With the publication of Untitled Subjects (1969) and Findings (1971), Richard Howard was acknowledged as a master of the dramatic monologue, a one-sided verse conversation during which the reader gains insight into the character of the speaker. With “Wildflowers” and the other five lengthy poems in Two-Part Inventions, however, he explores the possibilities of a new form: the dramatic dialogue. “Wildflowers,” for example, attempts to render a conversation between two great figures of nineteenth century literature: the American poet Walt Whitman, author of Leaves of Grass (1855), and the Irish-born poet and dramatist Oscar Wilde.
Subtitled “Camden, 1882,” the poem purports to re-create what was said when Wilde first visited Whitman in the latter’s residence in New Jersey. However, Howard takes certain liberties with historical fact. Although he did seek out Whitman during his 1882 tour of the United States, Wilde actually visited the American poet twice, the first time with his friend, the Philadelphia publisher J. M. Stoddart, and the second time alone. Howard makes Wilde’s second visit his first and sets the confrontation in Whitman’s Mickle Street residence, a home that he did not purchase until two years later in 1884. Wilde actually visited Whitman in the Stevens Street home of Whitman’s brother George. Probably, for dramatic purposes, it suited Howard better that Wilde meet Whitman in the home he lived in by himself except for his housekeeper Mary Davis, a sailor’s widow who worked for the poet in exchange for a rear apartment. Over the course of his long literary career, Whitman was the center of a considerable circle of discipleship, and many of his readers made pilgrimage to Camden after he retired from a series of federal government positions in 1874.
As the poem begins, the sixty-three-year-old Whitman is preparing to meet his twenty-eight-year-old admirer from across the ocean. He puts on a red tie and rereads the letter from his Canadian follower Dr. Richard Bucke that first brought Wilde to his attention. Fresh from his tour of the American West, “dashing between/ coyotes and cañons,” Wilde has come to pay homage to a man whom he sees as “America’s great voice.” They talk in Whitman’s “ruin” of a room, made infamous by his biographers for its disorder. The far-ranging conversation between these two poets is the substance of the poem.