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I wrote it [Maurice] neither for my friends or the public—but because it was weighing on me; and my previous training made me write it as literature, though for a long time I meant to show it no one at all. [...] I am much dependant on criticism and now, backed by you and some others, do feel that I have created something absolutely new, even to the Greeks. Whitman nearly anticipated me but he didn't really know what he was after, or only half knew—shirked, even to himself, the statement.
--
Letter 144, to Edward Joseph Dent, 6 March 1915

 

E. M. Forster

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Whitman to me is the most fascinating of American poets. Whitman started to write the great poetry from scratch after he had written all that junk for newspapers, the sentimental lyrical poems. All of a sudden he wrote Leaves of Grass. When I was teaching at the University of Nebraska, my friend James Miller was chairman of the English Department. He wrote the first book attempting to make a parallel between the structure of Leaves of Grass and the steps of the mystical experience as in St. John of the Cross. I was completely bowled over by this, not having been able to explain how Whitman came to write “Song of Myself,” which is unlike anything not only in American literature, but unique in all the world. The parallels to it are mystical literature. Miller tried to show that there was actual evidence for this kind of experience, which evidently happens at a particular moment in someone’s life. … When I saw the negative reaction to Whitman with the great ruling critics of the time, I couldn’t believe it. Eliot never really gave up hammering away on Whitman, neither did Pound. Although Pound makes little concessions. Whitman, you know, didn’t have any influence in this country until Allen Ginsberg came along.

 

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