Hart Crane (1899–1932)
Autor/a de The Complete Poems of Hart Crane
Sobre l'autor
Born in Ohio, Hart Crane's early life was filled with change and trauma. His family's many moves and his parents' divorce turned him to writing at age 13. In 1923, Crane moved to New York, where he published his first book of poetry, White Buildings, in 1926. In 1930 he published The Bridge, mostra'n més considered by most to be his best work. That same year he won the Levinson Prize from Poetry Magazine; he was awarded a Guggenheim Fellowship in 1931. Crane's life ended in 1932 when he committed suicide by drowning. He jumped from a ship as he was returning to the United States from a trip to Mexico. (Bowker Author Biography) mostra'n menys
Crèdit de la imatge: From Wikipedia
Obres de Hart Crane
The poet's vocation; selections from letters of Hölderlin, Rimbaud, & Hart Crane (1967) — Col·laborador — 6 exemplars
The Complete Poems of Hart Crane - The Franklin Library - Joseph Stella Illustrations (1979) 2 exemplars
< Edifici bianchi > ("White buildings", U.S.A., 1926) /// < Il ponte > ("The bridge", U.S.A., 1930) 1 exemplars
Eternity 1 exemplars
Moment Fugue 1 exemplars
Il ponte e altre poesie 1 exemplars
“Chaplinesque” 1 exemplars
Rare Hart Crane THE BRIDGE Limited Editions Club in Slipcase, 1981 w/ Benson Photos (1981) 1 exemplars
North Labrador 1 exemplars
Prose and Poetry 1 exemplars
To Brooklyn Bridge 1 exemplars
Three poems by Hart Crane from the bridge 1 exemplars
Seven lyrics 1 exemplars
Broen 1 exemplars
The Bridge. One of 2000 copies. 1 exemplars
Il ponte 1 exemplars
The complete poems of Hart Crane 1 exemplars
Obres associades
The Best Poems of the English Language: From Chaucer Through Robert Frost (2004) — Col·laborador — 1,042 exemplars
World Poetry: An Anthology of Verse from Antiquity to Our Time (1998) — Col·laborador — 447 exemplars
American Poetry: The Twentieth Century, Volume Two: E. E. Cummings to May Swenson (2000) — Col·laborador — 404 exemplars
The Fugitive Poets: Modern Southern Poetry (Southern Classics Series) (1991) — Col·laborador — 111 exemplars
The Poet's Work: 29 Poets on the Origins and Practice of Their Art (1979) — Col·laborador — 88 exemplars
Holy Fire: Nine Visionary Poets and the Quest for Enlightenment (1994) — Col·laborador — 61 exemplars
Masquerade: Queer Poetry in America to the End of World War II (2004) — Col·laborador — 19 exemplars
Sunlight on the River: Poems About Paintings, Paintings About Poems (2015) — Col·laborador — 10 exemplars
A Pagan anthology composed of poems by contributors to the Pagan magazine — Col·laborador — 2 exemplars
Tennessee Williams: Die tätowierte Rose — Col·laborador — 1 exemplars
Etiquetat
Coneixement comú
- Nom oficial
- Crane, Harold Hart
- Data de naixement
- 1899-07-21
- Data de defunció
- 1932-04-27
- Gènere
- male
- Nacionalitat
- USA
- Lloc de naixement
- Garrettsville, Ohio, USA
- Lloc de defunció
- Gulf of Mexico
- Causa de la mort
- probable suicide
- Llocs de residència
- Cleveland, Ohio, USA
New York, New York, USA
Paris, France
Mexico - Educació
- self-educated
- Professions
- poet
advertising manager
advertising copywriter
shipyard laborer
reporter
shipping clerk (mostra-les totes 7)
salesman - Relacions
- Tate, Allen (friend)
Frank, Waldo (friend)
Munson, Gorham (friend)
Cowley, Malcolm (friend)
Winters, Yvor (friend) - Organitzacions
- The Fugitives
- Premis i honors
- Levinson Prize (1930)
Guggenheim fellow (1931-1932)
Membres
Ressenyes
Llistes
Premis
Potser també t'agrada
Autors associats
Estadístiques
- Obres
- 46
- També de
- 36
- Membres
- 1,733
- Popularitat
- #14,831
- Valoració
- 4.1
- Ressenyes
- 11
- ISBN
- 50
- Llengües
- 6
- Preferit
- 21
I made the mistake of reading the dreadful Harold Bloom introductory essay first. What a pile of bullshit. It was awful.
I'll give you a taste:
"Crane who suffered forever the curse of sundered parentage, never could settle on a single erotic partner, hence his quest for every sailor in his generation. But I doubt - after reading Paul Mariani, the best of Crane's biographers - that a happy domestic life, and even a steady income, would have saved Crane. No nature could have been less compromising; like a new Byron or Shelley, Crane was a Pilgrim of the Absolute. His quest for agonistic supremacy, against Eliot, to join Whitman, Dickinson, Melville in the American Pantheon. No one can read all of Crane's poetry, across sixty years as I have, [Oh, God] and miss the accents of the Sublime, of the Nietzschean quest for the foremost place.[I'm about gonna die here...] Since Crane is, in his unchurched way, a great religious poet, a Shelleyan myth-maker hymning an Alien God, the tonalities of transcendence [just shoot me] haunt The Bridge and "The Broken Tower," and even the erotic raptures and anguishes of "For the Marriage of Faustus and Helen" and the "Voyages."
There's another beauty but I can't bring myself to type it up. I can't help myself:
Who or what is such a "Thou" in The Bridge? Hart Crane's kind of negative transcendence represents what ought to be called the American Religion, a gnosis endemic in the United States where, for at least two centuries now, religion has been not the opiate, but the poetry of the people. Crane's actual religious heritage was his mother's Christian Science, which never affected him [Why is all this here then?]. In the spiritual exaltation of "The Proem: To Brooklyn Bridge," as in the spiritual anguish of "The Broken Tower," one can hear a mystical yearning that renders Hart Crane akin to St. John of the Cross, in sensibility though not in faith. Crane's deep attachment to William Blake's poetry, and to Emily Dickinson's, reflects his own stance as an autonomous visionary, distrustful of every creed or ideology, yet questing always for intimations of transcendence. [I just wanna puke...]
… (més)