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"Hart Crane's long poem The Bridge has steadily grown in stature since it was published in 1930. This book is a guide to the poem. It's detailed and far-reaching annotations make [the poem] fully accessible, for the first time, to its readers"--Jacket flap.
In one of his letters Hart Crane wrote, "Appollinaire lived in Paris, I live in Cleveland, Ohio," comparing—misspelling and all—the great French poet’s cosmopolitan roots to his own more modest ones in the midwestern United States. Rebelling against the notion that his work should relate to some European school of thought, Crane defiantly asserted his freedom to be himself, a true American writer. John T. Irwin, long a passionate and brilliant critic of Crane, gives readers the first major interpretation of the poet’s work in decades. Irwin aims to show that Hart Crane’s epic The Bridge is the best twentieth-century long poem in English. Irwin convincingly argues that, compared to other long poems of the century, The Bridge is the richest and most wide-ranging in its mythic and historical resonances, the most inventive in its combination of literary and visual structures, the most subtle and compelling in its psychological underpinnings. Irwin brings a wealth of new and varied scholarship to bear on his critical reading of the work—from art history to biography to classical literature to philosophy—revealing The Bridge to be the near-perfect synthesis of American myth and history that Crane intended. Irwin contends that the most successful entryway to Crane’s notoriously difficult shorter poems is through a close reading of The Bridge. Having admirably accomplished this, Irwin analyzes Crane’s poems in White Buildings and his last poem, "The Broken Tower," through the larger context of his epic, showing how Crane, in the best of these, worked out the structures and images that were fully developed in The Bridge. Thoughtful, deliberate, and extraordinarily learned, this is the most complete and careful reading of Crane’s poetry available. Hart Crane may have lived in Cleveland, Ohio, but, as Irwin masterfully shows, his poems stand among the greatest written in the English language.
"This volume studies the relation between globalization and inequalities in emerging societies by linking Area and Global Studies, aiming at a new theory of inequality beyond the nation state and beyond Eurocentrism"--
Malcolm Cowley Hart Crane's life was notoriously turbulent, persistently nonconformist, and tragically short. This new biography presents for the first time a full, frank portrait of the real Hart Crane, a poet attractive both for his flamboyance and passion for life, and for the magnificent sonorities of his work. 18 illustrations.
Harold Hart Crane was born in Ohio in 1899. In 1923 he became a copy-writer in New York. White Buildings, his first collection, appeared in 1926, and in 1930 his most famous work, The Bridge, was published. A reaction against the pessimism in T. S. Eliot's The Waste Land, The Bridge was a love song to the myth of America and its optimism a much needed boon to post-Wall Street Crash America. Hart Crane committed suicide in 1932.
Hart Crane, a Re-introduction by Warner Berthoff Pdf
Hart Crane was first published in 1989. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. More than half a century after his death, the work of Hart Crane (1899–1932) remains central to our understanding of twentieth-century American poetry. During his short life, Crane's contemporaries had difficulty seeing past the "roaring boy" who drank too much and hurled typewriters from windows; in recent years, he has come to be seen as a kind of "last poet" whose only theme is self-destruction, and who himself exemplifies the breakdown of poetry in the modern age. Taking as a point of departure Robert Lowell's 1961 valuation of Crane and his power to speak from "the center of things," Warner Berthoff in this book reappraises the essential character and force of Crane's still problematic achievement. Though he takes into account the substantial body of commentary on Crane's work, his primary intent is to look afresh at the poems themselves, and at the poet's clear-eyed (and brilliant) letters. This approach enables Berthoff, first, to track the emergence and development of Crane's lyric style—an art that recreates, in compact form, the turbulence of the modern city. He then explores the background and historical community that nourished Crane's creative imagination, and he evaluates Crane's conception of the ideal modern poetic: a poetry of ecstasy created with architectural craft. His final chapter is devoted to The Bridge, the ambitious lyric suite that proved to be the climax and terminus of Crane's work. Berthoff's emphasis throughout is on the beauty and power of individual poems, and on the sanity, shrewdness, and sense of purpose that informed Crane's working intelligence.
Winner of the 2021 National Book Award for Poetry From the winner of the Ruth Lilly Poetry Prize come masterfully crafted narratives of protest, grief and love. Martín Espada is a poet who "stirs in us an undeniable social consciousness," says Richard Blanco. Floaters offers exuberant odes and defiant elegies, songs of protest and songs of love from one of the essential voices in American poetry. Floaters takes its title from a term used by certain Border Patrol agents to describe migrants who drown trying to cross over. The title poem responds to the viral photograph of Óscar and Valeria, a Salvadoran father and daughter who drowned in the Río Grande, and allegations posted in the "I’m 10-15" Border Patrol Facebook group that the photo was faked. Espada bears eloquent witness to confrontations with anti-immigrant bigotry as a tenant lawyer years ago, and now sings the praises of Central American adolescents kicking soccer balls over a barbed wire fence in an internment camp founded on that same bigotry. He also knows that times of hate call for poems of love—even in the voice of a cantankerous Galápagos tortoise. The collection ranges from historical epic to achingly personal lyrics about growing up, the baseball that drops from the sky and smacks Espada in the eye as he contemplates a girl’s gently racist question. Whether celebrating the visionaries—the fallen dreamers, rebels and poets—or condemning the outrageous governmental neglect of his father’s Puerto Rico in the wake of Hurricane María, Espada invokes ferocious, incandescent spirits.
No art has been denounced as often as poetry. It's even bemoaned by poets: "I, too, dislike it," wrote Marianne Moore. "Many more people agree they hate poetry," Ben Lerner writes, "than can agree what poetry is. I, too, dislike it and have largely organized my life around it and do not experience that as a contradiction because poetry and the hatred of poetry are inextricable in ways it is my purpose to explore." In this inventive and lucid essay, Lerner takes the hatred of poetry as the starting point of his defense of the art. He examines poetry's greatest haters (beginning with Plato's famous claim that an ideal city had no place for poets, who would only corrupt and mislead the young) and both its greatest and worst practitioners, providing inspired close readings of Keats, Dickinson, McGonagall, Whitman, and others. Throughout, he attempts to explain the noble failure at the heart of every truly great and truly horrible poem: the impulse to launch the experience of an individual into a timeless communal existence. In The Hatred of Poetry, Lerner has crafted an entertaining, personal, and entirely original examination of a vocation no less essential for being impossible.
Fourteen of Walker Evans's evocative photographs of Brooklyn Bridge, most of which have never been published, appear in this edition of Alan Trachenberg's Brooklyn Bridge: Fact and Symbol. In the new afterword Trachenberg explores the history of Hart Crane's The Bridge, especially the poem's integral relationship with the powerful photography of Evans. "[Brooklyn Bridge] is familiar in so many movies, in so many stage sets and, as Mr. Trachtenberg shows in this brilliant . . . book, it is at least as much a symbol as a reality. . . . Mr. Trachtenberg is always exciting and illuminating."—Times Literary Supplement "The book is a skillful and insightful synthesis of materials about Brooklyn Bridge from such diverse fields as history, engineering, literature and art. Essentially it asks the question of why Brooklyn Bridge achieved such great impact on the nineteenth century American imagination and why it has continued to have a significant impact on twentieth century art and literature. In addition to its exploration of the bridge's symbolic significance, which includes perceptive analyses of such particular works as Hart Crane's great poem cycle and the paintings of artists like Joseph Stella, the book also includes a solidly researched account of the conception, planning and construction of the bridge. Trachtenberg's account of the intellectual and cultural sources of the bridge is particularly fascinating in its demonstration of the convergence of many different philosophical and ideological currents of the time around this great engineering enterprise, illustrating as effectively as any discussion I know the complex interplay of ideas and material culture."—John G. Cawelti, University of Chicago "Alan Trachtenberg's Brooklyn Bridge is a fascinating story, the philosophic genesis of the idea in Europe, John Roebling's heroic effort to translate it into masonry and steel, and the meanings that Americans attached to the physical object as an emblem of their aspirations."—Leo Marx, Amherst College, author of The Machine in the Garden
Like Whitman, Hart Crane strove in his poetry to embrace America, to distill an image of America. Begun in 1923 and published 1930, The Bridge is Crane's major work. "Very roughly," he wrote a friend, "it concerns a mystical synthesis of 'America' . . . The initial impulses of 'our people' will have to be gathered up toward the climax of the bridge, symbol of our constructive future, our unique identity."
