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The 7-Word Autobiographies of Famous Writers, Artists, Musicians, and Philosophers

John Irving, Joan Didion, David Byrne, Rem Koolhaas, Madeleine Albright, Malcolm Gladwell, Daniel Dennett, Andrew Sullivan, Ed Ruscha, Brian Eno, and more.

Since 2005, the LIVE from the NYPL program masterminded and anchored by intellectual impresario Paul Holdengräber — one of the most interesting people to ever encounter, should you be so fortunate — has transformed the New York Public Library into a wonderland of stimulating conversations on literature and life with some of today’s most celebrated writers, scientists, artists, philosophers, musicians, and other luminaries. Among Holdengräber’s signature touches are the 7-word autobiographies he asks each of his prominent guests to provide, to be read as he introduces them. Here is a selection of the best such personal micro-biographies — the literal, the abstract, the sarcastic, the poetic — from the entire run of the series so far:

Tom Wolfe at LIVE from the NYPL, November 2012 (Photograph by Jori Klein courtesy NYPL)

Tom Wolfe drops some delightful vintage lingo:

Ace daddy, gym rat, Balzolan reporter, Ph.D.

Cheryl Strayed at LIVE from the NYPL, October 2012 (Photograph by Sarah Stacke courtesy NYPL)

The magnificent Cheryl Strayed, whose Tiny Beautiful Things: Advice on Love and Life from Dear Sugar was among the best psychology and philosophy books of 2012 and is one of the best existential favors one can do oneself, goes for truth-by-way-of-its-opposite, offering “seven words that won’t define [her]”:

Reticent.
Boney.
Mahout.
Indifferent.
Tame.
Archipelago.
Republican.

Daniel Dennett, man of infinite wisdom and endlessly quotable insight:

Philosopher, professor, author, sailor, New Atheist

Jim Holt, whose Why Does the World Exist?: An Existential Detective Story remains indispensable and who has previously shared some mind-bending insight on the nature of “nothing”:

Failed mathematician who happily declined into journalism.

David Byrne at LIVE from the NYPL, December 2012 (Photograph by Jori Klein courtesy NYPL)

David Byrne, who knows a thing or two about how music and creativity work, appears blissfully oblivious to the 7-word-limit brief:

unfinished, unprocessed, uncertain, unknown, unadorned, underarms, underpants, unfrozen, unsettled, unfussy

Daniel Kahneman in conversation with Nassim Taleb at LIVE from the NYPL, February 2013 (Photograph by Jori Klein courtesy NYPL)

Daniel Kahneman, whose Thinking, Fast and Slow is one of the most insightful psychology books in recent history, compensates for Byrne’s excess with his own sub-quota answer:

Endlessly amused by people’s minds

Brian Eno at LIVE from the NYPL, November 2011 (Photograph by Jori Klein courtesy NYPL)

Brian Eno, sage of timeless insight on art:

I like making and thinking about culture.

Andrew Solomon in conversation with Paul Holdengräber and Krista Tippett at LIVE from the NYPL, March 2010 (Photograph by Jori Klein courtesy NYPL)

Andrew Solomon, whose meditation on horizontal vs. vertical identity and the power of love is a soul-stirring must-read, goes for something his mother used to say to him:

Good listeners: more interesting than good talkers.

Paul Holdengräber, Hans Ulrich Obrist, and Rem Koolhaas at LIVE from the NYPL, March 2012 (Photograph by Jori Klein courtesy NYPL)

Hans Ulrich Obrist, legendary curator and art instigator:

Catalyst
Conversation
Curating
Curiosity
Junctionmaking
Protest against forgetting

Malcolm Gladwell, overlord of the contrarian:

Father said: “Anything but journalism.” I rebelled.

William Gibson in conversation with Paul Holdengräber at LIVE from the NYPL, April 2013 (Photograph by Jori Klein courtesy NYPL)

William Gibson, champion of “personal microculture” and a solid daily creative routine, offers an answer somewhere between Yoda and Gertrude Stein:

Postwar. Cold War. Stop the War. Later.

Elizabeth Gilbert in conversation with Paul Holdengräber at LIVE from the NYPL, May 2011 (Photograph by Jori Klein courtesy NYPL)

Elizabeth Gilbert playfully riffs off the title of her modern classic:

Eats/Loves too much…should Pray more.

Ed Ruscha in conversation with Paul Holdengräber at LIVE from the NYPL, March 2013 (Photograph by Jori Klein courtesy NYPL)

Ed Ruscha, who does indeed have a soft spot for sign painting:

Lapsed catholic
Newspaper carrier
Hitchhiker
Sign painter
Printer’s devil
Daydreamer
Artist

Rufus Wainwright with Lucinda Childs at LIVE from the NYPL, September 2011 (Photograph by Jori Klein courtesy NYPL)

Rufus Wainwright, music god, rebels against humility with his characteristic charming irreverence:

According to Elton John world’s greatest singer-songwriter

Sherry Turkle in conversation with Steven Johnson at LIVE from the NYPL, October 2012 (Photograph by Jori Klein courtesy NYPL)

Sherry Turkle stays true to her technodystopia:

Technology doesn’t just change what we do; it changes who we are.

Errol Morris in conversation with Paul Holdengräber at LIVE from the NYPL, November 2011 (Photograph by Jori Klein courtesy NYPL)

Errol Morris, documentarian extraordinaire and bastion of photographic truth:

autodidact, necrophile, voyeur, filmmaker, opinionated writer, father

Don DeLillo at LIVE from the NYPL, October 2012 (Photograph by Jori Klein courtesy NYPL)

Don DeLillo, who also abides by a rigorous writing routine, goes for a beautiful format:

       Bronx boy
wondering
       why he is here.

Madeleine Albright echoes Helen Keller:

Optimist who worries a lot; Grateful American

John Irving at LIVE from the NYPL, January 2013 (Photograph courtesy NYPL)

John Irving, crusader against censorship, employs a strategic semicolon:

Imagined missing father; wrestled, wrote, fathered children.

Irving was apparently so delighted by the exercise that he took the liberty of writing a few more seven-word bios for other notables:

FOR DICKENS (THE WRITER):
Had many kids; wrote about unhappy childhoods.

FOR THE OTHER DICKENS, MY DOG:
Best dog ever — she had a family.

AND THOMAS HARDY:
Fate, the universe driver; stopped writing for idiots.

NATURALLY, I COULDN’T RESIST MELVILLE:
More than a postal worker; knew whales, too.

Edmund de Waal in conversation with Paul Holdengräber at LIVE from the NYPL, October 2011 (Photograph by Jori Klein courtesy NYPL)

Edmund de Waal has some fun with it:

Actually, I still make pots you know.

Rem Koolhaas stays true to form:

Mystic rational sober baroque patient immediate

Dan Savage and Andrew Sullivan in conversation at LIVE from the NYPL

Andrew Sullivan, who is one of the living reasons to love the internet and whose decades-long advocacy has been critical in the historic attainment of marriage equality, follows Strayed’s suit with anti-descriptive sarcasm:

French, straight, single, Anglican, diabetic, illiterate, slut.

Then comes Dan Savage, whose own tireless advocacy can’t be overstated:

asshole, blond, slut, shy, sunny, father, husband.

Anish Kapoor offers what’s arguably the most beautiful, in sheer poetics of language, answer:

As if to celebrate I discovered a mountain

Joan Didion at LIVE from the NYPL, November 2012 (Photograph courtesy NYPL)

But my favorite comes from notebook-lover Joan Didion, who has a rare gift for wry self-awareness and unwavering self-respect:

Seven words do not yet define me.

Paul Holdengräber (Photograph by Jocelyn Chase)

And, of course, this omnibus wouldn’t be complete without Holdengräber’s own 7-word autobiography, as pointedly brilliant as the man:

Mother always said: Two ears, one mouth.

See the full conversations on the LIVE from the NYPL Vimeo channel, treat yourself to one of the upcoming live events, and join me in supporting NYPL programming, which, like Brain Pickings, is made possible by patron donations.

BP

The Autobiography and Sex Life of Andy Warhol

It’s hard not to love a good book trailer. Enter this fantastic new trailer for John Wilcock‘s The Autobiography and Sex Life of Andy Warhol. (The second Warhol-related gem to drop this year.)

Granted, the book isn’t actually as much an autobiography so much as it is a biography collaged through interviews with 20 people close to Warhol at the end of the 60’s — from Nico to Taylor Mead to Lou Reed — trying to “explain” and make sense of the pop art icon. Still, it’s a remarkable piece of cultural history offering a rare glimpse of a man full of contradictions.

A lot of people really misunderstood him then and indeed still do, although there’s hardly a day when Andy’s name is not mentioned in the paper. He’s become a kind of icon, kind of representative of what the 60’s were.” ~ John Wilcock

Wilcock is a self-admitted expert on Warhol — he used to go to The Factory, Warhol’s famous studio, two or three times a week during the sixties and early seventies, and accompanied him to the sets of his first films.

Andy taught me an awful lot about life. I learned that artist and poets who hang around together basically tell the future, and even though they maybe explain it in words or in images that you’re not quite clear about, somebody interprets that. And, to some extent, I felt that was my role — to hang around artists and try and explain what I thought was some of the meaning.” ~ John Wilcock

The Autobiography and Sex Life of Andy Warhol is as wondefully written as it is beautifully art-directed, full of rare images that make it double as a priceless stand-alone photography book. See for yourself — you can preview it on the book’s website.

via Flavorpill

BP

How John Stuart Mill and Harriet Taylor’s Pioneering Intimate Partnership of Equals Shaped the Building Blocks of Social Equality and Liberty for the Modern World

“Compromise is not a sign of the collapse of one’s moral conscience. It is a sign of its strength, for there is nothing more necessary to a moral conscience than the recognition that other people have one, too. A compromise is a knot tied tight between competing decencies.”

How John Stuart Mill and Harriet Taylor’s Pioneering Intimate Partnership of Equals Shaped the Building Blocks of Social Equality and Liberty for the Modern World

Half a century after the 18th-century political philosophers Mary Wollstonecraft and William Godwin pioneered the marriage of equals, and just as Ralph Waldo Emerson and Margaret Fuller were contorting themselves around the parameters of true partnership, another historic power couple modeled for the world the pinnacle of an intimate union that is also an intellectual, creative, and moral partnership nourishing not only to the couple themselves but profoundly influential to their culture, their era, and the moral and political development of the world itself.

In 1851, after a twenty-one-year bond traversing friendship, collaboration, romance, and shared idealism, John Stuart Mill (May 20, 1806–May 8, 1873) and Harriet Taylor (October 8, 1807–November 3, 1858) were married. Mill would come to celebrate Taylor, like Emerson did Fuller, as the most intelligent person he ever knew and his greatest influence. In her titanic mind, he found both a mirror and a whetstone for his own. They co-authored the first serious philosophical and political case against domestic violence. Taylor’s ideas came to shape Mill’s advocacy of women’s rights and the ideological tenor of his landmark book-length essay On Liberty, composed with steady input from her, published shortly after her untimely death, and dedicated lovingly to “the friend and wife whose exalted sense of truth and right was my strongest incitement.”

John Stuart Mill (National Portrait Gallery)

In his autobiography, Mill painted a stunning portrait of Taylor:

In general spiritual characteristics, as well as in temperament and organization, I have often compared her, as she was at this time, to Shelley: but in thought and intellect, Shelley, so far as his powers were developed in his short life, was but a child compared with what she ultimately became. Alike in the highest regions of speculation and in the smaller practical concerns of daily life, her mind was the same perfect instrument, piercing to the very heart and marrow of the matter; always seizing the essential idea or principle. The same exactness and rapidity of operation, pervading as it did her sensitive as her mental faculties, would, with her gifts of feeling and imagination, have fitted her to be a consummate artist, as her fiery and tender soul and her vigorous eloquence would certainly have made her a great orator, and her profound knowledge of human nature and discernment and sagacity in practical life, would, in times when such a career was open to women, have made her eminent among the rulers of mankind. Her intellectual gifts did but minister to a moral character at once the noblest and the best balanced which I have ever met with in life. Her unselfishness was not that of a taught system of duties, but of a heart which thoroughly identified itself with the feelings of others, and often went to excess in consideration for them by imaginatively investing their feelings with the intensity of its own.

Harriet Taylor (National Portrait Gallery)

In A Thousand Small Sanities: The Moral Adventure of Liberalism (public library) — an elegant, impassioned, and rigorously reasoned effort to re-humanize the most humanistic moral and political philosophy our civilization has produced — Adam Gopnik argues that Mill and Taylor pioneered something even greater than a true marriage of equals on the intimate plane of personal partnership: a vision for the building blocks of equality on the grandest human scale.

Gopnik — a Canadian by birth, a New Yorker (and longtime New Yorker staff writer) by belonging, and one of the most lyrical, lucid thinkers in language I have ever read — recounts trying, and failing, to comfort his intelligent, politically engaged, disconsolate teenage daughter in the wake of the 2016 U.S. Presidential election. For consolation and clarity, as much hers as his own, he turns to Taylor and Mill:

My idea of liberalism, while having much to do with individuals and their liberties, has even more to do with couples and communities. We can’t have an idea of individual liberty without an idea of shared values that include it.

A vision of liberalism that doesn’t concentrate too narrowly on individuals and their contracts but instead on loving relationships and living values can give us a better picture of liberal thought as it’s actually evolved than the orthodox picture can.

[…]

Images illuminate ideas, and pictures of people are usually clearer than statements of principle. When I think about the liberal tradition I wanted to show my daughter, my inner vision kept returning to a simple scene, one that had delighted me for a long time. It’s of the nineteenth-century philosopher John Stuart Mill and his lover, collaborator, and (as he always insisted) his most important teacher, the writer Harriet Taylor. Desperately in love, they were courting clandestinely, and they would meet secretly at the rhino’s cage at the London Zoo. “Our old friend Rhino,” Taylor called him in a note. It was a place where they could safely meet and talk without fear of being seen by too many people, everyone’s attention being engaged by the enormous exotic animal.

They were pained, uncertain, contemplating adultery, if not yet having committed it — opinions vary; they had been to Paris together — and yet in those conversations began the material of “On Liberty,” one of the greatest books of political theory ever written, and “On the Subjection of Women,” one of the first great feminist manifestos and one of the most explosive books ever written. (One of the most successful, too, inasmuch as almost all of its dreams for female equality have been achieved, at least legally, in our lifetime.)

With an eye to the perilous erasures with which history is often rewritten — history, I continue to insist, is not what happened, but what survives the shipwrecks of judgment and chance — Gopnik points to the curious disconnect between Mill’s own repeated affirmations of Taylor’s supreme influence on his ideas, and subsequent warpings and appropriations of their story:

After [Mill’s] life, generations of commentators — including Friedrich Hayek, who unfortunately edited their letters — aggressively Yoko-ed [Taylor], insisting that poor Mill, wildly intelligent in all but this, was so blinded and besotted by love that he vastly exaggerated the woman’s role, which obviously couldn’t have been as significant as his own. Fortunately, newer generations of scholars, less blinded by prejudice, have begun to “recover” Harriet Taylor for us, and her role in the making of modern liberalism seems just as large and her mind as fine as her husband always asserted that it was.

Gopnik reflects on the intellectual and ideological resonance at the heart of Mill and Taylor’s love, which in turn became the pulse-beat of our modern notions of political progress:

What they were was realists — radicals of the real, determined to live in the world even as they altered it. Not reluctant realists, but romantic realists. They were shocked and delighted at how quickly women and men began to meet and organize on the theme of women’s emancipation, but they accepted that progress would be slow and uncertain and sometimes backward facing. They did more than accept this necessity. They rejoiced in it because they understood that without a process of public argument and debate, of social action moved from below, the ground of women’s emancipation would never be fully owned by women nor accepted, even grudgingly, by men.

They had no illusions about their own perfection — they were imperfect, divided people and went on being so for the rest of their lives, with the rueful knowledge of human contradiction that good people always have.

In that singular Gopnik fashion, he then inverts the telescope, turning from the cultural perspective back to the intimate microscopy of this uncommon bond between two uncommon visionaries. Between their ideals and the their vulnerabilities, he locates one of the largest truths about love:

Theirs is one of the most lyrical love stories ever told, for being so tenderly irresolute. Recognizing that intimate life is an accommodation of contradictions, they understood that political and social life must be an accommodation of contradictions too. The accommodation was their romance. That meant that social accommodation could be romantic, too. Love, like liberty, tugs us in different directions as much as it leads us in one. Love, like liberty, asks us to be only ourselves, and it also asks us to find our self in others’ eyes. Compromise is not a sign of the collapse of one’s moral conscience. It is a sign of its strength, for there is nothing more necessary to a moral conscience than the recognition that other people have one, too. A compromise is a knot tied tight between competing decencies.

[…]

The great relationship of [Mill’s] life would be proof of his confidence that true liberty meant love — relationship and connection, not isolation and self-seeking. What we want liberty for is the power to connect with others as we choose. Liberalism is our common practice of connection turned into a principle of pluralism.

When Taylor died of a mysterious malady only seven years into their marriage, and nearly thirty years into their partnership, the devastated Mill erected a monument to her, made of the same Carrara marble as Michelangelo’s David and inscribed with these words:

HER GREAT AND LOVING HEART

HER NOBLE SOUL

HER CLEAR POWERFUL ORIGINAL AND COMPREHENSIVE INTELLECT

MADE HER THE GUIDE AND SUPPORT

THE INSTRUCTOR IN WISDOM

AND THE EXAMPLE IN GOODNESS

AS SHE WAS THE SOLE EARTHLY DELIGHT

OF THOSE WHO HAD THE HAPPINESS TO BELONG TO HER

AS EARNEST FOR THE PUBLIC GOOD

AS SHE WAS GENEROUS AND DEVOTED

TO ALL WHO SURROUNDED HER

HER INFLUENCE HAS BEEN FELT

IN MANY OF THE GREATEST

IMPROVEMENTS OF THE AGE

AND WILL BE IN THOSE STILL TO COME

WERE THERE BUT A FEW HEARTS AND INTELLECTS

LIKE HERS

THIS EARTH WOULD ALREADY BECOME

THE HOPED-FOR HEAVEN

Gopnik’s A Thousand Small Sanities is a worthy read in its entirety, drawing on the personal to illuminate the political, clearing the clouded lens of the past to magnify the most pressing questions of the present in order to answer them with equal parts reasoned realism and largehearted idealism. Couple this particular fragment with Jill Lepore on how Eleanor Roosevelt revolutionized politics, then revisit Henry David Thoreau, writing in Taylor and Mill’s era, on the long cycles of social change and the importance of not mistaking politics for progress and Thomas Mann, writing in humanity’s darkest hour, on justice, human dignity, and the need to continually renew our ideals.

BP

Anne Gilchrist’s Beautiful and Heartbreaking Love Letters to Walt Whitman

“Love & Hope are so strong in me, my soul’s high aspirations are of such tenacious, passionate intensity… that what would starve them out of any other woman only makes them strike out deeper roots, grow more resolute & sturdy, in me.”

Anne Gilchrist’s Beautiful and Heartbreaking Love Letters to Walt Whitman

“No man can read a fine author, and relish him to his very bones, while he reads, without subsequently fancying to himself some ideal image of the man and his mind,” Hermann Melville wrote as he began falling under Nathaniel Hawthorne’s spell. “I love your verses with all my heart, Dear Miss Barrett,” Robert Browning exulted in the first of his love letters to Elizabeth Barrett, “and I love you too.” To be a passionate reader is indeed to live with the risk of becoming besotted with the author of a beloved book. No author has cast a wider or deeper enchantment on more varied human hearts than Walt Whitman (May 31, 1819–March 26, 1892).

Just before Leaves of Grass stirred the young Bram Stoker to compose his extraordinary stream-of-consciousness love letter to the American poet, Whitman’s verse ignited an even more fervent outpouring of adoration from a compatriot of Stoker’s of the opposite sex: Anne Gilchrist (February 25, 1828–November 29, 1885), whose correspondence with the beloved poet survives in the stunning forsaken volume The Letters of Anne Gilchrist and Walt Whitman (free ebook | public library).

waltwhitman
Walt Whitman (Library of Congress)

At the age of twenty-three, after a two-year engagement, Anne had married a talented art and literary critic of humble means, whose writing would soon earn the friendship of some of Great Britain’s most celebrated authors: Thomas Carlyle, George Eliot, John Ruskin, Herbert Spencer, Christina Rossetti. The couple would eventually settle next door to Thomas Carlyle and Jane Welsh Carlyle. Ten years into the marriage, scarlet fever suddenly widowed Anne and left her to raise her four children as a single mother at thirty-three. Lettered, brilliant, intensely interested in science and philosophy, and enchanted by the channeling of beauty, be it in poetry or in painting, she endeavored to finish the biography of William Blake that her husband had begun, which she published in 1863 to great acclaim with the help of William and Gabriel Rossetti — Christina Rossetti’s brothers.

That is how Walt Whitman came to animate Anne Gilchrist’s life. At the time, William Rossetti was readying to publish the long-belated English edition of Leaves of Grass. Intuiting a kindred sensibility, he gave Gilchrist some of Whitman’s poems. She was instantly besotted. In June of 1869, she exulted in a letter to Rossetti:

Your edition of Walt Whitman’s poems… holds me entirely spellbound, and I go through it again and again with deepening delight and wonder.

On those pages began what would become a rich and unclassifiable bond. “Among the perfect women I have met,” Whitman would later reflect, “I have known none more perfect in every relation, than my dear, dear friend, Anne Gilchrist.” In a conversation with his biographer, he would liken her to Lincoln, whom he considered “the greatest, best, most characteristic, artistic, moral personality” in America:

Have you noticed that the time to look for the best things in best people is the moment of their greatest need? Look at Lincoln: he is our proudest example: he proved to be big as, bigger than, any emergency — his grasp was a giant’s grasp — made dark things light, made hard things easy…. [Anne] belonged to the same noble breed: seized the reins, was competent; her head was clear, her hand was firm.

Anne Gilchrist

Gilchrist’s first love letter to Whitman was not private but public — an essay titled “An Englishwoman’s Estimate of Walt Whitman,” published anonymously in Boston’s Radical a year after she first became enamored of his verses. Whitman was 51 and Gilchrist 42. Lauding the poems’ “penetrating sweetness, set in the midst of rugged grandeur,” she enthused:

For me the reading of his poems is truly a new birth of the soul.

[…]

I had not dreamed that words could cease to be words, and become electric streams like these… I am as one hurried through stormy seas, over high mountains, dazed with sunlight, stunned with a crowd and tumult of faces and voices, till I am breathless, bewildered, half dead. Then come parts and whole poems in which there is such calm wisdom and strength of thought, such a cheerful breadth of sunshine, that the soul bathes in them renewed and strengthened. Living impulses flow out of these that make me exult in life, yet look longingly towards “the superb vistas of Death.” … Not, of course, that all the pieces are equal in power and beauty, but that all are vital; they grew — they were not made. We criticise a palace or a cathedral; but what is the good of criticising a forest? … Seeds brought by the winds from north, south, east, and west, lying long in the earth, not resting on it like the stately building, but hid in and assimilating it, shooting upwards to be nourished by the air and the sunshine and the rain which beat idly against that, — each bough and twig and leaf growing in strength and beauty its own way, a law to itself, yet, with all this freedom of spontaneous growth, the result inevitable, unalterable (therefore setting criticism at naught), above all things, vital, — that is, a source of ever-generating vitality: such are these poems.

Illustration by Margaret C. Cook for a rare 1913 edition of Leaves of Grass.

Whitman, who cherished trees with a love approaching the divine, was in turn vitalized by this uncommon generosity of sentiment. Decades later, he would affectionately remember Gilchrist as “strangely different from the average; entirely herself; as simple as nature; true, honest; beautiful as a tree is tall, leafy, rich, full, free — is a tree.”

After reading her review, not yet knowing the author’s identity, he wrote to Rossetti: “I had hitherto received no eulogium so magnificent.” Having spent a decade learning how not to let criticism sink his confidence — something no artist ever fully learns but we spend a lifetime practicing — Whitman would later reflect on how much Gilchrist’s plaudit meant to him:

Almost everybody was against me — the papers, the preachers, the literary gentlemen — nearly everybody with only here and there a dissenting voice — when it looked on the surface as if my enterprise was bound to fail… then this wonderful woman. Such things stagger a man… I had got so used to being ignored or denounced that the appearance of a friend was always accompanied with a sort of shock… There are shocks that knock you up, shocks that knock you down.

It would be more than two years before Gilchrist summoned the courage to reach out to Whitman directly and reveal her identity as the reviewer whose praise had so salved him. In early September 1871, months before Bram Stoker composed his own exhilarated love letter to the poet, she wrote to him:

The time will come when man will understand that a woman’s soul is as dear and needful to his and as different from his as her body to his body. This was what happened to me when I had read for a few days, nay, hours, in your books. It was the divine soul embracing mine. I never before dreamed what love meant: not what life meant. Never was alive before — no words but those of “new birth” can hint the meaning of what then happened to me.

After recounting to Whitman the shock of bereavement she had experienced with her husband’s sudden death a decade earlier, she writes as a woman already in love with a stranger whose words have reached to her across time, space, and reason to cast the thickest spell:

In May, 1869, came the voice over the Atlantic to me — O, the voice of my Mate: it must be so — my love rises up out of the very depths of the grief & tramples upon despair. I can wait — any time, a lifetime, many lifetimes — I can suffer, I can dare, I can learn, grow, toil, but nothing in life or death can tear out of my heart the passionate belief that one day I shall hear that voice say to me, “My Mate. The one I so much want. Bride, Wife, indissoluble eternal!” It is not happiness I plead with God for — it is the very life of my Soul, my love is its life. Dear Walt. It is a sweet & precious thing, this love; it clings so close, so close to the Soul and Body, all so tenderly dear, so beautiful, so sacred; it yearns with such passion to soothe and comfort & fill thee with sweet tender joy; it aspires as grandly as gloriously as thy own soul. Strong to soar—soft & tender to nestle and caress. If God were to say to me, “See — he that you love you shall not be given to in this life — he is going to set sail on the unknown sea — will you go with him?” never yet has bride sprung into her husband’s arms with the joy with which I would take thy hand & spring from the shore.

Illustration by Margaret C. Cook for a rare 1913 edition of Leaves of Grass.

Addressing as “dear love” and “my darling” this enchanting stranger whose poems felt as intimate and personal as love letters, Gilchrist writes with an unguarded heart:

O dear Walt, did you not feel in every word the breath of a woman’s love? did you not see as through a transparent veil a soul all radiant and trembling with love stretching out its arms towards you? I was so sure you would speak, would send me some sign: that I was to wait — wait. So I fed my heart with sweet hopes: strengthened it with looking into the eyes of thy picture. O surely in the ineffable tenderness of thy look speaks the yearning of thy man-soul towards my woman-soul? But now I will wait no longer. A higher instinct dominates that other, the instinct for perfect truth. I would if I could lay every thought and action and feeling of my whole life open to thee as it lies to the eye of God. But that cannot be all at once. O come. Come, my darling: look into these eyes and see the loving ardent aspiring soul in them. Easily, easily will you learn to love all the rest of me for the sake of that and take me to your breasts for ever and ever. Out of its great anguish my love has risen stronger, more triumphant than ever: it cannot doubt, cannot fear, is strong, divine, immortal, sure of its fruition this side the grave or the other.

Six weeks later, not having received a response — a stretch of silence unfathomable to the modern reader, in an age when a two-hour text response lag can induce nothing less than heartbreak — Gilchrist writes again with explosive candor, beseeching for an acknowledgement of her letter and her love:

Spare me the needless suffering of uncertainty on this point & let me have one line, one word, of assurance that I am no longer hidden from you by a thick cloud — I from thee — not thou from me: for I that have never set eyes upon thee, all the Atlantic flowing between us, yet cleave closer than those that stand nearest & dearest around thee — love thee day & night: — last thoughts, first thoughts, my soul’s passionate yearning toward thy divine Soul, every hour, every deed and thought — my love for my children, my hopes, aspirations for them, all taking new shape, new height through this great love. My Soul has staked all upon it. In dull dark moods when I cannot, as it were, see thee, still, still always a dumb, blind yearning towards thee — still it comforts me to touch, to press to me the beloved books — like a child holding some hand in the dark — it knows not whose — but knows it is enough — knows it is a dear, strong, comforting hand. Do not say I am forward, or that I lack pride because I tell this love to thee who have never sought or made sign of desiring to seek me. Oh, for all that, this love is my pride my glory. Source of sufferings and joys that cannot put themselves into words. Besides, it is not true thou hast not sought or loved me. For when I read the divine poems I feel all folded round in thy love… I know not how to bear the yearning answering tenderness that fills my breast.

At this point, one is tempted to regard Gilchrist with the peculiar fusion of admiration and pity that such unbridled self-prostration inspires in an impartial observer; or, less charitably, to dismiss her as an infatuated fan who has constructed the elaborate scaffolding of a fantasy love around a distant public figure. But just as her despair — and that of any reader of these rending letters — approaches the unbearable, Whitman writes back. Two weeks later — practically instantaneously, given the pace of transatlantic mail — he sends her a short, largehearted letter, emotionally generous yet deliberately reserved by comparison to her effusive outpourings of love:

I have been waiting quite a while for time and the right mood, to answer your letter in a spirit as serious as its own, and in the same unmitigated trust and affection. But more daily work than ever has fallen to me to do the present season, and though I am well and contented, my best moods seem to shun me. I wish to give to it a day, a sort of Sabbath, or holy day, apart to itself, under serene and propitious influences, confident that I could then write you a letter which would do you good, and me too. But I must at least show without further delay that I am not insensible to your love. I too send you my love. And do you feel no disappointment because I now write so briefly. My book is my best letter, my response, my truest explanation of all. In it I have put my body and spirit. You understand this better and fuller and clearer than any one else. And I too fully and clearly understand the loving letter it has evoked. Enough that there surely exists so beautiful and a delicate relation, accepted by both of us with joy.

Willfully unwitting of Whitman’s gentle message that his art is his love, which is not the personal love she craves, Gilchrist responds with the insistence that she only knew what the word “love” meant after she read his poems. Envisioning “the sweetest, noblest, closest, tenderest companionship ever yet tasted by man & woman” as available to them, weaving Whitman’s own words into her plea for requital, she writes:

Your book does indeed say all — book that is not a book, for the first time a man complete, godlike, august, standing revealed the only way possible, through the garment of speech… quickened into life through such love, such sympathy, such resistless attraction.

[…]

I know how hard to attain to this greatness, the grandest lot ever aspired to by woman. I know too my own shortcomings, faults, flaws. You might not be able to give me your great love yet — to take me to your breast with joy. But I can wait. I can grow great & beautiful through sorrow & suffering, working, struggling, yearning, loving so, all alone, as I have done now nearly three years… Love & Hope are so strong in me, my soul’s high aspirations are of such tenacious, passionate intensity, are so conscious of their own deathless reality, that what would starve them out of any other woman only makes them strike out deeper roots, grow more resolute & sturdy, in me. I know that “greatness will not ripen for me like a pear.” But I could face, I could joyfully accept, the fiercest anguish, the hardest toil, the longest, sternest probation, to make me fit to be your mate — so that at the last you should say, “This is the woman I have waited for, the woman prepared for me: this is my dear eternal comrade, wife — the one I so much want.” Life has no other meaning for me than that — all things have led up to help prepare me for that. Death is more welcome to me than life if it means that — if thou, dear sailor, thou sailing upon thy endless cruise, takest me on board — me, daring, all with thee, steering for the deep waters, bound where mariner has not yet dared to go: hand in hand with thee, nestled close — one with thee.

Illustration by Margaret C. Cook for a rare 1913 edition of Leaves of Grass.

Whitman, too, seems willfully unwitting of the discomfiting truth at the heart of her letters — that she loves him with a self-generated ardor he could never return, so vast and all-demanding and uncalibrated to his nature as a queer man. When he responds by saying that he dreams of going to “Old England” one day, and thus seeing her and her children — “but it is a dream only” — he seems not to realize that “only” is so infinite a landscape for fantasy in the mind of the hopelessly infatuated. And yet he does warn her, in his gentle poetic way, that the love she experiences may be a misplaced projection at his private person on the basis of his public art. Gilchrist responds with an impassioned, almost unbearably beautiful and heartbreaking counter-insistence, reasoning against reason:

If it seems to you there must needs be something unreal, illusive, in a love that has grown up entirely without the basis of personal intercourse, dear Friend, then you do not yourself realize your own power nor understand the full meaning of your own words, “whoso touches this, touches a man” — “I have put my Soul & Body into these Poems.” Real effects imply real causes. Do you suppose that an ideal figure conjured up by her own fancy could, in a perfectly sound, healthy woman of my age, so happy in her children, so busy & content, practical, earnest, produce such real & tremendous effect — saturating her whole life, colouring every waking moment — filling her with such joys, such pains that the strain of them has been well nigh too much even for a strong frame, coming as it does, after twenty years of hard work?

Therefore please, dear Friend, do not “warn” me any more — it hurts so, as seeming to distrust my love. Time only can show how needlessly. My love, flowing ever fresh & fresh out of my heart, will go with you in all your wanderings, dear Friend, enfolding you day and night, soul & body, with tenderness that tries so vainly to utter itself in these poor, helpless words, that clings closer than any man’s love can cling.

And yet despite the all-consuming cloud of her infatuation, Gilchrist manages — as we all manage, even in our most enchanted states — to maintain some lucid part of herself, some clear awareness of the asymmetrical intensity of feeling. Eight months into the correspondence, in between effusions, she gives that part a share of voice:

Perhaps the letters that I have sent you since that first, have given you a feeling of constraint towards me because you cannot respond to them. I will not write any more such letters; or, if I write them because my heart is so full it cannot bear it, they shall not find their way to the Post. But do not, because I give you more than friendship, think that it would not be a very dear & happy thing to me to have friendship only from you.

Anyone who has vowed not to text a crush, then watched the resolve melt into permissive rationalizations of why texting is a good idea, knows the polarized place of resignation and electric desire from which Gilchrist is composing these futile words — for, in the very next breath, she uncorks the longing she has just resolved to keep bottled up, imploring him to write and insisting that her love, though it had begun in his poems, is irrepressibly aimed at his person:

I am sure dear friend, if you realize the joy it is to me to receive a few words from you — about anything that is passing in your thoughts & around — how beaming bright & happy the day a letter comes & many days after — how light hearted & alert I set about my daily tasks, it would not seem irksome to you to write. And if you say, “Read my books, & be content — you have me in them,” I say, it is because I read them so that I am not content. It is an effort to me to turn to any other reading… I want nothing else — am fully fed & satisfied there. I sit alone many hours… brooding over the poems, sunning myself in them, pondering the vistas — all the experience of my past life & all its aspirations corroborating them — all my future & so far as in me lies the future of my children to be shaped modified vitalized by & through these — outwardly & inwardly. How can I be content to live wholly isolated from you? I am sure it is not possible for any one, — man or woman, it does not matter which, to receive these books, not merely with the intellect critically admiring their power & beauty, but with an understanding responsive heart, without feeling it drawn out of their breasts so that they must leave all & come to be with you sometimes without a resistless yearning for personal intercourse that will take no denial.

Illustration by Margaret C. Cook for a rare 1913 edition of Leaves of Grass.

Although the correspondence continued to be staggeringly asymmetrical, with a ten-month silence from Whitman, Gilchrist’s “resistless yearning for personal intercourse” remained undeterred indeed. Whitman was never cool to her. But he met her boundless passion with contained warmth — a tragic asymmetry of affection evocative of Emily Dickinson’s lifelong ardor for Susan Gilbert and Herman Melville’s for Nathaniel Hawthorne. Governed by her devotion and willfully blind to the asymmetry, Gilchrist began dreaming of moving to America to be near her “darling Walt” — dreams that fermented into plans after Whitman’s paralytic stroke in 1873, followed closely by the death of his beloved sister and mother. He wrote to her from the thick fog of these losses:

Since I last wrote, clouds have darkened over me, and still remain.

[…]

Do not think hard of me for not writing in reply. If you could look into my spirit & emotion you would be entirely satisfied & at peace… I am at present temporarily here at Camden, on the Delaware river, opposite Philadelphia, at the house of my brother, and I am occupying, as I write, the rooms wherein my mother died… You must not be unhappy about me, as I am as comfortably situated as can be — & many things — indeed every thing — in my case might be so much worse. Though my plans are not definite, my intention as far as anything is on getting stronger.

He then did something astounding — something the effect of which on a lovestruck heart he must not have realized:

The enclosed ring I have just taken from my finger, & send to you, with my love.

How the besotted Gilchrist interpreted the gesture is hardly surprising. Addressing him as “my Beloved,” she gushes:

O the precious letter, bearing to me the living touch of your hand, vibrating through & through me as I feel the pressure of the ring that pressed your flesh — & now will press mine so long as I draw breath. My Darling! take comfort & strength & joy from me that you have made so rich & strong.

[…]

When my eyes first open in the morning, often such tender thoughts, yearning ineffably, pitying, sorrowful, sweet thoughts flow into my breast that longs & longs to pillow on itself the suffering head (with white hair more beautiful to me than the silvery clouds which always make me think of it.)

Illustration by Margaret C. Cook for a rare 1913 edition of Leaves of Grass.

The ring only amplified her longing to be near him, to care for him as part-wife, part-mother, part-comrade — she decided to move to America. Whitman immediately discouraged the plan, perhaps sensing that he could never meet her love in kind. Even if he were not the poet laureate of same-sex love, he must have intuited that she loved a version of him so idealized, so exalted to the point of worship, that his mortal reality could only ever disappoint her to the point of devastation — the pedestal would topple, crushing a tender heart he cared to protect. Nowhere is the collision between the ideal and the real more violent, nor more mutually wounding, than in an asymmetrical love warped by one-sided idealization.

Gilchrist did not heed his deterrence. She had seen her migration to America as her “settled, steady purpose (resting on a deep, strong faith) ever since 1869,” when she first devoured Leaves of Grass. Now she began actively imagining their life together in a mutually enriching partnership:

I turn my face to the westward sky before I lie down to sleep, deep & steadfast within me the silent aspiration that every year, every month & week, may help something to prepare and make fitter me and mine to be your comfort and joy. We are full of imperfections, short-comings but half developed, but half “possessing our own souls.” But we grow, we learn, we strive — that is the best of us. I think in the sunshine of your presence we shall grow fast — I too, my years notwithstanding.

Under this blinding vision, she once again returns to the seedbed of her love for him — his art:

No one hundreds of years hence will find deeper joy in these poems than I — breathe the fresh, sweet, exhilarating air of them, bathe in it, drink in what nourishes & delights the whole being, body, intellect & soul, more than I. Nor could you, when writing them, have desired to come nearer to a human being & be more to them forever & forever than you are & will be to me. O I take the hand you stretch out each day — I put mine into it with a sense of utter fulfilment: I ask nothing more of time and of eternity but to live and grow up to that companionship that includes all.

Her physical presence in his life, she insists, would be nothing less than medicinal. It would be a love that meets every need — the most treacherous promise of our romantic mythology, for no one person could ever meet the tessellated needs of another fully. She writes:

I believe if I could only make you conscious of the love, the enfolding love, my heart breathes out toward you it would do you physical good; many-sided love — Mother’s love that cherishes, that delights so in personal service, that sees in sickness & suffering such dear appeals to an answering, limitless tenderness — wife’s love — ah, you draw that from me too, resistlessly — I have no choice — comrade’s love, so happy in sharing all, pain, sorrow, toil, effort, enjoyments, thoughts, hopes, aims, struggles, disappointment, beliefs, aspirations. Child’s love, too, that trusts utterly, confides unquestioningly.

On August 30, 1876, after a seven-year longing, Gilchrist set sail for America with three of her children. To the reluctant Whitman, who had tried to dissuade her by stressing the perilousness of transatlantic travel and cautioning her that the “crudeness” of Americans might offend her sensibility, she cited her eldest daughter’s future as a primary motivation — Beatrice was determined to become a doctor, but proper medical education was not yet available to women in England, for they were not permitted to enter any hospital for the clinical portion of their studies. A quarter century earlier, Gilchrist’s compatriot Elizabeth Blackwell had traversed the Atlantic to set precedent as the first woman to receive a medical degree in America.

The family settled in Concord, where Gilchrist soon made the acquaintance of Emerson — by that point, America’s most esteemed literary tastemaker, whose extraordinary letter to the young Whitman had pivoted the fate of Leaves of Grass from a derided and dismissed creative experiment to a literary masterpiece on the lips, minds, and shelves of every book-lover in America. In Concord, in “the companionship of very lovable men and women,” Gilchrist began enjoying outdoor pleasures, so dear to Whitman himself and so central to his makeshift physical therapy while recovering from the stroke. She reported to him:

They lead an easy-going life here — seem to spend half their time floating about on the river — or meeting in the evening to talk & read aloud.

Anne Gilchrist. Photogravure of a portrait by her son, Herbert Gilchrist.

We shall never know what was exchanged, thought, felt when Gilchrist and Whitman first met. (The loss of letters, Margaret Fuller had lamented, “makes irreparable gaps in the history of feeling,” and an even vaster abyss gapes across the unrecorded moments that take place in the intimacy of physical proximity and presence — letters, after all, presuppose distance and absence.) What we do know is that, under the hard light of reality, Gilchrist’s idealized romantic love soon melted into a warm and largehearted affection that would bind the two for the remainder of their lives. Whitman dined at her house frequently and her children came to call him “Uncle Walt.” Her artist son painted a portrait of him. The poet would later write of his uncommon and label-defying regard for her:

I have that sort of feeling about her which cannot easily be spoken of — …: love (strong personal love, too), reverence, respect — you see, it won’t go into words: all the words are weak and formal.

Despite being nearly a decade her elder, Whitman would go on to outlive Gilchrist. Upon received word of her death from her son, he could only summon these spare, sundering words:

Dear Herbert:

I have received your letter. Nothing now remains but a sweet and rich memory — none more beautiful all time, all life all the earth — I cannot write anything of a letter to-day. I must sit alone and think.

Walt Whitman.

He would remember her as “a sort of human miracle,” “a supreme character of whom the world knows too little for its own good,” one whose “vision went on and on” and who “belonged to the times yet to come.” He would commemorate her in one of his most beautiful poems:

GOING SOMEWHERE

My science-friend, my noblest woman-friend
(Now buried in an English grave — and this a memory — leaf for her dear sake),
Ended our talk — “The sum, concluding all we know of old or modern learning, intuitions deep,
Of all Geologies — Histories — of all Astronomy — of Evolution, Metaphysics all,
Is, that we all are onward, onward, speeding slowly, surely bettering,
Life, life an endless march, an endless army (no halt, but, it is duly over),
The world, the race, the soul — in space and time the universes,
All bound as is befitting each — all surely going somewhere.”

The whole of The Letters of Anne Gilchrist and Walt Whitman is the kind of soulful, heartbreakingly beautiful read that reminds us what we stand to lose with the loss of letter writing — “the humane art,” Virginia Woolf called it. Though bittersweetly dated in their form, these letters speak to and salve the most timeless palpitations of the human heart. Complement them with other uncommonly splendid exemplars of the love letter form: Emily Dickinson to Susan Gilbert, Kahlil Gibran to Mary Haskell, Vladimir Nabokov to Véra Nabokova, Iris Murdoch to Brigit Brophy, Margaret Mead to Ruth Benedict, and Frida Kahlo to Diego Rivera.

BP

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