Walt Whitman in Mickle StreetKeller, Elizabeth Leavitt
General
Walt Whitman in Mickle Street
Keller, Elizabeth Leavitt
Poets, American -- 19th century -- Biography; Whitman, Walt, 1819-1892 -- Homes and haunts
"Opposite, as I slid into the house one day, sat a bundle of dirt with
bread and sugar upon it, on watch. As I hurried in I heard it yell,
'Hurry, Mama! A fat man at Whitman's door!' and presently a female
watcher of two hundred and fifty pounds pattered to the door, wiping her
fat arms on a checked apron. I heard her say as she retreated, 'Jimmie,
watch if he comes out!' This confirmed the suspicion I had long had,
that someone in the vicinity held that persons entered but didn't leave
the Whitman house, and that they mysteriously disappeared." (_Thomas
Donaldson._)
This is no doubt curiously exaggerated; the woman probably only wished
to get another glimpse of the "fat man" as he came out; but it is
interesting as showing the feeling of a visitor. The effect of such
conditions upon a woman like Mrs. Davis, living in the house itself and
constantly exposed to the oppressive surveillance, might well have been
serious. But she had a placid disposition and took things quietly. She
was not at all disturbed because none of the older watchers made
overtures towards an acquaintance.
It was different with the young people, however, for after their awe had
somewhat subsided they began to be venturesome--to show their hardihood
perhaps--and soon became quite familiar, making the cellar doors
(old-fashioned slanting ones) their regular rendezvous. Here they would
come to "mind babies," to hold mimic school and singing classes, to play
games, keep house, take lunch and eat taffy purchased at a little corner
store. Undoubtedly one inducement for their constant visits was the
chance of getting one of the pennies that rolled occasionally out of the
window above. Before summer had ended they had grown decidedly sociable,
and in one of their favorite pastimes--running up and sliding down the
cellar doors--each would pause for a moment at the top and peek in at
the "good gray poet" as he sat anchored in his great chair, and ask,
"How do you do to-day, Mr. Whitman?"
The poet's original style of dressing was probably one reason why he
attracted so much notice. He wore gray clothes, large of make and
uncertain of fit, with an open vest, over which was turned the broad
collar of his shirt. The latter, during his entire sojourn in Camden,
was invariably made of a good quality of unbleached cotton. He preferred
this to any other material, and he could not tolerate a separate collar,
starched bosom or necktie. He despised an ordinary pocket-handkerchief,
and carried instead a generous piece of soft cotton or cheesecloth. His
wide-brimmed hat, always looking the worse for wear, was usually turned
up in front.
All this, with his size and long white hair and beard, made him a
picturesque individual, and it was only natural that he should be
recognized at once as a decidedly uncommon person.
Public-domain text, read in full here on John Shaqi.
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