What happens when we enter the imaginative space of Walt Whitman’s America? The country widens. Through it strides the Spirit of Hope — “in the Mannahatta and in every city of these States inland and seaboard…Without edifices or rules or trustees or any argument, / The institution of the dear love of comrades” (128). But Whitman’s also a poet of settler-colonial Westward expansion, is he not? Rather than referring to indigenous people as “Indians,” Whitman called them “the red aborigines.” They appear in Leaves of Grass only as people who have “vanished” — as if there was no violence involved in this “melting” and “departing.” In “Starting From Paumanok,” they’re mentioned in a single stanza, remembered only for “charging the water and the land with names” (26). Whitman’s epic whitewashes American history. During the years of Whitman’s production of Leaves of Grass, Indian Wars were fought by the United States government everywhere west of the Mississippi. The first edition appeared in the wake of the Trail of Tears. The Wounded Knee Massacre occurred at the end of 1890, the year before Whitman’s death. Whitman seems to have thought little about his complicity with the evils of a government that wages war on Indians. This despite the fact that he spent the year of 1865 working in the Indian Bureau of the Department of the Interior. So, it wasn’t like he was unaware of indigenous people — he just regarded them as “savages,” doomed to demise by the settler-state’s imagined “manifest destiny.” Beyond just casually dismissing indigenous struggles, however, Whitman was also an appropriationist, his English decorated with words poached from native languages, particularly names of tribes and names of places. How do we make Whitman and the past he represents “useful,” as Frederick Douglass said, “to the present and the future”?