"Tyler Hoffman brings a fresh perspective to the subject of performance poetry, and this comes at an excellent time, when there is such a vast interest across the country and around the world in the performance of poetry. He makes important connections, explaining things in a manner that remains provocative, interesting, and accessible."
---Jay Parini, Middlebury College

American Poetry in Performance: From Walt Whitman to Hip Hop is the first book to trace a comprehensive history of performance poetry in America, covering 150 years of literary history from Walt Whitman through the rap-meets-poetry scene. It reveals how the performance of poetry is bound up with the performance of identity and nationality in the modern period and carries its own shifting cultural politics. This book stands at the crossroads of the humanities and the social sciences; it is a book of literary and cultural criticism that deals squarely with issues of "performance," a concept that has attained great importance in the disciplines of anthropology and sociology and has generated its own distinct field of performance studies. American Poetry in Performance will be a meaningful contribution both to the field of American poetry studies and to the fields of cultural and performance studies, as it focuses on poetry that refuses the status of fixed aesthetic object and, in its variability, performs versions of race, class, gender, and sexuality both on and off the page.

Relating the performance of poetry to shifting political and cultural ideologies in the United States, Hoffman argues that the vocal aspect of public poetry possesses (or has been imagined to possess) the ability to help construct both national and subaltern communities.  American Poetry in Performance explores public poets' confrontations with emergent sound recording and communications technologies as those confrontations shape their mythologies of the spoken word and their corresponding notions about America and Americanness.

Now, nearly forty years after its original translation into English, Roger Asselineau's complete and magisterial biography of Walt Whitman will remind readers of the complex weave of traditions in Whitman scholarship. It is startling to recognize how much of our current understanding of Whitman was already articulated by Asselineau nearly half a century ago. Throughout its eight hundred pages, The Evolution of Walt Whitman speaks with authority on a vast range of topics that define both Whitman the man and Whitman the mythical personage. Remarkably, most of these discussions remain fresh and relevant, and that is in part because they have been so influential.

In particular, The Evolution of Walt Whitman inaugurated the study of Leaves of Grass as a lifelong work in progress, and it marked the end of the habit of talking about Leaves as if it were a single unified book. Asselineau saw Whitman's poetry “not as a body of static data but as a constantly changing continuum whose evolution must be carefully observed.” Throughout Evolution, Asselineau placed himself in the role of the observer, analyzing Whitman's development with a kind of scientific detachment. But behind this objective persona burned the soul of a risk taker who was willing to rewrite Whitman studies by bravely proposing what was then a controversial biographical source for Whitman's art—his homosexual desires.

The Evolution of Walt Whitman is a reminder that extraordinary works of criticism never exist in and of themselves. In this expanded edition, Roger Asselineau has provided a new essay summarizing his own continuing journey with Whitman. A foreword by Ed Folsom, editor of the Walt Whitman Quarterly, regards Evolution as the genesis of contemporary Whitman studies.

There has never been an edition of the selected letters of Walt Whitman, a remarkable fact considering how accustomed we are to becoming acquainted with major writers through their letters. Now Edwin Haviland Miller, editor of the six-volume collected writings of Whitman, has used his intimate knowledge of the "good gray poet's" correspondence to produce this revealing selection of 250 letters, introduced and annotated concisely and evocatively. Whitman in these letters is simple, direct, colloquial, adding a counterpoint to his artistic voice and persona as a poet.

Celebrating the various ethnic traditions that melded to create what we now call American literature, Whitman did his best to encourage an international reaction to his work. But even he would have been startled by the multitude of ways in which his call has been answered. By tracking this wholehearted international response and reconceptualizing American literature, Walt Whitman and the World demonstrates how various cultures have appropriated an American writer who ceases to sound quite so narrowly American when he is read into other cultures' traditions.

In 1992, the year of the hundredth anniversary of Walt Whitman's death, a major gathering of international scholars took place at the University of Iowa. Over 150 participants heard papers by 20 of the world's most eminent critics of Whitman. Three generations of scholars offered new essays that brilliantly tracked the course of past and present Whitman scholarship. So significant was this historic celebration of the great American poet that the opening session was covered by CBS “Sunday Morning,” National Public Radio's “Morning Edition,” the New York Times, and other newspapers across the country. Musical and theatrical performances, art exhibitions, slide shows, readings, songs, and even a recently discovered recording of Whitman's voice were presented during the three days of the conference.

But the heart of the conference was this series of original essays by some of the most innovative scholars working in the field of American literature. There has ever been a more important collection of Whitman criticism. In these essays, readers will find the most suggestive recent approaches to Whitman alongside the most reliable traditional approaches. Walt Whitman: The Centennial Essays captures Whitman's energy and vitality, which have only increased in the century after his death.

In 1961 the first volume of Edwin Haviland Miller’s The Correspondence was published in the newly established series the Collected Writings of Walt Whitman. Miller proceeded to publish five additional volumes of Whitman letters, and other leading scholars, including Roger Asselineau, compiled accompanying volumes of prose, poems, and daybooks. Yet by the late 1980s, the Whitman Collected Writings project was hopelessly scattered, fragmented, and incomplete.

Now, more than forty years after the inaugural volume’s original publication, Ted Genoways brings scholars the latest volume in Walt Whitman: The Correspondence. Incorporating all of the letters Miller had collected before his death in 2001 and combining them with more than a hundred previously unknown letters he himself gathered, Genoways’s volume is a perfect accompaniment to Miller’s original work.

Among the more than one hundred fifty letters collected in this volume are numerous correspondences concerning Whitman’s Civil War years, including a letter sending John Hay, the personal secretary to Abraham Lincoln, a manuscript copy of “O Captain, My Captain!” Additional letters address various aspects of the production of Leaves of Grass, the most notable being an extensive correspondence surrounding the Deathbed Edition, gathered by Whitman’s friend Horace Traubel, and reproduced here for the first time. Most significantly, this volume at last incorporates Whitman’s early letters to Abraham Paul Leech, first published by Arthur Golden in American Literature in 1986. The revelations contained in these letters must be considered among the most important discoveries about Whitman’s life made during the last half of the twentieth century.

Regardless of whether their significance is great or small, immediate or long-term, each new piece of Whitman’s correspondence returns us to a particular moment in his life and suggests the limitless directions that remain for Whitman scholarship.

Whitman’s poetry is full of places where he directly addresses his future readers, acknowledges the time span between them, then shrugs it off. “The greatest poet,” he writes in his preface to Leaves of Grass, “places himself where the future becomes present.” By celebrating the complex legacy of Leaves of Grass, the ten essayists in this spirited collection affirm the truth of its premise: “Past and present and future are not disjoined but joined.”

Walt Whitman, Where the Future Becomes Present invigorates Whitman studies by garnering insights from a diverse group of writers and intellectuals. Writing from the perspectives of art history, political theory, creative writing, and literary criticism, the contributors place Whitman in the center of both world literature and American public life. The volume is especially notable for being the best example yet published of what the editors call the New Textuality in Whitman studies, an emergent mode of criticism that focuses on the different editions of Whitman’s poems as independent works of art.

Written one hundred fifty years after the book’s publication, these timely, innovative responses to Leaves of Grass confirm that the future of Whitman’s poems is vital to our present.