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Lively and entertaining, this is the first comprehensive biography of Walt Whitman in more than twenty-five years, drawing on significant new discoveries and scholarship.

Walt Whitman is not only one of the most influential and popular poets in American history but also a symbol of American character and independence, as important to our nation’s identity as Abraham Lincoln, Harriet Beecher Stowe, or Louis Armstrong. While his poetry and exuberant style still inspire writers today, our understanding of his life is due for an update. It has been over a quarter of a century since the last full-length biography of Whitman, and in that time several works by Whitman have been rediscovered—including a novel and a men’s health manual—that put Whitman in a new light. In I Contain Multitudes, Eric G. Wilson draws on these discoveries to give us a fresh life of Whitman, one that reveals him to be more playful, flexible, and pragmatic than we had known.

Whitman emerges here as an artist adept in almost every literary genre. Across these varied writings, he fashioned a comedic vision based on the multifariousness of the cosmos. In his life as well, he created a wide range of personae. Like an experienced actor, Whitman had many roles and selves at the ready: the urban dandy, the Broadway bohemian, the humble Civil War nurse. Wilson’s portrait casts well-studied Whitman traits in a new light: his radical egalitarianism, he shows, was suffused with humor—to be a good citizen meant not taking yourself too seriously—and his famous powers of empathy resulted in darkly funny challenges to oppressive hierarchies.   

Wilson tells Whitman’s life in dozens of brief, vivid segments, an innovative approach that reflects Whitman’s own existential and literary brio. Presenting the multitudinous Whitman with both stylistic gusto and scholarly rigor, I Contain Multitudes reads as much like a novel as the authoritative biography it is.

Arriving in the 1990s with a ninth grade education, N. traveled to Chicago where he found access to ESL and GED classes. He eventually attended college and graduate school and became a professional translator.

Despite having a well-paying job, N. was isolated by a lack of legal documentation. Travel concerns made promotions impossible. The simple act of purchasing his girlfriend a beer at a Cubs baseball game caused embarrassment and shame when N. couldn't produce a valid ID. A frustrating contradiction, N. lived in a luxury high-rise condo but couldn't fully live the American dream. He did, however, find solace in the one gift America gave him–-his education. Ultimately, N.'s is the story of the triumph of education over adversity. In Illegal, he debunks the stereotype that undocumented immigrants are freeloaders without access to education or opportunity for advancement. With bravery and honesty, N. details the constraints, deceptions, and humiliations that characterize alien life "amid the shadows."

The first literary biography of a much-neglected American writer, this book explores the multiple tensions at the core of Mary E. Wilkins Freeman's life and work. A prolific short story writer and novelist, Freeman (1852–1930) developed a reputation as a local colorist who depicted the peculiarities of her native New England. Yet as Leah Blatt Glasser shows, Freeman was one of the first American authors to write extensively about the relationships women form outside of marriage and motherhood, the role of work in women's lives, the complexity of women's sexuality, and the interior lives of women who rebel rather than conform to patriarchal strictures.

In a Closet Hidden traces Freeman's evolution as a writer, showing how her own inner conflicts repeatedly found expression in her art. As Glasser demonstrates, Freeman's work examined the competing claims of creativity and convention, self-fulfillment and self-sacrifice, spinsterhood and marriage, lesbianism and heterosexuality.

Isaac Bashevis Singer brought the vibrant milieu of pre-Holocaust Polish Jewry to the English-speaking world through his subtle psychological insight, deep sympathy for the eccentricities of Jewish folk custom, and unerring feel for the heroism of everyday life. His novels, including The Family Moskat and Enemies: A Love Story, and his short stories, such as "Yentl"  and "Gimpel the Fool," prove him a consummate storyteller and probably the greatest Yiddish writer of the twentieth  century.

William Goyen was a writer of startling originality and deep artistic commitment whose work attracted an international audience and the praise of such luminaries as Northrop Frye, Truman Capote, Gaston Bachelard, and Joyce Carol Oates. His subject was the land and language of his native East Texas; his desire, to preserve the narrative music through which he came to know his world. Goyen sought to transform the cherished details of his lost boyhood landscape into lasting, mythic forms. Cut off from his native soil and considering himself an “orphan,” Goyen brought modernist alienation and experimentation to Texas materials. The result was a body of work both sophisticated and handmade—and a voice at once inimitable and unmistakable.

It Starts with Trouble is the first complete account of Goyen’s life and work. It uncovers the sources of his personal and artistic development, from his early years in Trinity, Texas, through his adolescence and college experience in Houston; his Navy service during World War II; and the subsequent growth of his writing career, which saw the publication of five novels, including The House of Breath, nonfiction works such as A Book of Jesus, several short story collections and plays, and a book of poetry. It explores Goyen’s relationships with such legendary figures as Frieda Lawrence, Katherine Anne Porter, Stephen Spender, Anaïs Nin, and Carson McCullers. No other twentieth-century writer attempted so intimate a connection with his readers, and no other writer of his era worked so passionately to recover the spiritual in an age of disabling irony. Goyen’s life and work are a testament to the redemptive power of storytelling and the absolute necessity of narrative art.