American poet Walt Whitman is both a Romantic and a Realist. His work titled Song of Myself is Romantic in its language and themes while his later collection, Drum-Taps, incorporates aspects of Realism. Across both he explores the nature of sexuality, and further, queer and homoerotic interactions. The combination of individual poems in Song of Myself, the Romantic work, and “As I Lay with My Head in Your Lap, Camerado,” the Realist poem in Drum-Taps, creates a sublime picture of queerness, or Queer Sublimity, as it relates to the Romantic conceptualization of the sublime. There is a notable gap in the literature about the concept where sexuality, portrayed as a facet of nature, is seen as both beautiful and terrifying. Due to the sparsity of literature on the Queer Sublime, it is essential to begin with a definition of the concept. It then becomes clear through the numerous ways in which Whitman interprets sexuality as a distinctly natural occurrence, that this concept of the sublime is applicable. His stance is apparent in both his poems and his, initially anonymous, reviews of his own work. In the depictions of homoerotic relationships of Song of Myself, there is the initial awe of nature. Examining sections 11, 21, and 29 reveal Whitman’s Romantic understanding of queer relationships. In the poem from Drum-Taps, there is fear in the form of shame surrounding these relationships. The context of the collection that Whitman’s Realist queer work appears in, as well as Margaret Morrison’s analysis of queer shame, together show the fear contained within the Queer Sublime. The feelings expressed in both of Whitman’s works, while vastly different, demonstrate the sublime pursuit of queer love.