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• W1980061393 abstract "ly agential self, the towards whom his speaker directs his address. Having pluralized the Leaves's address by naming a myriad of reader-subjects, Whitman then subtracts the social, economic, racial, and gendered categories of their identity, and the forms of practical grounded by those categories: Even now your features, joys, speech, house, trade, manners, troubles, follies, costume, crimes, dissipate away from Your true soul and body appear before me, They stand forth out of affairs, out of commerce, shops, work, farms, clothes the house, buying, selling, eating, drinking, suffering, dying. The mockeries are not Underneath them and within them see lurk, (1:214-15) Here Whitman abstracts his addressees in much the same way he has his speaker, projecting into their locally situated subjectivities a more conscious interior core to he hopes his poetry can make appeal. The seemingly paradoxical purpose of this abstracting process is to particularize even more radically his readers. Whitman wants his poetry to interpellate actual persons who are both socially concrete and the same time numerically singular, those unique individuals whose souls and bodies are moment engaged in reading his text. Whitman experimented with this technique in his early journalism a time when he was writing more narrowly defined readerships on typical political and reformist topics, and before discovering the broadly democratizing effects of abstract address.36 But in Leaves of Grass, this placing of generalized/specific readers serves to coordinate Whitman's historical determinism with his emphasis on what Raymond Williams calls creative [practise] in the emergent sense, and forms the rhetorical context the collaborative enterprise of his lyric.37 The dynamics of abstraction and specification in the Leaves's address, aims to put the speaker's words into contact not with readerships but with an actual, individuated reader, prepares the second moment of lyric performativity, allows the reader to discover pre-existing practical-experiential potential through the prompting of the poet. Whitman draws the outlines of this process through a cluster of interrelated tropes, reminding, and Vincent Bertolini 1059 This content downloaded from 207.46.13.85 on Sat, 28 May 2016 06:47:33 UTC All use subject to http://about.jstor.org/terms translating. in the Whitmanian sense is a way of imagining a kind of agency in communication on the part of the poet is nonlinear but aims to do more than diffusely rouse readers. When the poet writes, For all is useless without may guess many times and not hit, hinted at (2:369), he reinforces the notion of himself as possessor and purveyor of vitally important messages. Here the poet suggests he is obliquely trying to convey stable meanings exist in his mind prior to the rhetorical interchange and must be disencrypted by the reader. But why would the poet who razzes the reader feeling so proud to get the meaning of poems pretend here to rhetorical superiority? How can we coordinate the speaker's previous rejection of an epistemology of reading as decoding with the authoritarian sense of as a game of guessing what's in the author's mind? Upon closer consideration we can see the apparently contradictory rhetoric of as a tactical imparting of mixed messages concerning the nature and locus of meaning in Leaves of Grass. The notion of lyric encourages the reader to think of meaning as deep content obscured to one's immediate perception. The speaker's use of the term in effect charges the reader with the task of searching after, guessing at, attempting to hit that which will be use[ful] to know, the learning of will some practical utility her/him. The idea of hinting, is, engages the reader's interpretive agency, linking it to the poet's communicative efforts, thus setting the reader on the path to understanding his poetry. But Whitman also decouples interpretive agency from any conventional understanding of hinting, deflecting the reader's desire to look deep meaning, the message behind the hint, exclusively inside the text. We see this in the way Whitman refunctions the concept of his own purposes, lexically and logically linking the term to its other definition as a subtantive-a hint as a slight indication of the existence or nature of something: There is comes to now and perpetually, It is not what is printed, preach'd, discussed, it eludes discussion and print, It is not to be put in a book, it is not in this book, It is whoever are, it is no farther from than your and sight are from It is hinted by readiest, it is ever provoked by them. (1:87) 1060 Hinting and Reminding This content downloaded from 207.46.13.85 on Sat, 28 May 2016 06:47:33 UTC All use subject to http://about.jstor.org/terms Here the speaker makes a distinction, and an explicit parallel, between reading (and other uses of language) and everyday epistemological activity, our navigating of the comprehensible world. He on the hand de-emphasizes language as a site of knowledge to be mined, saying the comes to is neither in his nor in any other book. On the other hand, by juxtaposing books and the world, and by putting and sight, the faculties most relevant to this kind of lyric reading (the running of one's eye across the page, the hearing of the lyric voice) the center of epistemological process, he suggests the meanings of books can be known in the way the subject knows the world. Furthermore, though is still used as a verb in this passage, it is used in a passive construction, and its subjects are superlative adjectives, nearest, commonest, readiest; these are both agents of the action hinting and modifiers of some unspecified entity. The something the reader (presumably the referent of one as well as you) receives is for you, exists in some prior internal relation of potential meaningfulness to the subject; its nearness and commonness, the fact it lies ready to hand, provoke the subject to make use of it somehow. It is not hard to see Whitman straining towards a tropology of dialectic in these lines, with epistemological objects and subjects coming to each other, interacting, exchanging places. The world, and analogically the text, give out of the existence of meanings within them; but it is only when we process those hints through our sensory organs and through what Whitman calls our souls, we can then call those things into being-and are ourselves called into being (the and the for you not being really separate)-in the fullness of their relations to us.38 It is through the idea of prior internal relations of meaningfulness bring what much need yet always have [1:87]), however those meanings might be blocked to the reader's immediate awareness, we can see Whitmanian as dialectically related not to guessing but to reminding.39 As the speaker of Leaves of Grass puts it: I am less the reminder of or qualities, and more the reminder of (1:31, 1855 lines). However we might understand the ambiguous phrase property or qualities (I take the class reverberations, in this context, to be intentional), the terms seem to refer to fixed possessions of the mind or identity the speaker does not aim to reference in the moment of poetic utterance. Rather, by revealing of pre-existing alternative experience to the reader's notice, the poet wants to become the verbal occasion the Vincent Bertolini 1061 This content downloaded from 207.46.13.85 on Sat, 28 May 2016 06:47:33 UTC All use subject to http://about.jstor.org/terms reader to be put in mind of buried experiential potential, in the hopes lyric reading might then release the quantum of life contained in newly realized knowledge. Here Whitman imagines this process of re-minding as giving the reader the power to act upon a realm of immanent subjective diversity, to cultivate and express a host of nascent pseudosubjects akin to the poet's own proliferating Me Myselves, a power Whitman tropes as sexual and insurrectionary: to remind the reader of life is to ... make short account of neuters and geldings, and favor men and women fully equipt, And beat the gong of revolt, and stop with fugitives and them plot and conspire." @default.
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• W1980061393 title ""Hinting" and "Reminding": The Rhetoric of Performative Embodiment in Leaves of Grass" @default.
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