By Brian M. Reed
A serious reassessment of the life’s paintings of an immense American poet. With his suicide in 1932, Hart Crane left in the back of a small physique of work—White constructions (1926) and The Bridge (1930). but, Crane’s poetry was once championed and debated publicly by way of the various most outstanding literary and cultural critics of his day, between them Van Wyck Brooks, Kenneth Burke, Robert Graves, Allen Tate, and Edmund Wilson. The Bridge appears to be like in its entirety within the Norton Anthology of yankee Literature, and Crane himself has been the topic contemporary biographies. In Hart Crane: After His lighting, Brian Reed undertakes a learn of Crane’s poetic output that takes under consideration, but additionally questions, the post-structural and theoretical advancements in humanities scholarship of the decade that experience principally approached Crane in a piecemeal approach, or pigeonholed him as represen-tative of his classification, gender, or sexual orientation. Reed examines Crane’s profession from his juvenilia to his posthumous serious reception and his impression on working towards poets following global battle II. the 1st a part of the research checks universal rubrics of literary theory—nationality, sexuality, period—against Crane’s poetry, and unearths that those labels, whereas enlightening, additionally obfuscate the foundation and personality of the poet’s paintings. the second one half examines Crane’s poetry in the course of the strategy of its composition, assets, and versions, taking on questions of favor, family tree, and style. the ultimate part examines Crane’s impression on next generations of yankee poets, specifically through avant-garde literary circles just like the New American poets, the Black Mountain college, the hot York institution, and the Beats. the result's a research that complicates and enriches our understandings of Crane’s poetry and contributes to the continuing reassessment of literary modernism’s origins, direction, and legacy.
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Additional info for Hart Crane: After His Lights (Modern and Contemporary Poetics)
Example text
During the years that Alcott, Dickinson, Douglass, Fuller, Hawthorne, Melville, Poe, and Thoreau were writing their best work, the very de¤nition of being an intellectual in polite society was to evince “a cosmopolitan susceptibility to other nations,” above all to British culture (453). 34 Piqued by this state of affairs, Herman Melville, in “Hawthorne and His Mosses” (1850), resorted to a crude, only half-facetious appeal to his readers’ patriotism: “believe it or not England, after all, is, in many things, an alien to us.
Arrested Development When Hart Crane ¤rst began writing poetry in the 1910s, he was a precocious adolescent living in Ohio, and he was unashamedly under the spell of the British ¤n de siècle. 13 The “expansive rhythms” of early works such as “Annunciations” and “The Moth That God Made Blind” are records of this period of apprenticeship (Lewis 16): The anxious milk-blood in the veins of the earth, That strives long and quiet to sever the girth Of greenery. . Below the roots, a quickening quiver Aroused by some light that had sensed,—ere the shiver Of the ¤rst moth’s descent.
For permission to reuse this work, contact the University of Alabama Press. how american 31 eration, a mix of di- and trisyllabic feet. Crane proves unable to renounce his ¤rst literary role model fully. Not much time passed between this public act of expiation and a dramatic, private act of backsliding. In the spring of 1919, Crane undertook the positively Herculean task of reading the whole of Swinburne’s Complete Poetical Works (Unterecker 137). Swinburne would remain a part of his literary range of reference until the end of his life—as indicated by a December 1929 postcard he wrote to Samuel Loveman while en route to England: Gorgeous weather all the way.