For a few days before going to the protest, I gathered images of women and girls and arranged them in a group: ancestors, dolls, figures, goddesses, paintings, the living and the dead, some with whom I had been communing. Some are hidden in veils and masks and voodoo. Some are brides or in braids or shy or bold. Daughters, stepdaughters, daughters-in-law, mother, mothers, aunts, grandmothers, great greats, sisters-in-law, relatives in hiding. C. D.
The drift of it
The study of how poems travel — and how they change — calls for some discussion of the relationship between author and reader. How do poets themselves define or at least imagine this relationship? What do they do to ensure that their work reaches their audience? And what happens then?
Few poets have paid more attention to their audience than Walt Whitman. Matt Cohen’s book Whitman’s Drift: Imagining Literary Distribution, published earlier this year by the University of Iowa Press, explores the topic from the combined perspective of reception studies, media studies, and book history. The “drift” in the title refers to the pattern of distribution of Whitman’s work in his lifetime and after — something not easy to capture empirically or to grasp conceptually. For Cohen, the word implies uncontrolled, unsystematic, but not entirely haphazard movement, “the nexus of the textual-formal and distributional form in his work, coupling a range of methods of dissemination with poetic technique and the physical design of books.” As his study shows, distribution as much as production was central to Whitman’s desire to connect with his readers.