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Description book The Bridge by Hart Crane:
"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 a...
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qv35myje0y9ub8m7toy Other critics have tended to share Tate s general assessment of Crane as a flawed but nonetheless invaluable poet. Blackmur, in his essay collection The Double Agent, acknowledged Crane s shortcomings and accepted that in reading Crane we must make allowances for him. But Blackmur also wrote: Merely because Crane is imperfect in his kind is no reason to give him up; there is no plethora of perfection, and the imperfect beauty, like life, retains its fascination. And there is about him, too—such were his gifts for the hearts of words, such the vitality of his intelligence—the distraught but exciting splendour of a great failure. Bends no more than the still Leibowitz, Herbert A., Hart Crane: An Introduction to the Poetry, Columbia University Press, 1968. Source: The Complete Poems of Hart Crane (Liveright Publishing Corporation, 2001. Crane spent several weeks at their estate where he roughed out a draft of the Cape Hatteras section, a key part of his epic poem. We do not know who chose these particular photos for either the Black Sun Press or the Liveright trade editions. A rip-tooth of the sky s acetylene; Eliot s bleak masterwork, The Waste Land. With his inheritance, Crane fled his manipulative mother and traveled to Europe. The Walker Evans photographs of 1930 Publication of the first edition of The Bridge in 1930 was also the occasion for the debut of Walker Evans as a photographer. Photos by Evans, in fact, appeared in not only the deluxe limited edition released in March from the Paris-based Black Sun Press (directed by Harry and Caresse Crosby) but also the trade edition published in New York in April by Horace Liveright and reprinted in a second impression in July. Moreover, each of these printings had its own exclusive photos or photo. However different these photos were from one another, they had one feature in common: all were designed to exoticize the Brooklyn Bridge – to emphasize its modernist angularities, its resemblances to other more aggressively modern examples of architecture like the skyscraper. A few months before, in the summer of 1928, Crane had been visiting an old friend, Charmion von Wiegand Haubicht, in her summer home at Croton-on-Hudson, New York, and she had drawn his attention to a brief essay in which Stella addressed aesthetic possibilities of the Brooklyn Bridge and associated himself intimately with it. Stella’s little sketch, The Brooklyn Bridge (A Page of My Life), was remarkably aligned with Crane’s own thoughts. Stella envisioned the bridge much as Crane had: as a point of vantage that was both deeply within the city yet giving one the potential to see beyond that city. Its unique perspective encouraged one to be both the searching. Harold Hart Crane (July 21, 1899 – April 27, 1932) was an American poet. Finding both inspiration and provocation in the poetry of T. Eliot, Crane wrote modernist poetry that was difficult, highly stylized, and ambitious in its scope. In his most ambitious work, The Bridge, Crane sought to write an epic poem, in the vein of The Waste Land, that expressed a more optimistic view of modern, urban culture than the one that he found in Eliot s work. In the years following his suicide at the age of 32, Crane has been hailed by playwrights, poets, and literary critics alike (including Robert Lowell, Derek Walcott, Tennessee Williams, and Harold Bloom), as being one of the most influential poets of his generation.
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