From Anxiety to Power: Grammar and Crisis in Crossing Brooklyn Ferry

In the article From Anxiety to Power Grammar and Crisis in crossbreeding Brooklyn take, by Roger gigabyte, he talks about Walt Whitmans poem Crossing Brooklyn Ferry. Gilbert feels that this poem is odd for Whitman because he never speaks this instant of death (339). He says that Whitmans tone remains resolutely exuberant (341), even though death is also present throughout the poem. Whitmans struggle with death is figured in the poem to be a struggle with writing and to cross out of writing and into speech. He wants to uprise writing about life and power, not death and absence. Whitman really horizon out the title of the poem.Crossing Brooklyn Ferry is a crisis poem because of his take away to overcome the deathliness of writing and to return to the spoken idiom that is Whitmans truest elan (342). Gilbert feels that the crossing carries the poet from the face of death to a renewed virtuoso of his own power. In the poem, Whitman uses a second person pronoun, which is idealis tic to see. The article asks why Whitman uses the phrase face to face. Gilbert says the solving is because objects have deform people, people in turn have become objects (343). This allows them to be mastered by Whitman, but also the passengers let him do it that he isnt impervious to death.When Whitman says the word you in his poem, he in the block off talks about the future commuters (344). As you read much into the poem, you see that the poet is metamorphosed from a me to a scheme that no longer goes with the object-world. Towards the end of the poem, Whitman becomes more passive, which is very uncharacteristic of him. When he says The current rushing so swiftly and swimming with me far away, he hints that he is go away from the scene. Also after Whitman talks about the sunset and falling dressing to sea, you can see how prominent death is in the poem. In my opinion, Gilbert does a good job of interpreting Whitmans poem.