The “Rapidity of Movement” and Railroads in the Works of Walt Whitman
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Through his poetry and prose, Whitman consistently expresses his strong fascination with the “rapidity of movement” enabled by steamers and railroads. Whitman skillfully infuses speed, energy and motion into his catalog techniques. Above all, Whitman’s pursuit of “modern Image- Making,” inspired by railroads, manifests his modernist vision of moving images ahead of his time. Whitman’s terms such as “moving panorama,” “shifting tableaus,” and “rapid succession” are strongly reminiscent of motion pictures. His visual representation inspires twentieth-century visual artists, transcending the bounds of time and media. In a film Manhatta created by Charles Sheeler and Paul Strand, the cinematic images of Whitman’s “rapidity of movement” by railroads are artfully created. The poet achieves an expansive vision transcending pre-modern binary notion of here and there. Thus, Whitman’s seeking of “modern Image-Making,” inspired by railroads, fosters cinematic images and his own progressive sense of place. Enabling himself to feel at home, even in faraway places with totally unfamiliar settings as far as Denver or Canada, Whitman builds a modernist vision ahead of his time.
Abstract
Through his poetry and prose, Whitman consistently expresses his strong fascination with the “rapidity of movement” enabled by steamers and railroads. Whitman skillfully infuses speed, energy and motion into his catalog techniques. Above all, Whitman’s pursuit of “modern Image- Making,” inspired by railroads, manifests his modernist vision of moving images ahead of his time. Whitman’s terms such as “moving panorama,” “shifting tableaus,” and “rapid succession” are strongly reminiscent of motion pictures. His visual representation inspires twentieth-century visual artists, transcending the bounds of time and media. In a film Manhatta created by Charles Sheeler and Paul Strand, the cinematic images of Whitman’s “rapidity of movement” by railroads are artfully created. The poet achieves an expansive vision transcending pre-modern binary notion of here and there. Thus, Whitman’s seeking of “modern Image-Making,” inspired by railroads, fosters cinematic images and his own progressive sense of place. Enabling himself to feel at home, even in faraway places with totally unfamiliar settings as far as Denver or Canada, Whitman builds a modernist vision ahead of his time.