of the poet on the title page. For more
information on the book, see Ed Folsom, Whitman Making Books/Books Making Whitman: A Catalog and
Commentary (University of Iowa: Obermann Center for Advanced Studies, 2005). [back]
- 7. Horace L. Traubel (1858–1919)
was an American essayist, poet, and magazine publisher. He is best remembered as
the literary executor, biographer, and self-fashioned "spirit child" of Walt
Whitman. During the late 1880s and until Whitman's death in 1892, Traubel visited
the poet virtually every day and took thorough notes of their conversations,
which he later transcribed and published in three large volumes entitled With Walt Whitman in Camden (1906, 1908, & 1914).
After his death, Traubel left behind enough manuscripts for six more volumes of
the series, the final two of which were published in 1996. For more on Traubel,
see Ed Folsom, "Traubel, Horace L. [1858–1919]," Walt
Whitman: An Encyclopedia, ed. J.R. LeMaster and Donald D. Kummings (New
York: Garland Publishing, 1998). [back]
- 8. J. E. Reinhalter, the
designer, and Ralph Moore called on July 11 to discuss the vault (The
Commonplace Book). [back]
- 9. Whitman was buried in
Harleigh Cemetery in Camden, New Jersey, on March 30, 1892, four days after his
death, in an elaborate granite tomb that he designed. Reinhalter and Company of
Philadelphia built the tomb, at a cost of $4,000. Whitman covered a portion
of these costs with money that his Boston friends had raised so that the poet
could purchase a summer cottage; the remaining balance was paid by Whitman's
literary executor, Thomas Harned. For more information on the cemetery and
Whitman's tomb, see See Geoffrey M. Still, "Harleigh Cemetery" Walt Whitman: An
Encyclopedia, ed. J.R. LeMaster and Donald D. Kummings (New York:
Garland Publishing, 1998). [back]
- 10. William Blake
(1757–1827), the English painter, printer, and Romantic-era poet, is known for his
illuminated books, including his collection of poems
Songs of Innocence and Experience (1789). He also
illustrated numerous books, including works by the English writers Mary
Wollstonecraft, Thomas Gray, and John Milton. [back]
- 11. Whitman likely based the
design of his tomb in Harleigh Cemetery on an illustration by Blake called
"Death's Door," an image often reprinted in the nineteenth century (and
re-engraved by Whitman's friend W.J. Linton); see Gary Schmidgall, Containing Multitudes: Walt Whitman and the British Literary
Tradition (New York: Oxford University Press, 2014),
196–199. [back]