W
alt Whitman (or Uncle Walt as Robin Williams referred to him in the film Dead Poet’s Society) has been described as “the world’s poet of democracy.”[1] And, Leaves of Grass is his visionary collection of poetry celebrating his belief in democracy and the individual’s place in it.

Leaves of Grass was published little more than 60 years after the United States constitution was ratified. And, Whitman considered this recently established democratic governance to be an inevitable evolutionary force in human history.

That said, he was in no way under the illusion that a functioning democratic society would either come easily or emerge quickly in the still-young nation of his day.

He also believed that democracy would fail if it was strictly legislative and legalistic. And, contended that a democratic literature was the most essential factor in urging this evolution along. Because:

That which really balances and conserves the social and political world is not so much legislation, police, treaties, and dread of punishment, as the latent eternal intuitional sense, in humanity, of fairness, manliness, decorum, &c. Indeed, the perennial regulation, control and oversight, by self-suppliance, is sine qua non to Democracy; and a highest, widest aim of Democratic literature may well be to bring forth, cultivate, brace and strengthen this sense in individuals and society.[2]

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As long as the country’s imagination remained fueled by literature modeled on works produced under the “opposite influences” of aristocracy and hierarchical, authoritarian structures, Whitman maintained, democracy would never flourish.[3]

When Whitman began writing, American poetry sounded pretty much like its British counterpart. Popular poets of the day, like John Greenleaf Whittier and Henry Wadsworth Longfellow, wrote in a manner reminiscent of the Victorian style prevalent in England. Their style revolved around the special, the elect, the few.

So, for reasons pointed out above, Whitman wanted to create an original, distinctly American form and style. One that shifted the focus away from the rich & powerful, and stratified social structures. One that championed the everyday people who make up the heart of democracy. One that quells potential animosity between these everyday people by nurturing understanding and cultivating camaraderie.[4]

Whitman’s primary interest was in the way a democratic self would act rather than the way  democratic society would function. And, he knew that defining this revolutionary new self would require a more equalizing connection between reader and author.[5]

The style Whitman set out to create would be as open, and nondiscriminatory as he imagined an ideal democracy to be. It would reflect the broad spectrum of American experience. And, most importantly, it would be a democratic voice that would serve as a model for society.[6]

And, he did exactly that. Rejecting traditional poetic conventions, Walt Whitman is widely considered to be the “Father of free verse.”[7] This new form of poetry is a loose, informal style, with no rhyme, or no meter. As such, it better captures the natural rhythms of speech.

He constructed a poetry that breaks down the barriers of bias and convention, requiring acts of imaginative absorption on the part of the reader. Whitman’s poetry directly addresses the reader and challenges him to action. All of which results in an enlarging of the self.

Rather than proposing a particular persona, however, Whitman’s Leaves of Grass offers a tool for discovering his own innate wisdom in developing a democratic identity.[8]

The question for Whitman was always one of the “democratic individual” within an “aggregated, inseparable… democratic nationality.”[9]  Which makes Leaves of Grass more than simply the title of a collection of poetry – it’s Whitman’s foundational metaphor for democracy itself.

As Alexis de Tocqueville pointed out in 1835, America has a tendency to think as a country of “I’s,” rather a nation of “us.”[10] But, Whitman expresses unlimited optimism on this issue, one that tormented America’s founders… the fear that individualism would deter the public virtue of aligning our individual self-interest with that of the republic’s.[11] 

In Whitman’s metaphor, the American people are like grass. No two leaves/blades are alike. Each has a certain kind of individuality. Step back, however, and you’ll see that the leaves/blades are more alike than they are different. Americans can be ourselves to the utmost while also sharing deep kinship with our neighbors.

Who are our neighbors?[12]  All the other leaves/blades of grass around us:

Sprouting alike in broad zones and narrow zones,
Growing among black folks as among white,
Kanuck, Tuckahoe, Congressmen, Cuff, I give them the same, I receive them the same.[13]

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Together, the individual leaves/blades of grass create a lush, verdant quilt that covers the ground. And, when you stand back far enough, you don’t see individual leaves/blades at all, but an organic unity.[14]

It’s a visual representation of what Whitman expresses in the line, “what I assume you shall assume”— that is, assume that our common interest in our own freedom is what, above all else, unites us as Americans.[15]

The individual leaves/blades haven’t disappeared, however. A closer looks lets us know  they’re still there, unique and vibrant, no two alike. Whitman’s leaves of grass metaphor is an exquisite example of e pluribus unum, from many one.[16]

Song of Myself was given priority as the first poem of the collection Leaves of Grass. And rightly so, because it represents the essence of Whitman’s poetic vision.[17]

Consistent with his grass metaphor for democracy, Whitman’s narrator, the “I” who’s celebrating himself, functions in a dual capacity. He isn’t simply speaking as an individual, but as the voice of an aggregated democratic whole. And, this concept is reiterated throughout the work:

For every atom belonging to me as good belongs to you. (Section 1)

In all people I see myself, none more and not one a barleycorn less,
and the good or bad I say of myself I say of them. (Section 20) 

I am large. I contain multitudes. (Section 51)[18]

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Whitman’s narrator, the “self” in Song of Myself, is clearly speaking as the voice of a equitable collective.

As noted above, Whitman considered his poem to be, at least in some measure, and American epic. Unlike the epic poetry of Homer, Virgil, or Dante, however, the “self” in Song of Myself isn’t an archetypal hero.

In the Iliad, Homer catalogues the Greek ships, organized according to the importance of the chieftains and warriors they carried. In Paradise Lost, Milton catalogues the major demons who have been cast into hell.

Song of Myself also includes a catalogue. Significantly, the dual capacity on which Whitman’s grass metaphor functions signifies equality within democratic America as well as unity.

So, in keeping with his grass metaphor, Whitman’s catalogue is comprised of everyday American men and women, all one, and all equal.[19] Here is a mere segment:

The conductor beats time for the band and all the performers follow him,
The child is baptized – the convert is making the first professions,
The regatta is spread on the bay… how the white sails sparkle!
The drover watches his drove, he sings out to them that would stray,
The pedlar sweats with his pack on his back – the purchaser higgles about the odd cent,
The camera and plate are prepared, the lady must sit for her daguerreotype,
The bride unrumples her white dress, the minute hand of the clock moves slowly,
The opium eater reclines with rigid head and just-opened lips,
The prostitute draggles her shawl, her bonnet bobs on her tipsy and pimpled neck,
The crowd laugh at her blackguard oaths, the men jeer and wink to each other,
(Miserable! I do not laugh at your oaths nor jeer you,)
The President holds a cabinet council, he is surrounded by the great secretaries, [20]

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Whitman closes his vast list of fellow Americans with the declaration:

By God! I will accept nothing which all cannot have their counterpart of on the same terms.[21]

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Understanding that we’re all equal is significant. And, what Whitman is dramatizing with his famous catalogues of everyday people doing everyday things is quite simple. He’s making them manifest in our imaginations, so we come to understand that these are our brothers and sisters.[22]

But that’s simply at the individual level of the grass metaphor. Whitman also urges us to move away from our tendency for rivalrous individuality, to expand our larger self. For, the actual subject of his American epic is the expansion of consciousness and spirit, mind and heart.

At the level of a united whole which this metaphor also functions on – that is, when we leave hierarchical thinking behind, stop looking up at those who are purportedly superior to us, and down at those who seem less than us – we’re free from false constraints and can live joyously as part of a community of equals.[23]

As noted above, the free verse Walt Whitman is credited with inventing better captures the natural rhythms of speech. This observation is especially important given that Song of Myself appears to be a dialogue between Whitman and the reader rather than a literary performance.

Significantly, this conversational dynamic is consistent with Whitman’s grass metaphor, in that it culminates in a comradeship between poet and reader – a merger of equals.[24]

Even more conducive to creating the impression of conversation than the absence of rhyme or meter is Whitman’s practice of posing questions directly to the reader.[25] For example:

Have you reckoned a thousand acres much ? Have you reckoned the earth much?
Have you practiced so long to learn to read ?
Have you felt so proud to get at the meaning of poems? [26]

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The passage above appears at the beginning of the work, and Whitman follows it with a declaration:

Stop this day and night with me and you shall possess the origin of all  poems,
You shall possess the good of the earth and sun… there are millions of suns left,
You shall no longer take things at second or third hand… nor look through the
eyes of the dead… nor feed on the spectres in books,
You shall not look through my eyes either, nor take things from me,
You shall listen to all sides and filter them from yourself.[27]

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At this point, speaker and reader are two separate individuals, with the poet as teacher. By the end of the passage, however, the poet makes it clear that the reader will eventually no longer be a student, that they will ultimately become equals.

By the middle of Song of Myself, Whitman indicates to the reader that they now play a larger role than merely processing the words on the page:

Listener up there! what have you to confide to me?
Look in my face while I snuff the sidle of evening,
Talk honestly, no one else hears you, and I stay only a minute longer.[28]

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Obviously, it isn’t possible for the poet to actually listen to what the reader may have to say. This exchange is meant to set the reader’s emotional and intellectual wheels in motion, as the saying goes. It’s intended to engage the reader in a way beyond that of simply ingesting what Whitman tells them. The reader is no longer taking things at second or third hand… or from the poet for that matter.

In the final segments of the poem Whitman returns to his foundational metaphor:

I bequeath myself to the dirt to grow from the grass I love,
If you want me again look for me under your bootsoles.

You will hardly know who I am or what I mean,
But I shall be good health to you nevertheless,
And filter and fibre your blood. [29]

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The speaker and reader have now merged, the poet symbolically filtering the reader’s blood, as fibres in their muscles. In true democratic fashion, they function together to nurture the democracy Whitman is celebrating.

In the poem’s concluding stanza, the speaker’s journey is complete:

Failing to fetch me at first keep encouraged,
Missing me one place search another,
I stop some where waiting for you.[30]

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And now, it’s the reader’s task to carry the democracy that Whitman’s grass symbolizes forward. Fueled by their expanded self, and the democratic spirit conveyed in the poet’s words.

Whitman was no Pollyanna, however – he understood that democracy is ever vulnerable. He realized that the sight of an egalitarian society – with equal people pursuing their goals and desires – can seem chaotic. So, worship of a king – or some form of autocratic leader – is always tempting.

He admonishes us to remember what the revolutionaries fought for. And, just as importantly, what they fought against. When we forget that, Whitman points out, we’re in danger of lapsing back into the way of kings.[31]  The following passage from A Boston Ballad addresses this ever-present concern:

Clear the way there Jonathan!
Way for the President’s marshal! Way for the government cannon!
Way for the federal foot and dragoons… and the phantoms afterward.

I rose this morning early to get betimes in Boston town;
Here’s a good place at the corner… I must stand and see the show.

I love to look on the stars and stripes… I hope the fifes will play Yankee Doodle.

How bright shine the foremost with cutlasses,
Every man holds his revolver… marching stiff through Boston town.[32]

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Whitman is describing the type of procession seen in countries like Fascist Italy, Communist China, or North Korea. Where the leader is held supreme, and military might is on full display as a threatening reminder to the world…  as well as their own people.

He’s alerting us to what’s taking place when we start seeing such displays of concentrated, dominating power. When that happens, we’ve lost sight of the fact that the American revolution was all about fighting a tyrant wielding  just this type of power. We might as well:

Dig out King George’s coffin …. unwrap him quick from the graveclothes…
box up his bones for a journey :
Find a swift Yankee clipper …. here is freight for you, blackbellied clipper,
Up with your anchor! shake out your sails!… steer straight toward Boston bay.

Now call the President’s marshal again, and bring out the government cannon,
And fetch home the roarers from Congress and make another procession and guard
it with foot and dragoons. 

Here is a centrepiece for them:
Look! All orderly citizens… look from the windows, women! 

The committee open the box and set up the regal ribs and glue those that will not stay,
And clap the skull on top of the ribs and clap a crown on top of the skull. 

You have got your revenge old buster!… The crown has come to its own and more than its own.[33]

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How does Whitman advise us to address the fear of chaos, and avoid such a lapse into king-like authoritarian leadership?

By reaffirming the personal bonds of our democracy. By reminding people that we’re involved in what is likely the greatest and most promising social venture of all time…   And most importantly, by emphasizing that this grand American experiment requires hard work and vigilance.[34]

Ultimately, Whitman’s message is one of connectedness, kinship defined by receptivity and responsiveness to others.  If we can move away from our addiction to rivalrous individuality, and our proclivity toward hierarchy and authoritarian systems, we can embrace his democratic trope of the grass.

Whitman has taken us on a tour of democracy. He’s shown us what we might achieve by following his lead on the subject. When we make this metaphoric grass the national flag, so to speak, we learn to love and appreciate the people around us. We become a community of equals, which makes us less susceptible to tyrannical leaders.

Benjamin Franklin is credited with saying, our form of government is a republic…  if we can keep it. As Franklin well knew, maintaining a repudiation of hierarchy and authoritarian systems is not so easy.[35] Whitman’s benefits don’t materialize simply by reading his poem. It takes work – to expand our minds and hearts, to see those around us as our brothers and sisters,  to see ourselves as part of a united democratic whole. Democracy takes effort – every day, and from every one of us.

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That’s my take on Leaves of Grass — what’s yours?
Check out this Discussion Guide to get you started.

Endnotes:

[1] Betsy Erkkila. In “Walt Whitman: Poet of American Democratic Individualism.” By Walter Donway. Online Library, November 30, 2022
https://oll.libertyfund.org/publications/reading-room/2022-11-30-donway-walt-whitman-poet-american-democratic-individualism

[2] Whitman, Walt. Democratic Vistas. Washington, D.C. 1871. Pp 69-70.

[3] Whitman, Walt. Democratic Vistas.  Washington, D.C., 1871. Pg 5.

Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Preface.

[4] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Preface.

[5] Folsom, Ed. “Democracy.” The Walt Whitman Archive. Gen. ed. Matt Cohen, Ed Folsom, & Kenneth M. Price.

[6] “Walt Whitman at 200.” Poetry Foundation. https://www.poetryfoundation.org/collections/149913/walt-whitman-at-200

Folsom, Ed. “Democracy.” The Walt Whitman Archive. Gen. ed. Matt Cohen, Ed Folsom, & Kenneth M. Price.

[7] Voigt, Benjamin. “Walt Whitman 101.” PoetryFoundation.org  July 1, 2015. https://www.poetryfoundation.org/articles/70243/walt-whitman-101

[8] Hennequet, Claire. “Imagining the Nation. Walt Whitman’s Leaves of grass.”

[9] Whitman, Walt. “Preface, 1872, to As a Strong bird on Pinions Free. (Now, Thou-Mother with thy Equal Brood.)”   Complete Prose Works. Philadelphia: David McKay Publishers, 1892. Pg 279.

[10] De Tocqueville, Alexis. Democracy in America. Book 2 (Influence of Democracy on the feelings of Americans.) Chapter II.

[11] Donway, Walter. “Walt Whitman: Poet of American Democratic Individualism.” Online Library, November 30, 2022
https://oll.libertyfund.org/publications/reading-room/2022-11-30-donway-walt-whitman-poet-american-democratic-individualism

[12] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Pg 30.

[13] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 16

[14] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Pg 30.

[15] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 13

[16] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Pg 30.

[17] Greenspan, Ezra, ed. Walt Whitman’s “Song of Myself”: A Sourcebook and Critical Edition. New York: Routledge, 2005. Pg 3.

[18] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 13, 26, 53, 55.

[19] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Pg 39.

[20] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 22.

[21] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 29.

[22] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Pg 27.

[23] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Pg 21.

[24] Mason, John B. “Questions and Answers in Whitman’s ‘Confab.’” American Literature. Vol. 51, No. 4 (January 1980) Pg 499.

[25] Mason, John B. “Questions and Answers in Whitman’s ‘Confab.’” American Literature. Vol. 51, No. 4 (January 1980) Pg 493.

[26] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 14.

[27] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 14.

[28] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 55.

[29] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 56.

[30] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 56.

[31] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Pg 56.

[32] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 89.

[33] Whitman, Walt. Leaves of Grass. Washington D.C., 1855. Pg 90.

[34] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Pg 57.

[35] Edmundson, Mark. Song of Ourselves: Walt Whitman and the fight for democracy. Cambridge, Massachusetts: Harvard University Press, 2021. Pg 32-33.

Images:

Leaves of Grass: 1st edition cover. Public Domain
A distinctly American form and style: Brady, Matthew. Walt Whitman. Public Domain
Whitman’s foundational metaphor: Photo by Fauzan Saari on Unsplash
Song of Myself: Hollyer, Samuel. Steel engraving of a daguerreotype by Gabriel Harrison.  Morgan Library & Museum. Public Domain
The grass metaphor also signifies equality: Photo by Jonny Gios on Unsplash
It’s a conversation: Photo by Matheus camara da silva on unsplash.com
Democracy is ever-vulnerable: Photo by iStrfry , Marcus on Unsplash
In conclusion: Photo by Zacqueline Baldwin on Unsplash

Speak and Shout From a Man’s Perspective

Laurie Halse Anderson’s Speak has faced controversy for decades due to its portrayal of sexual assault. Some critics have mischaracterized its content as “soft pornography” or “political propaganda,” particularly in states like Missouri, Nebraska, and Florida. By 2021, accusations arose that Speak was anti-male and would encourage harmful behaviors, such as increasing abortion rates. Despite these challenges, Speak is ultimately about survivorship, giving voice to those silenced by trauma—particularly its protagonist, Melinda, who struggles to reclaim her identity after experiencing sexual assault. Far from being a political statement or anti-male, Anderson’s work is deeply personal, exploring the emotional aftermath of violence.

In 2019, Anderson took her fight against censorship to the next level by publishing Shout, a memoir that confronts issues of sexual assault, silencing, and the #MeToo movement head-on. While Shout takes place in a more contemporary social context, it shares many thematic similarities with Speak in its exploration of survivorship, trauma, and the power of breaking silence. Just like Speak, Shout has also faced challenges and bans, despite its relevance to ongoing cultural conversations about sexual violence and the imperative for survivors to speak up. Anderson’s choice to confront such difficult material in both novels reflects her dedication to challenging the culture of silence that so often surrounds sexual assault, especially in young adult literature. To this day, she is still fighting censorship, showing up at school boards, going on interviews such as NPR, and her own digital activism.

“Soft Pornography” Accusation

 The argument that Speak promotes “soft pornography” primarily stems from the depiction of Melinda’s sexual assault. Some critics, particularly in conservative regions like Missouri and Nebraska, misinterpret the scene as inappropriate sexual content. However, this view fails to recognize the scene’s purpose: Speak portrays the trauma of the assault through Melinda’s perspective, focusing on her emotional and psychological aftermath rather than any graphic details. Anderson’s careful treatment of the subject focuses on the consequences of the violence, not the violence itself.

Fundamentally, literature is a space for discussing difficult but necessary topics, especially for young readers who may be experiencing similar trauma. Removing such books due to discomfort over subject matter can rob adolescents of an opportunity to find validation in their own experiences. Rather than exploitative, Speak presents the sexual assault as an integral part of Melinda’s journey to reclaim her voice and identity, making it more about recovery than shock value. Dismissing it as “pornography” silences important conversations about consent, trauma, and healing.

“Political Propaganda” Accusation

After 2021, as debates around Speak continued, another criticism surfaced—Speak was labeled “political propaganda,” with some accusing it of promoting anti-male sentiments. Critics claimed that the novel could lead to an increase in abortion rates or misrepresent men, framing them all as potential aggressors. This type of accusation stems from the novel’s critique of rape culture, which examines how societal norms perpetuate the silence around sexual violence. Rather than targeting men specifically, Speak focuses on the systems that allow violence to persist by silencing survivors, reinforcing that both men and women can play roles in supporting or dismantling these systems.

Far from being anti-male, Speak critiques systems of power that allow violence to flourish, and this critique is essential for all genders. Rape culture is a societal issue, not a gendered one. Both men and women can be affected by these harmful systems, and literature like Speak creates space for deeper conversations about how these structures work. Moreover, sexual assault affects all genders. For instance, studies show that 1 in 6 men have experienced sexual abuse or sexual assault. This statistic underscores that sexual violence is not solely a women’s issue. This makes Speak even more relevant for young readers who need to understand that survivorship is not limited to one gender.

Importance of Breaking the Silence

At its core, Anderson’s work, including her memoir Shout, is about breaking the silence surrounding sexual violence. Her anger over the continued silencing of survivors drove her to write Shout, published 20 years after Speak. Shout came out amid the rise of the #MeToo movement, founded by Tarana Burke in 2006 and gaining global attention in 2017, further highlighting the urgency of addressing sexual violence in society. Another study shows forty percent of rapes and sexual assaults were reported to police in 2017, but only about 25% were reported to police in 2018.” The book is a raw reflection of Anderson’s own experiences and frustrations with the lack of progress, adding a deeply personal dimension to the broader social critique.

While Speak fictionalizes Melinda’s experience, Shout serves as Anderson’s direct contribution to the #MeToo movement, amplifying survivors’ voices and advocating for accountability. The banning of these books—whether due to accusations of “political agendas” or “inappropriate content”—only reinforces the culture of silence that Anderson and #MeToo aim to dismantle.

In Conclusion

Laurie Halse Anderson’s Speak and Shout remain essential works for addressing sexual violence, despite accusations of being “soft pornography” or “political propaganda.” These claims distract from the novels’ fundamental purpose: to foster dialogue about survivorship, healing, and dismantling rape culture. Whether exploring Melinda’s fictionalized experience in Speak or Anderson’s own story in Shout, these books encourage readers to confront uncomfortable truths and break the silence that enables sexual violence to persist. Rather than banning these works, educators and readers alike should recognize their importance in creating empathy, awareness, and social change.

This is the fundamental reason I have written this essay. As a young male sexual assault survivor, when I encountered this book, I was able to learn that I wasn’t alone. As I read this book in middle school, I learned the vocabulary of what had happened to me. I had gotten sexually abused and assaulted, and it began a hard and arduous process of reconciling what had happened to me. I have to thank Melinda and Laurie Halse Anderson for this. I may have never been able to reclaim my voice, and start speaking if not for this book.

As book bans have drastically risen, Speak and Shout, are almost always on the list. Book banning, especially in the context of young adult literature, can have far-reaching consequences. By removing these books from schools and libraries, those most in need of support are denied access to stories that could help them process their own experiences. The very act of banning Speak reinforces the culture of silence that Anderson’s work seeks to dismantle.

This personal connection is why book bans are so damaging. For every survivor like me who found solace in Speak, there are countless others who might never have the chance if these books continue to be censored. The rise in book bans not only targets works about sexual assault but also restricts access to critical stories about race, gender, and identity. This wave of censorship disproportionately affects marginalized communities, whose stories are often deemed too controversial or political for public consumption. These works are vital not only for their literary merit but also for the crucial role they play in fostering empathy, understanding, and social change. As book bans continue to rise, it is more important than ever to defend the right to access literature that challenges the status quo and empowers survivors. Anderson’s work offers a powerful reminder that silence is not the solution—and that speaking out is an act of resistance and healing.

By banning these books, we are not protecting young readers; we are denying them the chance to learn, grow, and find the strength to reclaim their own voices.

Essayist bio:

David Win is an undergraduate student at Washington University in St. Louis, predominantly working in the non-profit and advocacy space. He states, “in this space I come as a survivor and book lover.”

#Banned Books    #On Censorship   #Benefits of Humanities

Images:

“Soft Pornography” Accusation: Photo by Adi Goldstein on Unsplash

“Political Propaganda” Accusation:  Photo by Andrea De Santis on Unsplash

Importance of Breaking the Silence:  Photo by Johannes Krupinski on Unsplash

Conclusion:  Photo by Egor Myznik on Unsplash

M
acaronic:

You might be expecting macaroons. If that’s the case, you’re gonna have to wait until after dinner. The word macaronic actually refers to when two different languages are mixed together like macaroni and cheese. Seriously. That’s the 15th-century origin of the word – maccarona, a type of dumpling or pasta eaten by peasants at that time.

An example of a macaronic language is Spanglish – with words like hangear [to hang out], lochear [to have lunch], marketa [a market or supermarket].[1] Is English the pasta and Spanish the cheese, or is it the other way around? Either way, it’s delicious.

Endnotes:

[1] Latination. https://latination.com/spanglish-dictionary-usa/

T
he phrase “I took the road less traveled by, and that has made all the difference,” is typically seen as an anthem of independence. These words have been borrowed for everything from high-school commencement speeches to product advertisements to episode titles of over a dozen television series. We’ve seen this verse printed on t-shirts, coffee mugs, and refrigerator magnets just to name a few.[1]

But the closing lines of Frost’s poem aren’t actually a paean of bold self-assertion and uniqueness. In fact, as is often the case with such aphorisms, it’s quite the opposite. One reason this happens is that, quite simply, language evolves. To further complicate matters, all too often the context of these popular wisdoms has been forgotten.

In the case of  “I took the road less traveled by, and that has made all the difference,” the aphorism comes from a poem that is typically misinterpreted.

As Frost himself warned audiences, “you have to be careful of that one; it’s a tricky poem – very tricky.”[2] Even the person who inspired the poem didn’t “get it” at first. What, then, is Frost actually talking about?

What Inspired The Road Not Taken?

As with prose literature, when engaging poetry the author and their life experience comes into play.  Inspiration for The Road Not Taken came from Frost’s mirth over a personality trait of his closest friend in England, Edward Thomas.

While Frost was living in Gloucester, he and Thomas would take long walks through the countryside together. Repeatedly, Thomas would choose a route on the promise of showing his American friend rare wild-flowers or birds’ eggs, only to have the walk end in laments and self-reproach when his chosen path failed to produce any such marvels. Ribbing Thomas after one of their best flower-gathering walks, Frost chided, “No matter which road you take, you’ll always sigh, and wish you’d taken another.”[3]

After Frost returned to the U.S., where he finished The Road Not Taken, he sent a copy to Thomas. Frost’s expectation was that his friend would understand the poem as a joke, and respond with something along the lines of “very funny”…  “stop teasing me.” But as noted above, that isn’t what happened.

Instead, Thomas praised the poem, his remarks indicating he missed the joke. Much to Frost’s chagrin, he would have to explain to Thomas that he’d been the butt of a joke. And, not surprisingly, Thomas didn’t find it the least bit funny. Frost’s joke had pricked Thomas’ already wavering confidence.

None too pleased, Thomas declared he doubted anyone would see the poem as a joke unless they had Frost to personally guide them through it. Frost came to realize just how tricky The Road Not Taken is when he read it for a group of college students – who didn’t get it either. Frost ultimately extended a “Mea culpa” to his good friend.[4]

It’s a Tricky Poem… Very Tricky

A careful reading begins with Frost’s title. His poem isn’t called The Road Less Traveled, though it’s often mistaken to be. Rather, it is titled The Road Not Taken. So, the poem is definitely not about the road the narrator chose to walk, less-traveled or otherwise.

When The Road Not Taken is read carefully, it becomes apparent that the poem functions on a fluctuating rhythm, one that reflects indecisiveness. More significantly, it is evident that the narrator isn’t simply telling us about these vacillating perspectives, he’s experiencing these emotions in real time.

But, here’s where Frost’s trickiness can trip up a reader. Given the way Frost structured The Road Not Taken, when read superficially it can act as a verbal thaumatrope – rotating two opposed visions in such a way that they, deceivingly, seem to merge.

Much like the Victorian-era toy in which two objects drawn on opposite sides of a card – a bird and a cage for instance – are, by quick spinning motion, made to appear as a single image of the bird in a cage.[5] In the case of The Road Not Taken, the illusion is that the poem is from a consistent viewpoint rather than fluctuating perspectives.

But if we engage Frost’s work deeply, and take it line-by-line, we can see the shifts in perspective that lead to the more nuanced understanding Frost indicated.

Line 1: Frost introduces his primary symbol, diverging roads in the woods.

Lines 2-3: The speaker expresses regret for the human limitation that restricts his travel to one road, forcing him to choose between them. It’s clear that making a choice isn’t easy for him, since “long I stood” before reaching a decision.

Lines 4-5: He examines one road as well as he can, but information is limited because the road takes a turn into an area covered by low-lying vegetation.

Lines 6-8: At first blush, these lines seem to suggest the speaker finds the second path a more attractive choice because it appears no one had traversed it recently.

Lines 9-12: Here’s a tricky bit. The speaker backpedals, pointing out that this road is no more or less worn that the first one, that they both “equally lay in leaves no step had trodden black.”

Lines 13-15: Another slippery passage – the speaker tells himself he’ll take a walk on the first road another day. Given the exclamation point at the end of this line, he’s clearly excited about having solved his dilemma.  But, “knowing how way leads to way,” he immediately reverses himself, doubting if “I should ever come back.”

Lines 16-20: The tone clearly shifts here. The speaker is no longer in the moment. Rather, he imagines himself in the future, near the end of his days, talking about the life he’s lived. In perhaps the most subtle nugget of all, the speaker will be telling his audience that “Two roads diverged in a wood, and I—I took the one less traveled by, and that has made all the difference.”

The “I—I” ever-so-deftly suggests a pause before the speaker recounts the story, as if he’s taking a beat to remember/decide how to characterize his choice.[7]

Psychologically Speaking

The Latin origin of the verb “to decide” means to cut off (de=off, caedere=cut). The act of deciding is supposed to cut off the deliberation process after a choice has been made. But psychologically, that isn’t the way it works. Instead, the deliberation process actually binds the options together in our memory, and the unchosen option lingers in our minds.

This psychological development leads to an inverse inference of value. In other words, after we realize the consequences of our decision, the perceived value of the unchosen option is inversely related to that outcome. And the stronger our memory is of deliberating between options, the greater the disparity between the value attributed to the chosen and unchosen options.

For example, if Frost’s speaker ended up having a lovely walk on the road he ultimately chose, he’ll remember the other road as having been inferior in some way even if it wasn’t.[8] This phenomenon is commonly referred to as confirmation bias.  And, it’s precisely what occurs in the closing lines of The Road Not Taken.

Remember, he told us both roads were equally fair and equally traveled. And don’t forget the speaker’s pause, as he mines his memory before recounting his story in the future. Plus, we end where we began our examination of The Road Not Taken, by noting that Frost’s title refers to the road his speaker didn’t choose.

So, rather than being an anthem of independence, Frost’s The Road Not Taken is an ode to the decision-making process, and how that activity effects memory. Albeit one that closes with an ironic jest, a witticism meaning – in the parlance of a modern quip – “and that has made all the difference”…  not.

.

Check out more
aphorisms and idioms here.

#aphorisms unplugged           #the art of reading

Endnotes:

[1] Orr, David. “The Most Misread Poem in America.” September 11, 2015. The Paris Review.

[2] Thompson, Lawrance. Selected Letters of Robert Frost. New York: Holt, Rinehart and Winston, 1952. Pg xv. https://ia801500.us.archive.org/15/items/in.ernet.dli.2015.111084/2015.111084.Selected-Letters-Of-Robert-Frost_text.pdf

[3] Thompson, Lawrance. Robert Frost: A biography. New York: Holt, Rinehart and Winston, 1981. Pg 234.

Thompson, Lawrance. Selected Letters of Robert Frost. New York: Holt, Rinehart and Winston, 1952. Pg xiv. https://ia801500.us.archive.org/15/items/in.ernet.dli.2015.111084/2015.111084.Selected-Letters-Of-Robert-Frost_text.pdf

Hollis, Matthew. “Edward Thomas, Robert Frost and the road to war.” July 26, 2011. The Guardian. https://www.theguardian.com/books/2011/jul/29/robert-frost-edward-thomas-poetry

[4] Hollis, Matthew. “Edward Thomas, Robert Frost and the road to war.” July 26, 2011. The Guardian. https://www.theguardian.com/books/2011/jul/29/robert-frost-edward-thomas-poetry

[5] Orr, David. “You’re Probably Misreading Robert Frost’s Most Famous Poem.” August 18, 2016. Literary Hub. https://lithub.com/youre-probably-misreading-robert-frosts-most-famous-poem/#:~:text=Because%20the%20poem%20isn’t,the%20road%20he%20never%20tried.

[6] Frost, Robert. “The Road Not Taken.” The Atlantic Magazine. August 1915, Pg. 223.

[7] “The Road Not Taken.” Encyclopedia.com https://www.encyclopedia.com/arts/educational-magazines/road-not-taken

[8] Natalie Biderman, and Daphna Shohamy. “Memory and decision making interact to shape the value of unchosen options.” Nature Communications. 12, 4648 (2021). https://doi.org/10.1038/s41467-021-24907-x

.

Images:

The Road Not Taken. iStock.com/credit: Alex

What Inspired The Road Not Taken? Boulter, Liz. “Roads taken: the Gloucrstershire footpaths that were the making of Robert Frost.” The Guardian. June, 2021.  https://www.theguardian.com/travel/2021/jun/14/walking-gloucestershire-footpaths-making-of-robert-frost-and-revolutionary-poets

It’a a Tricky Poem… Very Tricky  https://teacherswebresources.com/2016/03/28/victorian-thaumatrope/  

Taking it Line by Line Photo by Johnny Briggs on Unsplash

Psychologically Speaking  Photo by Yeshi Kangrang on Unsplash

And this may actually be part of the reason that, these days, poetry is all too often seen as either highfalutin and confounding, or filled with frivolous fluff.

Poetry may seem like a solitary endeavor – that is, a single writer and a single reader. But, every poem written is actually in dialogue with poets beyond the one who wrote it. Every reader is also part of the discourse.

Whether you already love poetry or are just beginning to appreciate it, the Poetry For All podcast is the perfect way to experience poetry and join the conversation. You’ll “read a poem, discuss it, see what makes it tick, learn how it works, grow from it, and then read it one more time” – with a greater understanding than you had before.[12]

Here’s a list of episodes for your listening pleasure.
Jump into one that tickles your fancy.

And teachers…  Poetry For All
is a wonderful resource for you too.

See Below For Related Posts

Endnotes:

[1] Nemerov, Howard. “Poetry.” Britannica. https://www.britannica.com/art/poetry

[2] Beissinger, M.H. (2012). “Oral poetry”. Princeton, NJ: The Princeton encyclopedia of poetry and poetics. pp. 978–981.

Arsu, Sebnem (14 February 2006). “The oldest line in the world”. The New York Times.

[3] Donovan, Melissa. “Emotions and Poetry.” Writing Forward. https://www.writingforward.com/poetry-writing/quotes-on-writing-robert-frost-on-poetry

[4] John Lennon Quote. azquotes.com  https://www.azquotes.com/quote/172565?ref=poetry

[5] Maugham, Somerset. Cakes and Ale: or The Skeleton in the Cupboard. New York: Doubleday, Doran & Company, Inc. 1930. Pg 358.

[6] AZquotes. https://www.azquotes.com/quote/529100?ref=poetry

[7] Majewski, Jessica. “Why Poetry Matters: The Significance of Poems in Our Lives.” When You Write. https://whenyouwrite.com/why-is-poetry-important/

[8] Rita Dove: ‘Poetry is language at its most distilled and most powerful.’” The Socratic Method. https://www.socratic-method.com/quote-meanings-and-interpretations/rita-dove-poetry-is-language-at-its-most-distilled-and-most-powerful

[9] T. S. Eliot. “Genuine poetry can communicate before it is understood.” Dante. London: Faber & Faber, 1929. Pg 16.

Quotes of the Owl.com https://quotesoftheowl.com/genuine-poetry-can-communicate-before-it-is-understood-t-s-eliot/

[10] Whitman, Walt. Complete Prose Works, vol. III. Philadelphia: David McKay Publisher, 1892. Pg 324.

[11] Poetry For All. https://poetryforallpod.com/about/

[12] Poetry For All. https://poetryforallpod.com/

Images:

Where Poetry Comes Alive: Photo by Mona Eendra on Unsplash

The Language of Poetry:  Photo by Amador Loureiro on Unsplash

There Must Be Great Audiences, Too:  Photo by Thought Catalog on Unsplash

T
intinnabulation:

No, it isn’t the number of times a famous German Shepherd saved the day in the movies (that would be Rintintinnabulation). It’s actually the sound of ringing bells. Can you hear them as you say tintinnabulation?

Edgar Allan Poe sure could. And, he celebrates the sonic overtones of tintinnabulation in his poem The Bells. But it’s Poe, so there’s a good-sized dose of menace, melancholy, and mortality. (Apparently, Rin Tin Tin couldn’t save the day every day.)

Take A Plunge Into
Poe’s Onomatopoeia.

Tintinnabulation. It’s an onomatopoeic word. You know, words that sound like what they mean. And, tintinnabulation means the sound of ringing, tinkling, or chiming bells. Can you hear them as you say the word tintinnabulation?

Edgar Allan Poe sure could. And, he celebrates the sonic overtones of tintinnabulation in his poem The Bells. But it’s Poe, so there’s a good-sized dose of menace, melancholy, and mortality.

Poe’s poem The Bells opens with the tintinnabulation of sleigh bells, lending a sense of merriment to the frosty night air.

Its second stanza mimics the harmonious tone produced by golden wedding bells, a mellower, richer timbre than the sound created by silver sleigh bells.

The third stanza contains a stark shift from the earlier joyous forms of tintinnabulation. It imitates “loud alarum bells” – clanging bells that evoke a sense of terror.

And, The Bells’ final stanza reproduces the somber tolling of iron bells, those that conjure a sense of profound sadness and mortality. And it’s Poe, after all, so it’s a ghoul who is tolling these bells.

Images:

Fun & Fancy Word: This Book is Banned staff

Immerse Yourself:  Photo by Pawel Czerwinski on Unsplash

The Bells: Photo by Shaouraav Sarose Shreshtha on Unsplash

M
aya Angelou, legendary storyteller, dancer, singer, actress, activist, autobiographer, and – last but not least – poet, has been described as a spokesperson “for all people who are committed to raising the moral standards of living in the United States.”[1]

As President Obama pointed out when he presented Angelou with the country’s  highest civilian honor, the Presidential Medal of Freedom:

By holding on even amid cruelty and loss, and then expanding to a sense of compassion, an ability to love – by holding on to her humanity, she has inspired countless others who have known injustice and misfortune in their own lives.[2]

And, her ability to inspire is why Maya Angelou is such a revered figure.

Why The Caged Bird Sings

Her autobiography I Know Why the Caged Bird Sings has a lot to say, to be sure. This work illustrates how strength of character and a love of literature transformed Angelou from a victim of racism and trauma into a woman of dignity, capable of responding to prejudice.

Despite its inspirational message, I Know Why the Caged Bird Sings is frequently challenged and banned. For, claims of “offensive language,” “LGBTQIA+ content,” “sexually explicit scenes,” and allegedly being “anti-white.”[3]

It describes her early years, and how she stopped talking after being raped when she was just seven years old. Though remaining mute for five years, she developed a love for language through reading.

When Angelou reached the age of twelve and a half, however, a woman named Mrs. Flowers got her to speak again. Mrs. Flowers explained the nature and importance of education.

She emphasized the significance of the spoken word, pointing out that “it takes the human voice to infuse [words] with the shades of deeper meaning.”[4] In doing so, Mrs. Flowers instilled a love of poetry in young Maya (Marguerite) Angelou.

And the rest, as they say, is history… one that, among other things, earned her 30 honorary degrees, got her put on both a quarter as well as a U.S. postal stamp, the National Medal of Arts, the National Medal of Freedom mentioned above, and lands Angelou in the National Women’s History Museum.

Enjoy Still I Rise, a poem that encapsulates Maya Angelou’s body of work, and the way she (as President Obama phrased it) “encouraged and stirred the souls of millions of readers.”[5]

See Below For More Related Posts

#Benefits of Humanities              #Celebrations                #Banned Books               #published 1970s

Endnotes:

[1]  Neubauer, Carol E. “Maya Angelou: Self and a Song of Freedom.” In Southern Women Writers: The New Generation. Edited by Tonette Bond Inge. Yuscaloosa, Alabama: The University of Alabama Press,1990.Pg 134

Spring, Kelly A. “Maya Angelou.” National Women’s History Museum. https://www.womenshistory.org/education-resources/biographies/maya-angelou

[2] Hudson, David. “Remembering and Celebrating the Life of Dr. maya Angelou.” March 28, 2014. The White House President Barack Obama.

[3] LibGuides: Banned Books Week: I Know Why the Caged Bird Sings. Foley Library, Gonzaga University. February 26, 2026.  https://researchguides.gonzaga.edu/BannedBooksWeek/IKnowWhyTheCagedBirdSings

[4] Angelou, Maya. I Know Why the caged bird sings. New York: Random House. Pg 15.

[5] Hudson, David. “Remembering and Celebrating the Life of Dr. maya Angelou.” March 28, 2014. The White House President Barack Obama.

[6] Maya Angelou. Still I Rise. Poetry Foundation. https://www.poetryfoundation.org/poems/46446/still-i-rise

Images:

Maya Angelou: drmayaangelou Instagram

Why The Caged Bird Sings:  Photo by Luna Wang on Unsplash

Still I Rise:  Photo by OC Gonzalez on Unsplash

A
pril is National Poetry Month! So, it’s time to celebrate this ancient form of literature. Poetry has served as a powerful vehicle for storytelling and social commentary for thousands of years. Yes, thousands… think Homer and his epic poems The Iliad and The Odyssey.

More recently, there’s Phillis Wheatley, recognized as the first African-American woman to publish a book of poems. Her Revolutionary War era works continue to be studied by historians.

There’s also Walt Whitman, known as “the world’s poet of democracy,” who set out to create an original, distinctly American form and style.

Then, there’s contemporary poet Amanda Gorman, the first-ever National Youth Poet Laureate. Her work focuses on issues of marginalization, oppression, race, and feminism, as well as the African diaspora.[1]

And, let’s not forget indigenous poet Joy Harjo, who served three terms as the 23rd Poet Laureate of the United States from 2019-2022. Harjo, reminds us that:

The literature of the aboriginal people of North America defines America. It is not exotic. The concerns are particular, yet often universal.[2]

Time To Celebrate

In today’s digitally driven world, poetry reminds us of the beauty of language. As well as the importance of reflection, and self-expression. To say nothing of the shared experiences that connect us all.

Whether it’s exploring themes of nature, identity, justice or love, poetry puts complex emotions into language that is both succinct and deeply moving. And, whether you’re a lifelong poetry enthusiast or are just discovering it… April is National Poetry Month, and that’s the perfect time to explore and celebrate this enduring literary form.

Many people read a poem every day. Others attend readings (virtual or otherwise), workshops, or open mic events. And, libraries, schools, and community organizations frequently host poetry-related programs, fostering connection and creativity. But, even writing a few lines in a journal can be a meaningful way to take part.

Find a way to celebrate that suits your particular fancy. The Academy of American Poets is a terrific resource for doing so. That goes double for teachers.

2. Read a poem or two before you go to bed.

3. Sign-up for Poem-a-Day, and read a poem with your coffee in the morning. Or, subscribe to the Poem-a-Day podcast.

4. Organize a poetry slam in your neighborhood.

5. Donate books of poetry to free libraries and mutual-aid networks.

6. Make a poetry playlist.

7. Take a walk and write a poem about an object that you encountered.

8. Watch a movie about a famous poet. Check out this list.

9. Gather your friends and write an exquisite corpse…  No, it isn’t something out of a horror movie. It’s a collaborative poetry game that emerged from the the Surrealist movement. Exquisite Corpse is a game played by several people. Each person writes a word on a sheet of paper, folds the paper to conceal it, and passes it on to the next player. The end result is an unpredictable, and often amusing, poem.

10. Needless to say, send a poem to a friend or loved one.

Resources For
K-12 Educators And Students

1. Learn more about our free lesson plans and other educational resources on Poets.org with this brief video guide.

2. Start each day or class period with a new poem.

3. Invite your students to watch living poets read poems and write their responses to those works through Dear Poet project.

4. Find your local state, county, or city poet laureate. If one doesn’t exist, find out how you can create a local poet laureate position.  

5. Send your students on a scavenger hunt for favorite poems in the Poems for Kids section of Poets.org.

6. Ask your students to choose a poem to read aloud to their families.

7. Organize a reading of your students sharing original or favorite poems out loud.

8. Ask each student to create an anthology of their favorite poems.

9. Show your students these poets’ definitions of the word poetry and ask them to provide their own.

10. Decorate your learning environment with the National Poetry Month poster.

11. Explore the glossary and introduce your students to a different poetic term every day.

12. Sign up for Teach This Poem to receive a weekly poem, classroom activities, and multimedia resources.

13. Have your students make and send greeting cards to their family members featuring lines of poetry.

14. Browse these lesson plans about ars poetica poems (poems about writing) and assign your students to write their own.

15. Have your class choose poems and write them in chalk on the sidewalk or driveway.

16. Invite your students to read about ekphrastic poetry and write poems in response to their favorite pieces of art.

17. Make a playlist of audio recordings of poets reading their work and ask students to share it with friends.

18. Publish a school-wide literary journal or anthology of student poems.

19. Help your students find poetry events in the Poetry Near You calendar.

20. Celebrate Poem in Your Pocket Day on April 30, 2026 and ask your students to mail or email a poem to someone in their community.

Be sure to put these resources to good use
during National Poetry Month!

It’ll be more fun
than a book full of limericks.

See below for related posts.

#Celebrations          #Teachers Resources          #the art of reading

Endnotes:

[1] “Amanda Gorman.” Poetry Foundation. https://www.poetryfoundation.org/poets/amanda-gorman

[2] “Native American Poetry and Culture.” Poetry Foundation. https://www.poetryfoundation.org/collections/144560/native-american-poetry-and-culture

Images:

Jubilation!:  Photo by Anna Zagranichna on Unsplash

Time to Celebrate: Photo by Aaron Burden on Unsplash

Resources For K-12 Educators and Students: Photo by Hudson Graves on Unsplash

H
angdog:

Did you get caught with your hand in the cookie jar? Maybe your girlfriend recently broke-up with you. Or you dropped the ball, causing your team to lose the championship game. If any of these things have happened to you, then you probably had a hangdog look on your face. You know… droopy, like you’re ashamed or guilty.

Etymology:
Origin Of The Word Hangdog

Hangdog dates back to 17th-century English. Not surprisingly, it was inspired by dogs with drooping heads, the way our canine friends appear when displaying fear or submission. [1]

Find A Caboodle
Of Fun & Fancy Words Here.

Endnotes:

[1] “Hangdog.” Quick Mean.  https://quickmean.com/hangdog-meaning/

E
dith Wharton…  the first woman to win the Pulitzer Prize for fiction (1921).[1]  She was also nominated for the Nobel Prize in Literature on three separate occasions (1927, 1928, and 1930).[2] For obvious reasons, Wharton is considered one of America’s major 20th-century authors. So, it’s no surprise that she has also been inducted in the National Women’s Hall of Fame (1996).[3]

Wharton began telling stories at an early age. At about the age of four or five she would invent stories for her family. And walk with an open book, turning its pages as if she was reading the tale she was actually spinning in real time.

Her first attempt at a novel came at the age of eleven. But, her mother’s harsh criticism squashed that ambition (clearly only temporarily). [4] So, Wharton turned to writing poetry.

Though she showed promise as a poet, her family considered writing an unsuitable endeavor for a woman. That also goes for the “omnivorous reading” she engaged in at every opportunity – especially in a family as socially prominent as the one Wharton was born into. [5]

Just how high in society was her family’s standing? We’ve all heard the expression “keeping up with the Joneses.”  It’s said to refer to her father’s (George Frederic Jones) family. And was made popular in a comic strip titled “Keeping Up with the Joneses” by Arthur “Pop” Momand, which ran in the New York Globe. [6]

Given the pressures of growing up in such a socially prominent family, Wharton stopped writing completely in order to concentrate on the duties expected of her as a socialite and debutante.[7] Having fulfilled those duties, she resumed in her later years. And,the rigid social conventions and oppressive roles assigned to women in the high society she grew up in became the focus of her work.

Which One Of Edith Wharton’s Novels
Earned The Pulitzer Prize?

Which of Edith Wharton’s 15 novels earned her the Pulitzer Novel Prize (now the Fiction prize) in 1921? It was her work The Age of Innocence. And, Wharton being awarded the prize proved to be quite controversial even before it was formally announced. Not because of her gender, however, but due to the fact that the jury for the Novel prize voted to give Sinclair Lewis the prize for Main Street rather than Wharton’s The Age of Innocence.

Lewis’ book is a satire of small-town America. And, the trustees at Columbia University (the organization that awards the Pulitzer Prize) discovered that the work had “offended a number of prominent persons in the Middle West.”[8]

Which lead them to decide that Main Street failed the Pulitzer’s “wholesome” requirement.[9] So, Wharton was awarded the Pulitzer’s Novel (Fiction) Prize instead of Sinclair Lewis, and history was made.

This turn of events is not to say that Edith Wharton hadn’t established herself as one of the preeminent writers of her day – she had. In fact, Robert Morse Lovett a juror for the Novel prize that year, wrote a piece in The New Republic magazine addressing the upset in the Pulitzer’s 1921 Novel Prize.

Lovett, of course, revealed that the Pulitzer board had overturned the jury’s decision to award Sinclair Lewis the Pulitzer Prize for Novel. But, he also acknowledged Wharton’s elevated status within America’s literary scene, describing her as “one of our best artists in prose.”[10]

The Age of Innocence.

It bears pointing out that Edith Wharton’s Pulitzer Prize winning novel isn’t just a relic of the past. It’s true that Edith Wharton has been referred to as “the last Victorian author.”[11] And, that the main action in The Age of Innocence is set in the 1870s. But the work continues to be relevant. Because at its heart, Wharton’s novel is about dealing with the chaos and uncertainty of a changing world. And, that’s something we can all relate to… especially these days.

Pair this with
The Age of Innocence:
The Only Constant In Life Is Change

Download the full text of
The Age of Innocence here.

#celebrations           #women’s history month

Endnotes:

[1] “Edith Wharton’s ‘The Age of Innocence’ Celebrates its 100^th Anniversary.” The Pulitzer Prizes.
https://www.pulitzer.org/article/edith-whartons-age-innocence-celebrates-its-100th-anniversary

[2] The Nobel Prize Nomination Archive.
https://www.nobelprize.org/nomination/archive/show_people.php?id=10128

[3]”Edith Wharton.” National Women’s Hall of Fame. https://www.womenofthehall.org/inductee/edith-wharton/

[4] Lee, Hermione. Edith Wharton. (1st ed.). London: Vintage, 2008.Pg 22, 36.

[5] Wharton, Edith. A Backward Glance. New York: Appleton-Century, 1934. Pg 65.

[6] Lee, Hermione. Edith Wharton. (1st ed.). London: Vintage, 2008.Pg 16, 22.
“Keeping Up With the Joneses” Phrasefinder.org.uk
https://www.phrases.org.uk/meanings/keeping-up-with-the-joneses.html

[7] “Edith Wharton: First Female to Win the Pulitzer Prize for Fiction.” HubPages.com
https://discover.hubpages.com/education/Edith-Wharton-First-Female-to-Win-the-Pulitzer-Prize-for-Fiction

[8] “Edith Wharton’s ‘The Age of Innocence’ Celebrates its 100^th Anniversary.” The Pulitzer Prizes.
https://www.pulitzer.org/article/edith-whartons-age-innocence-celebrates-its-100th-anniversary

[9] Claudia Stone Weissberg. “Sinclair Lewis, ‘the main Street burglary’ and a rejection notice.” Pulitzer.org
https://www.pulitzer.org/article/sinclair-lewis-main-street-burglary-and-rejection-notice

[10] “Edith Wharton’s ‘The Age of Innocence’ Celebrates its 100^th Anniversary.” The Pulitzer Prizes.
https://www.pulitzer.org/article/edith-whartons-age-innocence-celebrates-its-100th-anniversary

[11] Foca, Anna. “The Age of Innocence.” Britannica.com  https://www.britannica.com/topic/The-Age-of-Innocence

Images:

Edith Wharton: “Edith Wharton’s ‘The Age of Innocence’ Celebrates its 100th Anniversary.” Pulitzer.org  https://www.pulitzer.org/article/edith-whartons-age-innocence-celebrates-its-100th-anniversary
Pulitzer Prize Certificate: “Edith Wharton: Designing the Drawing Room.” Yale University Library Online Exhibitions.
https://onlineexhibits.library.yale.edu/s/edith-wharton/page/a-pulitzer-for-the-age-of-innocence
Pulitzer Prize Medal: https://www.pulitzer.org/article/edith-whartons-age-innocence-celebrates-its-100th-anniversary