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A comprehensive edition of one of America's greatest poets, this collection draws from her four published volumes, together with 50 uncollected works and translations of Octavio Paz, Max Jacob and others.
Hart Crane, prodigiously gifted and tragically doom-eager, was the American peer of Shelley, Rimbaud, and Lorca. Born in Garrettsville, Ohio, on July 21, 1899, Crane died at sea on April 27, 1932, an apparent suicide. A born poet, totally devoted to his art, Crane suffered his warring parents as well as long periods of a hand-to-mouth existence. He suffered also from his honesty as a homosexual poet and lover during a period in American life unsympathetic to his sexual orientation. Despite much critical misunderstanding and neglect, in his own time and in ours, Crane achieved a superb poetic style, idiosyncratic yet central to American tradition. His visionary epic, The Bridge, is the most ambitious and accomplished long poem since Walt Whitman's Song of Myself. Marc Simon's text is accepted as the most authoritative presentation of Hart Crane's work available to us. For this centennial edition, Harold Bloom, who was introduced to poetry by falling in love with Crane's work while still a child, has contributed a new introduction.
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.
Featuring a new introduction by Harold Bloom, this volume chronicles the life works of a poet who has suffered much misunderstanding and neglect despite displaying a superb poetic style, idiosyncratic, yet central to American tradition.
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.
Like Whitman, Hart Crane strove in his poetry to embrace America, to distill an image of America.