"Earth, My Likeness is a collection of poetry by Walt Whitman that focuses on nature and contains much of his best and most vital work accompanied by beautiful watercolor illustrations"--Provided by publisher.

Carry Walt Whitman’s wisdom with you in this inspirational guide that features 60 selections from his most insightful poems. Walt Whitman, the great American poet of the 19th century (1819–1892), celebrated his body, the land, the commonest of people, the plants and leaves, and the cosmos in Leaves of Grass, first published in 1855. Working variously as a printer, journalist, teacher, and Civil War nurse, Whitman traveled across the continent, soaking the ink of the wilds and the urban into his pen. His poetry is an invitation into the wilds of Nature and human nature. In Meditations of Walt Whitman, editor Chris Highland pairs 60 short selections from Whitman’s poetry with a relevant quote from a historical or contemporary writer and thinker, from Aristotle to Alice Walker, Lord Byron to Arthur C. Clarke. Take this pocket-size guide with you on backpacks, nature hikes, and camping trips. Let Whitman’s words enrich your experience as you ponder the wilderness from riverbank, mountaintop, or as you relax beside your campfire. Inside you’ll find: 60 inspiring selections of poetry from Walt Whitman Relevant text from other philosophical minds Short excerpts for convenient reading This sampler from Whitman’s poems draws from the heart of each passage. Let Whitman’s words accompany you on your own trails of discovery and help you discover the earth, your likeness.

One of the Greatest Poems in American Literature Walt Whitman (1819-1892) was considered by many to be one of the most important American poets of all time. He had a profound influence on all those who came after him. “Song of Myself”, a portion of Whitman’s monumental poetry collection “Leaves of Grass”, is one of his most beloved poems. It was through this moving piece that Whitman first made himself known to the world. One of the most acclaimed of all American poems, it is written in Whitman’s signature free verse style, without a regular form, meter, or rhythm. His lines have a mesmerizing chant-like quality, as he sought to make poetry more appealing. Few poems are as fun to read aloud as this one. Considered to be the core of his poetic vision, this poem is an optimistic and inspirational look at the world in 1855. It is exhilarating, epic, and fresh in its brilliant and fascinating diction and wordplay as it tries to capture the unique meaning of words of the day, while also embracing the rapidly evolving vocabularies of the sciences and the streets. Far ahead of its time, it was considered by many social conservatives to be scandalous and obscene for its depiction of sexuality and desire, while at the same time, critics hailed the poem as a modern masterpiece. This first version of “Song of Myself” is far superior to the later versions and will delight readers with the playfulness of its diction as it glorifies the self, body, and soul. “I am large, I contain multitudes,”

Whitman has long been more than a celebrated American author. He has become a kind of hero, whose poetry vindicates beliefs not only about poetry but also about sexuality and power. In Whitman Possessed: Poetry, Sexuality, and Popular Authority, Mark Maslan presents a challenging theory of Whitman's poetics of possession and his understandings of individual and national identity. By reading his works in relation to nineteenth-century theories of sexual desire, poetic inspiration, and political representation, Maslan argues that the disintegration of individuality in Whitman's texts is not meant to undermine cultural hierarchies, but to make poetic and political authority newly viable. In particular, Maslan explores the social impact of nineteenth-century sexual hygiene literature on Whitman's works. He argues that Whitman developed his ideas about poetry, sexuality, and authority by responding to a prominent argument that desire subjected male bodies to a penetrating and feminizing force. By identifying poetic inspiration with this erotic dynamic, Whitman imbued his poetic voice with a kind of transformative power. Whitman aligned his poetry with an impartial authority hard to find elsewhere and inclined his work as a poet to speak for the voiceless, for the masses, and for an entire nation.

Throughout his life, Walt Whitman continually revised and re-released Leaves of Grass. He added and deleted words, emended lines, divided poems, dropped and created titles, and shifted the order of poems. Leaves of Grass: A Textual Variorum of the Printed Poems includes all the variants that Whitman ever published, from the collection’s first appearance in 1855 through the posthumous “Old Age Echoes” annex printed in 1897. Each edition was unique, with its own character and emphasis, and the Textual Variorum enables scholars to follow the development of both the individual poems and the work as a whole. Volume I contains introductory material, including a chronology of the poems and a summary of all the editions and annexes, along with the poems from 1855 and 1856. Volume II includes the poems from 1860 through 1867, including the first appearance of “When Lilacs Last in the Door-Yard Bloom’d” and “O Captain! my Captain!” Volume III features the poems 1870–1891, plus the “Old Ages Annex” and an index to the three-volume set.

Morton Schoolman develops a fascinating and entirely new interpretation of the work of Horkenheimer and Adorno.

Forest Under My Fingernails is a beautifully written book about a 267 mile, 33 day backpacking trip. At different times gently introspective, humorous, and thought-provoking, this book explores the changes we go through as we gradually immerse ourselves in the deep woods, and the different rhythms we experience there. Walt's work is relatively unknown, but we regard him as one of the most eloquent nature authors and poets writing today.