What Is the Grass


Book Description

“[An] incisive, personal mediation.” —New York Times Book Review Mark Doty has always felt haunted by Walt Whitman’s perennially new American voice, and by his equally radical claims about body and soul. In What Is the Grass, Doty effortlessly blends biography, criticism, and memoir to keep company with Whitman and his Leaves of Grass, tracing the resonances between his own experience and the legendary poet’s life and work.




Song of Myself


Book Description

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,”




Leaves of Grass


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The Grass Crop


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Grass is a very important world crop. In some countries, for example the UK, Australia and New Zealand, animal products from grassland make a greater contribution to the value of agricultural production than does any other crop. Yet research being undertaken to further· our understanding of the factors affecting the growth and productivity of grasslands has trailed in the shadow of the determined efforts made to improve our knowledge of cereals and, to a somewhat lesser extent, legumes. However, in spite of its low profile, grassland research has resulted in considerable advances in our knowledge in the last 20 years, and we feel that this book provides a timely opportunity to bring together some of this work in a review of what is primarily the ecophysiology of the temperate grass crop. Unlike other crops grown for their grain or vegatative parts, grass and grassland products are used almost entirely for the feeding of ruminant animals; the interaction of the sward and the animal thus adds an extra dimension to investigations of the productivity of grassland. No one author could adequately encompass the breadth of work covered in the book. Acknowledged experts have therefore been selected as contributors to provide an up-to-date review of their own specialized areas. Whilst multi author texts can cause problems of lack of uniformity of approach, each contributor has been made aware of the contents of the other chapters in an attempt both to provide continuity and to prevent glaring overlaps.







The Dublin Review


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Annual Report


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Günter Grass's Use of Baroque Literature


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This is the first study to discuss the affinity between Grass's complete works and baroque literature. Grass's employment of baroque literature is of particular interest because it takes up a tradition from which German literature has long broken away. Alexander Weber's argument moves from an outline of general thematic parallels in the early works to an analysis of the conscious use of baroque literature in Der Butt and Das Treffen in Telgte. He offers both a close reading of Grass and general reflections on how a past literary tradition can be adopted by a modern writer. The study focuses on the themes of vanity, carpe diem, and Senecan Stoicism in the early works; it discusses parallels between the rhetorical structure of the courtly-historical novel and Der Butt and traces the artist's melancholy and baroque allegories in Der Butt and Das Treffen in Telgte.




Dun's Review


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