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    I celebrate myself, and sing myself, And what I assume you shall assume, For every atom belonging to me as good belongs to you.

    I loafe and invite my soul, I lean and loafe at my ease observing a spear of summer grass. My tongue, every atom of my blood, form'd from this soil, this air, Born here of parents born here from parents the same, and their parents the same, I, now thirty-seven years old in perfect health begin, Hoping to cease not till death. Creeds and schools in abeyance, Retiring back a while sufficed at what they are, but never forgotten, I harbor for good or bad, I permit to speak at every hazard, Nature without check with original energy.

    The atmosphere is not a perfume, it has no taste of the distillation, it is odorless, It is for my mouth forever, I am in love with it, I will go to the bank by the wood and become undisguised and naked, I am mad for it to be in contact with me. The smoke of my own breath, Echoes, ripples, buzz'd whispers, love-root, silk-thread, crotch and vine, My respiration and inspiration, the beating of my heart, the passing of blood and air through my lungs, The sniff of green leaves and dry leaves, and of the shore and dark-color'd sea-rocks, and of hay in the barn, The sound of the belch'd words of my voice loos'd to the eddies of the wind, A few light kisses, a few embraces, a reaching around of arms, The play of shine and shade on the trees as the supple boughs wag, The delight alone or in the rush of the streets, or along the fields and hill-sides, The feeling of health, the full-noon trill, the song of me rising from bed and meeting the sun.

    Have you reckon'd a thousand acres much? Have you practis'd so long to learn to read? Have you felt so proud to get at the meaning of poems? Stop this day and night with me and you shall possess the origin of all poems, You shall possess the good of the earth and sun, there are millions of suns left, You shall no longer take things at second or third hand, nor look through the eyes of the dead, nor feed on the spectres in books, You shall not look through my eyes either, nor take things from me, You shall listen to all sides and filter them from your self.

    There was never any more inception than there is now, Nor any more youth or age than there is now, And will never be any more perfection than there is now, Nor any more heaven or hell than there is now.

    Urge and urge and urge, Always the procreant urge of the world. Out of the dimness opposite equals advance, always substance and increase, always sex, Always a knit of identity, always distinction, always a breed of life. To elaborate is no avail, learn'd and unlearn'd feel that it is so.

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    Sure as the most certain sure, plumb in the uprights, well entretied, braced in the beams, Stout as a horse, affectionate, haughty, electrical, I and this mystery here we stand.

    Clear and sweet is my soul, and clear and sweet is all that is not my soul. Lack one lacks both, and the unseen is proved by the seen, Till that becomes unseen and receives proof in its turn.

    Showing the best and dividing it from the worst age vexes age, Knowing the perfect fitness and equanimity of things, while they discuss I am silent, and go bathe and admire myself. Welcome is every organ and attribute of me, and of any man hearty and clean, Not an inch nor a particle of an inch is vile, and none shall be less familiar than the rest. I am satisfied--I see, dance, laugh, sing; As the hugging and loving bed-fellow sleeps at my side through the night, and withdraws at the peep of the day with stealthy tread, Leaving me baskets cover'd with white towels swelling the house with their plenty, Shall I postpone my acceptation and realization and scream at my eyes, That they turn from gazing after and down the road, And forthwith cipher and show me to a cent, Exactly the value of one and exactly the value of two, and which is ahead?

    Apart from the pulling and hauling stands what I am, Stands amused, complacent, compassionating, idle, unitary, Looks down, is erect, or bends an arm on an impalpable certain rest, Looking with side-curved head curious what will come next, Both in and out of the game and watching and wondering at it.

    Backward I see in my own days where I sweated through fog with linguists and contenders, I have no mockings or arguments, I witness and wait. Loafe with me on the grass, loose the stop from your throat, Not words, not music or rhyme I want, not custom or lecture, not even the best, Only the lull I like, the hum of your valved voice.

    I mind how once we lay such a transparent summer morning, How you settled your head athwart my hips and gently turn'd over upon me, And parted the shirt from my bosom-bone, and plunged your tongue to my bare-stript heart, And reach'd till you felt my beard, and reach'd till you held my feet. Swiftly arose and spread around me the peace and knowledge that pass all the argument of the earth, And I know that the hand of God is the promise of my own, And I know that the spirit of God is the brother of my own, And that all the men ever born are also my brothers, and the women my sisters and lovers, And that a kelson of the creation is love, And limitless are leaves stiff or drooping in the fields, And brown ants in the little wells beneath them, And mossy scabs of the worm fence, heap'd stones, elder, mullein and poke-weed.

    I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose?

    Or I guess the grass is itself a child, the produced babe of the vegetation. Or I guess it is a uniform hieroglyphic, And it means, Sprouting alike in broad zones and narrow zones, Growing among black folks as among white, Kanuck, Tuckahoe, Congressman, Cuff, I give them the same, I receive them the same.

    And now it seems to me the beautiful uncut hair of graves. Tenderly will I use you curling grass, It may be you transpire from the breasts of young men, It may be if I had known them I would have loved them, It may be you are from old people, or from offspring taken soon out of their mothers' laps, And here you are the mothers' laps.

    This grass is very dark to be from the white heads of old mothers, Darker than the colorless beards of old men, Dark to come from under the faint red roofs of mouths. O I perceive after all so many uttering tongues, And I perceive they do not come from the roofs of mouths for nothing.

    I wish I could translate the hints about the dead young men and women, And the hints about old men and mothers, and the offspring taken soon out of their laps.

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    What do you think has become of the young and old men? And what do you think has become of the women and children? They are alive and well somewhere, The smallest sprout shows there is really no death, And if ever there was it led forward life, and does not wait at the end to arrest it, And ceas'd the moment life appear'd. All goes onward and outward, nothing collapses, And to die is different from what any one supposed, and luckier.

    I hasten to inform him or her it is just as lucky to die, and I know it. I pass death with the dying and birth with the new-wash'd babe, and am not contain'd between my hat and boots, And peruse manifold objects, no two alike and every one good, The earth good and the stars good, and their adjuncts all good. I am not an earth nor an adjunct of an earth, I am the mate and companion of people, all just as immortal and fathomless as myself, They do not know how immortal, but I know. Every kind for itself and its own, for me mine male and female, For me those that have been boys and that love women, For me the man that is proud and feels how it stings to be slighted, For me the sweet-heart and the old maid, for me mothers and the mothers of mothers, For me lips that have smiled, eyes that have shed tears, For me children and the begetters of children.

    The youngster and the red-faced girl turn aside up the bushy hill, I peeringly view them from the top. The suicide sprawls on the bloody floor of the bedroom, I witness the corpse with its dabbled hair, I note where the pistol has fallen. I am there, I help, I came stretch'd atop of the load, I felt its soft jolts, one leg reclined on the other, I jump from the cross-beams and seize the clover and timothy, And roll head over heels and tangle my hair full of wisps.

    The Yankee clipper is under her sky-sails, she cuts the sparkle and scud, My eyes settle the land, I bend at her prow or shout joyously from the deck. The boatmen and clam-diggers arose early and stopt for me, I tuck'd my trowser-ends in my boots and went and had a good time; You should have been with us that day round the chowder-kettle.

    I saw the marriage of the trapper in the open air in the far west, the bride was a red girl, Her father and his friends sat near cross-legged and dumbly smoking, they had moccasins to their feet and large thick blankets hanging from their shoulders, On a bank lounged the trapper, he was drest mostly in skins, his luxuriant beard and curls protected his neck, he held his bride by the hand, She had long eyelashes, her head was bare, her coarse straight locks descended upon her voluptuous limbs and reach'd to her feet.

    The runaway slave came to my house and stopt outside, I heard his motions crackling the twigs of the woodpile, Through the swung half-door of the kitchen I saw him limpsy and weak, And went where he sat on a log and led him in and assured him, And brought water and fill'd a tub for his sweated body and bruis'd feet, And gave him a room that enter'd from my own, and gave him some coarse clean clothes, And remember perfectly well his revolving eyes and his awkwardness, And remember putting piasters on the galls of his neck and ankles; He staid with me a week before he was recuperated and pass'd north, I had him sit next me at table, my fire-lock lean'd in the corner.

    She owns the fine house by the rise of the bank, She hides handsome and richly drest aft the blinds of the window. Which of the young men does she like the best?

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    Ah the homeliest of them is beautiful to her. Where are you off to, lady? Dancing and laughing along the beach came the twenty-ninth bather, The rest did not see her, but she saw them and loved them. The beards of the young men glisten'd with wet, it ran from their long hair, Little streams pass'd all over their bodies.

    An unseen hand also pass'd over their bodies, It descended tremblingly from their temples and ribs. The young men float on their backs, their white bellies bulge to the sun, they do not ask who seizes fast to them, They do not know who puffs and declines with pendant and bending arch, They do not think whom they souse with spray. Blacksmiths with grimed and hairy chests environ the anvil, Each has his main-sledge, they are all out, there is a great heat in the fire.

    From the cinder-strew'd threshold I follow their movements, The lithe sheer of their waists plays even with their massive arms, Overhand the hammers swing, overhand so slow, overhand so sure, They do not hasten, each man hits in his place.

    I behold the picturesque giant and love him, and I do not stop there, I go with the team also. In me the caresser of life wherever moving, backward as well as forward sluing, To niches aside and junior bending, not a person or object missing, Absorbing all to myself and for this song.

    Oxen that rattle the yoke and chain or halt in the leafy shade, what is that you express in your eyes? It seems to me more than all the print I have read in my life.

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    My tread scares the wood-drake and wood-duck on my distant and day-long ramble, They rise together, they slowly circle around. I believe in those wing'd purposes, And acknowledge red, yellow, white, playing within me, And consider green and violet and the tufted crown intentional, And do not call the tortoise unworthy because she is not something else, And the in the woods never studied the gamut, yet trills pretty well to me, And the look of the bay mare shames silliness out of me.

    The sharp-hoof'd moose of the north, the cat on the house-sill, the chickadee, the prairie-dog, The litter of the grunting sow as they tug at her teats, The brood of the turkey-hen and she with her half-spread wings, I see in them and myself the same old law.

    The press of my foot to the earth springs a hundred affections, They scorn the best I can do to relate them. I am enamour'd of growing out-doors, Of men that live among cattle or taste of the ocean or woods, Of the builders and steerers of ships and the wielders of axes and mauls, and the drivers of horses, I can eat and sleep with them week in and week out.

    What is commonest, cheapest, nearest, easiest, is Me, Me going in for my chances, spending for vast returns, Adorning myself to bestow myself on the first that will take me, Not asking the sky to come down to my good will, Scattering it freely forever. The drover watching his drove sings out to them that would stray, The pedler sweats with his pack on his back, the purchaser higgling about the odd cent; The bride unrumples her white dress, the minute-hand of the clock moves slowly, The opium-eater reclines with rigid head and just-open'd lips, The prostitute draggles her shawl, her bonnet bobs on her tipsy and pimpled neck, The crowd laugh at her blackguard oaths, the men jeer and wink to each other, Miserable!

    I do not laugh at your oaths nor jeer you; The President holding a cabinet council is surrounded by the great Secretaries, On the piazza walk three matrons stately and friendly with twined arms, The crew of the fish-smack pack repeated layers of halibut in the hold, The Missourian crosses the plains toting his wares and his cattle, As the fare-collector goes through the train he gives notice by the jingling of loose change, The floor-men are laying the floor, the tinners are tinning the roof, the masons are calling for mortar, In single file each shouldering his hod pass onward the laborers; Seasons pursuing each other the indescribable crowd is gather'd, it is the fourth of Seventh-month, what salutes of cannon and small arms!

    I resist any thing better than my own diversity, Breathe the air but leave plenty after me, And am not stuck up, and am in my place. The moth and the fish-eggs are in their place, The bright suns I see and the dark suns I cannot see are in their place, The palpable is in its place and the impalpable is in its place.

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    This is the grass that grows wherever the land is and the water is, This the common air that bathes the globe. Have you heard that it was good to gain the day? I also say it is good to fall, battles are lost in the same spirit in which they are won. I beat and pound for the dead, I blow through my embouchures my loudest and gayest for them.

    Vivas to those who have fail'd! And to those whose war-vessels sank in the sea! And to those themselves who sank in the sea! And to all generals that lost engagements, and all overcome heroes! And the numberless unknown heroes equal to the greatest heroes known! This is the press of a bashful hand, this the float and odor of hair, This the touch of my lips to yours, this the murmur of yearning, This the far-off depth and height reflecting my own face, This the thoughtful merge of myself, and the outlet again.

    Do you guess I have some intricate purpose? Well I have, for the Fourth-month showers have, and the mica on the side of a rock has. Do you take it I would astonish? Does the daylight astonish? Do I astonish more than they? This hour I tell things in confidence, I might not tell everybody, but I will tell you.

    What is a man anyhow? All I mark as my own you shall offset it with your own, Else it were time lost listening to me. I do not snivel that snivel the world over, That months are vacuums and the ground but wallow and filth. Whimpering and truckling fold with powders for invalids, conformity goes to the fourth-remov'd, I wear my hat as I please indoors or out.

    Why should I pray? Having pried through the strata, analyzed to a hair, counsel'd with doctors and calculated close, I find no sweeter fat than sticks to my own bones. In all people I see myself, none more and not one a barley-corn less, And the good or bad I say of myself I say of them.

    I know I am solid and sound, To me the converging objects of the universe perpetually flow, All are written to me, and I must get what the writing means. I know I am deathless, I know this orbit of mine cannot be swept by a carpenter's compass, I know I shall not pass like a child's carlacue cut with a burnt stick at night.
    Click any name below to open more details.

    Click again to close. Woodcock was born and raised in the suburbs of New York City. After high school he traveled to West Virginia to visit a friend and was attracted to the mountainous beauty of the state.

    He met his wife, Mel, in Elkins through mutual friends. They moved back to West Virginia in and have lived in Elkins since Kevin also is involved with the ArtsBank Earth and the Arts program. When I was young the wilderness seemed like a place of mystery and adventure.

    This sense of mystery and adventure is still with me when I am creating artwork. I find some music actually causes me to envision landscapes and some I use for the energy it gives me to keep going. I am currently working on a series of pieces that are inspired from some of my favorite places in the Monongahela National Forest. Basic woodworking skills are helpful but not required.

    The banjo is a creation of the New World, descended from the instruments and musical sensibilities of enslaved Africans and transformed into a truly African-American instrument. The earliest banjos had bodies made of gourds, and by the s, banjos were found more commonly with wooden rims.

    In this workshop, participants will make their choice of a gourd-bodied or tack-head banjo. This workshop is open to all levels of woodworking experience, but a basic familiarity with stringed instruments is necessary. In building a gourd banjo, the form the instrument took in its most primal state, participants will learn the use of tools available in the 18th century spokeshave, rasp, file, reamertools useful today bandsaw, drillpressand something about the essential nature of the banjo.

    Participants will be provided with a profiled hardwood neck, a gourd or wooden rim, goatskin, tacks, nut material, nylon strings, and tuning pegs. A few tools to be purchased by participants will be recommended after signup. Please register by July He is one of few contemporary makers of the earliest styles of gourd banjos, ranging from those of his own design to exact replicas of historic instruments.

    His reconstructions of eighteenth- and early nineteenth-century banjos have been featured internationally in museums, art galleries, movies, documentaries, and live performances. InScott Didlake, a master early banjo builder living in Jackson, Mississippi, offered Ross an apprenticeship.

    Photographs of his instruments have appeared in Picturing the Banjo by Leo G. In Ross received a Maryland State Arts Council Apprenticeship to study techniques of late 19th-century banjo construction with master luthier Kevin Enoch.

    They feature intricate mother-of-pearl inlays, engravings, hardwood necks, and ebony fingerboards. The exhibit at the Baltimore Museum of Industry explored the mid- to late-nineteenth century Baltimore banjo maker William E. In this workshop, participants will get an introduction to green woodworking, which is a traditional way of working with wood within certain specifications of a higher moisture content.

    For the most part, the wood we work with will be freshly cut, making it easier to turn or carve. The first day or two of the workshop will be built around safety, tools, process, and design.

    We will learn about getting wood blanks out of a log for turning and carving.

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    We will discuss knife and axe safety, sharpening, and spend time learning the correct cuts for carving wooden utensils. We will then move into bowl turning on the spring pole lathe. Participants will learn about preparing blanks and preparing them for the lathe. Then we will spend several days turning bowls and carving.

    Five days will be ample time to learn the basics of green wood carving and bowl turning. Please be aware that working with the spring pole lathe is a strenuous physical activity. There will be four spring pole lathes available for use in the workshop, and participants should be prepared to share lathes and to engage in carving projects or activities when not turning on the lathe.

    Participants should come prepared to work! Tools will be available for purchase at the end of week, but all tool use during the workshop is included in the costs.

    All wood and tools provided. Nate Chambers at lathe. Bowl turned on spring pole lathe. He works primarily in the world of traditional craft: He has been fortunate enough in the past five years to work with some of the best craftsman in the world, gathering and sharing information as he learns more and more about traditional crafts and how to apply the techniques in a modern, fast-paced world.

    One of the questions he is trying to answer is how to work efficiently enough to make a living while trying to do the least amount of damage environmentally. Part of the answer comes from working with hand tools, which is a skill he teaches in classes and demonstrations in different parts of the country. Explore all the skills you need to know for weaving beautiful cloth and projects on a loom.

    No prior knowledge or experience required! Participants will learn the differences in several kinds of looms but will focus their work on multi-harness weaving. We will cover the basics of how a loom works, becoming familiar with all of its parts, how they work and how to troubleshoot problems. The workshop will cover how to prepare your yarn to put it on the loom, how to warp a loom from start to finish, and how to read various styles of written patterns.

    Participants will work together to produce sampler dish towels. Then, they will be walked through the process of designing their own independent project, creating the warp and dressing the loom themselves to weave either a dishtowel or a scarf. Becoming a serious knitter in college, she soon followed the thread of fiber down the rabbit hole and has now been a spinner for 17 years and an obsessed weaver for 6, especially of gigantic coverlets, having fallen in love with their history.

    Her spinning has won awards at the Maryland Sheep and Wool Festival, including the overall Best Skein award in and the Grand Prize for blanket weaving in She has taught both spinning and weaving for nearly 10 years.

    Choose to make a footstool or bring a pattern to colorplan and hook with embellishments. The footstool will have tin cans as the base and be covered with fabric. For information about their fascinating work, viisit ArtWools. Supplies needed will be discussed before class including at least seven cans, fabric and yarns.

    Participants who bring a pattern will receive personal guidance in selecting materials and techniques. These lessons will benefit all participants as well. Participants should have some rughooking and sewing experience. Please bring a frame, cutter, hooks, wools, needle, and threads. Materials fee varies, depending on participant projects. Feller learned rughooking in and has used the techniques with other handwork skills to explore traditions and contemporary design.

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    She created hooked rug patterns under the name of Ruckman Mill Farm, recently selling the business to a four generation company in Vermont. Now concentrating on studio work, teaching, writing, and advocating for the arts, her opportunities to exhibit have lead to honors. Her work is presented online under the business site of ArtWools. The instructor will guide you through the process of designing, roughing out and finishing your own alabaster sculpture.

    The class will focus on the safety, tools and techniques necessary for soft stone.

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    This is an introductory course, however those with a bit of experience are welcome as well. Includes alabaster stone and a set of basic tools for participants to take home.

    His work focuses on three dimensional sculptures and low relief surface carvings with nature-oriented themes. Kevin has twelve years of experience sculpting stone and a formal education in geology and geography. He has found success as a stone artist by combining his understanding of stone structure with a variety of carving tools and techniques to highlight unique characteristics of the stone he selects. Kevin also has twenty-two years of experience in education and finds great satisfaction in teaching others how to enjoy the processes and results of stone work.

    This workshop serves as an introduction to traditional metalworking techniques for the beginning blacksmith, and will be taught as a combination of demonstration and personal instruction.

    The workshop will begin with a discussion of best safety practices, and move on to starting and maintaining coal-fueled forges. Participants will learn fundamental forging processes including tapering, drawing out, splitting, and scrolling. Participants will then combine these basic techniques to create various functional and decorative pieces such as wall hooks, fire tools, and other types of hardware. The workshop will also make time for participants to work on personally selected projects for which the instructor will provide assistance on process and design.

    A limited number of spaces will also be open to those with prior experience to work on personally selected projects with design and technical guidance from the instructor. All participants should bring a cross-peen hammer and a set of tongs, as well as eye and hearing protection, welding gloves, and closed-toed shoes. His first experience in the craft was through a workshop with Augusta as a high school student.

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    Afterward, he worked on the student-run blacksmith crew while studying history at Warren Wilson college in Swannanoa, North Carolina. He has since gone on to work as a smith in living history sites, instructional settings, and production shops in West Virginia, Michigan, and North and South Carolina, as well as working on various public history and historic preservation projects.

    In his work as an independent craftsman, he focuses on adapting traditional forms and processes to fit modern uses. Judie Smith will assist. She teaches the secrets of authentic home-style Cajun cooking. She will be assisted by Judie Smith. She has made numerous visits to Louisiana and has connected with Cajun culture through Augusta and her friends there. Come discover for yourself how to create unique pieces of gourd art.

    Learn basic and advanced techniques as you are guided through using three basic tools: Learn how to create surface textures by carving, stippling, or cutting out waves of design. Wood burn and cut out negative space to enhance design elements. Explore ways to enhance your gourd with color by using inks and dyes. Create functional bowls, light fixtures, or whimsical decorative items.
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    This site has received some rave reviews from users around the world who frequent the site as a helpful transgender resource. This site allows users to upload up to photos on their profile, the most of any of the transgender dating sites.

    Users can search for friends, long term relationships, and more casual relationships. It is also noted that this site has one of the highest amounts of cross dressing users. Although the site is free to use, if you decide to upgrade to the penthouse plan, you will have access to their advanced search, be able to send and receive emails instead of just showing interest, and be able to appear first in other people's searches. It costs around 17 dollars per month, with discounts when you purchase multiple months at a time.

    The site also has a newsletter sign up, and offers users discounts and promotions. OkCupid - With around 10 million users worldwide, this site is in the process of creating more inclusive options for transgender individuals. Currently they offer 21 gender options and 11 sexual orientation choices that you can access once you become a member.

    The site notes that membership is always free and signing up is a breeze. OkCupid is one of the first of the big dating sites to include more gender and sexuality options, purposefully hoping to create a more inclusive environment for its users. Hopefully other sites will move towards this shift as well and offer equal access to transgender individuals.

    This is one of the only trans dating sites that uses an algorithm to match users with appropriate partners depending on their personalities. This site is geared more towards dating and serious relationships. MyTranssexualDate - This site is mainly for transgender women who are interested in dating men. This site is free to join for transgender women, with men paying a monthly fee.

    Get Laid with these Dating Apps!! Unless you're Will...


    The monthly fee allows men to access the chat feature. With over 85 thousand membersthis site offers international connectivity for its users, and aims to provide an educational platform that supports the rights of transgender individuals. They also note that one of their goals is to combat the over-sexualized portrayal of transgender women, and offer them a premium dating service.

    The company is mainly run by transgender women, who note that safety is their top priority, and moderators stay on top of scammers, fake profiles and inappropriate users. This allows the user to enjoy a safe, open environment where they can feel free to be themselves and date genuine individuals. This site is the only trans dating site that discourages one time hook-ups and promotes long-term relationships. The site can also be used in nine different languages, the most of any other transgender dating site!

    This would be a great site to use if you are a trans woman looking for love. Tips The process of replying to a transgender personal ad is pretty much the same no matter what site a person uses.

    All you have to do is click on someone's profile and send a brief note or a link to your profile. Don't include a lot of detail, such as an address or phone number in the initial contact for safety reasons. When placing a personaltake your time researching where you would like it to be posted, as sites will attract different types of people.

    People using these personals should watch out for anyone who: Disclosing whether you are pre or post-op is up to your discretion. Many sites will give you the option to share this information on your profile. Share what you feel comfortable with.

    If you are curious about whether someone you are chatting with is pre or post-op, be considerate when asking. Note that some individuals may not feel comfortable sharing this information right away.

    Other places to meet transgender people online besides the personals sites include Meetup. People looking for friendships and pen pal relationships may want to check out these options first. There is less pressure to find someone to hook up with since these sites do not focus on dating but rather on community. Relationship Goals When it comes to picking a site to use, keep in mind what you are looking for specifically so you can help narrow down your choices. Transgender dating sites are a great way to find a spectrum of relationships, from casual to serious.

    Have fun and enjoy creating new connections! Was this page useful?

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