Hart Crane

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Crane, Hart

(Harold Hart Crane), 1899–1932, American poet, b. Garrettsville, Ohio. He published only two volumes of poetry during his lifetime, but those works established Crane as one of the most original and vital American poets of the 20th cent. His extraordinarily complex, visionary, and sonorous poetry, with its rich imagery, verbal ingenuity, frequent obscurity, and meticulous craftsmanship, combines ecstatic optimism with a sense of haunted alienation. White Buildings (1926), his first collection of poems, was inspired by his experience of New York City, where he had gone to live at the age of 17. His most ambitious work is The Bridge (1930), a series of closely related long poems on the United States in which the Brooklyn Bridge serves as a mystical unifying symbol of civilization's evolution.

Crane's personal life was anguished and turbulent. After an unhappy childhood during which he was torn between estranged parents, he held a variety of uninteresting jobs, always, however, returning to New York City and his writing. An alcoholic and a homosexual, he was constantly plagued by money problems and was often a severe trial to friends who tried to help him. In 1931 he won a Guggenheim Fellowship and went to Mexico to work on a long poem about Latin America; a year later, returning by ship to the United States, the poem not even started, he jumped overboard and drowned. His collected poems were published in 1933.


See Hart Crane: Complete Poems and Selected Letters (2006), ed. by L. Hammer; letters ed. by T. S. W. Lewis (1974); O My Land, My Friends (1997), selected letters, ed. by L. Hammer and B. Weber; The Correspondence between Hart Crane and Waldo Frank (1998), ed. by S. H. Cook; biographies by P. Horton (new ed. 1957), J. Unterecker (1969, repr. 1987), P. Mariani (1999), and C. Fisher (2002); studies by R. W. B. Lewis (1967), M. D. Uroff (1974), R. Combs (1978), D. R. Clark, ed. (1982), A. Trachtenberg, ed. (1982), H. Bloom, ed. (1986), M. F. Bennett (1987), W. Berthoff (1989), T. E. Yingling (1990), B. Reed (2006), G. A. Tapper (2006), and J. T. Irwin (2011).

Crane, (Harold) Hart

(1899–1932) poet; born in Garrettsville, Ohio. Educated in Cleveland, Ohio, he worked in a shipyard, at his father's drug store, and in advertising before moving to New York City (1923) where he worked briefly for a publishing firm. He is known for his visionary and symbolic poetry, as in The Bridge (1930). He led a dissolute life and traveled widely; returning from a trip to Mexico (1931–32), he apparently jumped off the ship and drowned.
References in periodicals archive ?
As for certain omissions, they vary from incidental oversights (such as David Siqueiros's painting of Hart Crane being left out of "Art" though picked up later in "Crane, Hart") to neglected important bibliographical references (for instance, not citing William McMurry's 1982 dissertation "Music in Selected Works of Tennessee Williams" or Esther Jackson's "Music and Dance as Elements of Form in the Drama of Tennessee Williams," Revue d'Histoire du Theatre 15.
10) See Crane's several references to this idea for The Bridge throughout his correspondence during the long period of the poem's writing in The Letters of Hart Crane.
But where Scott Fitzgerald's fictional hero lived out his golden summers in the pages of a classic novel, Hart Crane, a modernist American poet of prodigious talent (now highly rated by the American reading public) played a similarly hedonist 1920s scenario for real.
Scholnick identifies two ways in which the current between the two cultures flows: "Resistance," where writers such as Emerson and Twain extol the destructive potential of science and technology, and "conduction," where scientific terms become highly charged, even formative metaphors in the work of poets as different as Edward Taylor, Hart crane, and Charles Olson.
If you open the book and blindly plant your finger on any sentence, you are likely to find Bloom praising Shakespeare, Dante, Samuel Johnson, Montaigne, Emerson, Whitman, Hart Crane, or any other bard of their generation as the greatest of something or other.
IF HART CRANE IS CELEBRATED TODAY mainly as the author of The Bridge, one of the most ambitious long epic poems of the last century, his much-neglected first book White Buildings is no less a masterwork.
Snediker examines queer theory through the lens of poetry, focusing on a number of major American poets, among them Emily Dickinson, Elizabeth Bishop, and Hart Crane.
Finally, in the poetry of Elizabeth Bishop he finds a poetic love for Hart Crane that allows for a rethinking of both poetic influence and the domain of queer love itself.
from graffiti in the former Ninth Circle gay bar), Emma Goldman, Hart Crane, and Willa Cather.
Yet she inspired the American poet Hart Crane, who used Duncan's own words in his masterpiece The Bridge - 'No ideals have ever been fully successful on this earth.
Frost and Stevens at the beginning, Hart Crane in the middle, and Robert Lowell towards the end of our period," he wrote,
Think of Mallarme or Hart Crane at their most hermetic.