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Introduction xxxii Part One Whitman’s two-story house on Mickle Street, Camden, in 1890 The Whitman house
2:244 The instant you 2:351 W. rarely gives 2:261 Walt do I come 2:375 I want to be 4:88 Well—you are
I made that 2:98 Tell her 5:63 About that 7:370 roared when I 8:116 Yes, it was 1:390 It is part 7:294
86 Said again 2:146 W. said to me 2:316 You’ll hear that 2:306 that big story 2:415 Walt, are you 2:511
115 It is hard 2:235 I have belly aches 2:356 Bad day today 2:376 Osler made light 2:383 I am getting
I would like to begin by briefly telling a long story, an all too familiar one, a story of American literary
scholarship over the last half century, a story of how changing technologies have gradually altered
It's a story that—in the case of Walt Whitman and many others—begins in the late 1940s and early 1950s
So in the mid-1950s a relatively young group of twelve scholars joined together to devote a major part
The three-volume Variorum Edition of Leaves of Grass , part of the , was originally slated to record
He lied to me 2 or 3 times.
Several of his friends know the story in part (from his own lips).
This is the whole story.
Appleton, 1908), 2:19–20.
(2:16).
good measure, behind all of these he included yet another thin sheaf of poems titled "Songs before Parting
the page break tags in "Drum Taps," a "b" to those in "Sequel," and a "c" to those in "Songs before Parting
Even assuming that the poem is part of the front matter, it remains unclear whether it is intended as
know of Whitman's concern for "look and feel" it is potentially useful to be able to isolate each part
"Each Part and Tag of Me is a Miracle": Reflections after Tagging the 1867 Leaves of Grass