Hart Crane

Haroldus Hart Crane (21 Iulii 1899—27 Aprilis 1932) fuit poeta Americanus. Qui, concilium et incitationem in poesi T. S. Eliot inveniens, poemata moderna composuit quae difficilia, formalissima, et fines profundissimos adpetentia fuerunt. In The Bridge, suo audacissimo opere, Crane poema epicum scribere conatus est, modo The Waste Land, sed melioris spei culturae urbanae hodiernae quam in opere Eliotiano invenitur. Ex tempore suicidii anno aetatis suae 32, Crane laudatus est a scriptoribus scaenicis, poetis, et iudicibus litterariis, inter quos Robertus Lowell, Derek Walcott, Tennessee Williams, et Haroldus Bloom, ut unus ex poetis maximi momenti suae aetatis.^[1]^[2]^[3]

Memoria

Allen Tate, Eugenius O'Neill, Kenneth Burke, Edmundus Wilson, E. E. Cummings, Gulielmus Carolus Williams, et alii artifices magni momenti Crane admirati sunt. Quamquam iudices litterarii, inter quos Marianna Moore et Ezra Pound, eum reprehenderunt, Moore sua opera protulit, sicut T. S. Eliot, qui, se porro praeter provinciam Poundianam movens, mutuum ab imaginibus Cranianis in Four Quartets fortasse sumpsit.^[4]

Ioannes Berryman, Robertus Lowell, et alii poetae Americani magni momenti dixerunt Crane multum potuisse. Ambo praeterea de Crane in suis poematibus scripserunt. Berryman pro eo unam ex suis elegies notissimis in The Dream Songs composuit, et Lowell sua "Words for Hart Crane" in Life Studies protulit (1959): "Who asks for me, the Shelley of my age, / must lay his heart out for my bed and board." Lowell credidit Crane fuisse poeta maximi momenti aetatis quae decennio anno 1920 incipiente maturavit, cum diceret "[Crane] got out more than anybody else . . . he somehow got New York; he was at the center of things in the way that no other poet was." Lowell etiam Crane descripsit "minus circumscriptus quam ullus alius suae aetatis poeta."^[5]^[6]

Tennessee Williams fortasse verecundissime dixit se voluisse "mari redditum . . . loco proxime definito ut locus ubi Crane se reddiit."^[7]^[8] Unus ex ultimis ludis Williamsianis, "ludus manium" Steps Must Be Gentle appellatus, coniunctionem poetae cum matre explorat.^[9]

Opera

White Buildings (1926)
The Bridge (1930)
The Collected Poems of Hart Crane. Ed. Waldo Frank. Boriswood (1938)
Hart Crane and Yvor Winters: Their Literary Correspondence. Ed. Thomas Parkinson. Berkeleiae: University of California Press, 1978.
O My Land, My Friends: The Selected Letters of Hart Crane. Ed. Langdon Hammer, Brom Weber. Novi Eboraci: Four Walls Eight Windows. 1997. ISBN 0-941423-18-2
The Complete Poems of Hart Crane. Ed. Marc Simon. Novi Eboraci: Liveright. 1986.
Hart Crane: Complete Poems and Selected Letters. Ed. Langdon Hammer. Novi Eboraci: The Library of America. 2006.

Nexus interni

Notae

↑ Commentarius, New York Times, 29 Iunii 2003.
↑ Harold Bloom, "Introduction," in The Complete Poems of Hart Crane (Novi Eboraci: Liveright, 2001).
↑ "Hart Crane," Voice and Visions Video Series (Novi Eboraci: New York Center for Visual History, 1988).
↑ Lee Oser, T. S. Eliot and American Poetry (Columbia Missuriae: University of Missouri Press, 1998), 112–114.
↑ Anglice: "less limited than any other poet of his generation."
↑ Biographia Crane.
↑ Anglice: "at the point most nearly determined as the point at which Hart Crane gave himself back."
↑ Leverich 1995:9–10.
↑ The Theatre of Tennessee Williams, vol. 6 (Novi Eboraci: New Directions, 1971–1992).

Biographiae

Fisher, Clive. 2002. Hart Crane: A Life. New Haven: Yale University Press. ISBN 0-300-09061-7.
Horton, Philip. 1937. Hart Crane: The Life of An American Poet. Novi Eboraci: W. W. Norton & Company.
Meaker, M. J. 1964. Sudden Endings: 13 Profiles in Depth of Famous Suicides. Garden City Novi Eboraci: Doubleday & Company.
Mariani, Paul. 1999. The Broken Tower: A Life of Hart Crane. Novi Eboraci: W. W. Norton & Company. ISBN 0-393-32041-3.
Unterecker, John. 1969. Voyager: A Life of Hart Crane. Novi Eboraci: Farrar, Straus and Giroux.
Weber, Brom. 1948. Hart Crane: A Biographical and Critical Study. Novi Eboraci: The Bodley Press.

Iudicium

Combs, Robert. 1978. Vision of the Voyage: Hart Crane and the Psychology of Romanticism. Memphide Tennesiae: Memphis State University Press.
Corn, Alfred. 1987. "Hart Crane's 'Atlantis.'" The Metamorphoses of Metaphor. Novi Eboraci: Viking.
Dean, Tim. 1996. Hart Crane's Poetics of Privacy. American Literary History 8:1.
Dembo, L. S. 1960. Hart Crane's Sanskrit Charge: A Study of The Bridge. Ithacae: Cornell University Press.
Gabriel, Daniel. 2007. Hart Crane and the Modernist Epic: Canon and Genre Formation in Crane, Pound, Eliot and Williams. Novi Eboraci: Palgrave Macmillan.
Grossman, Allen. 1981. Hart Crane and Poetry: A Consideration of Crane's Intense Poetics With Reference to "The Return." ELH 48:4.
Grossman, Allen. 2004. "On Communicative Difficulty in General and 'Difficult' Poetry in Particular: The Example of Hart Crane's 'The Broken Tower.'" Poem Present series acroasium in Universitate Sicagi.
Hammer, Langdon. 1993. Hart Crane & Allen Tate: Janus-Faced Modernism. Princetoniae: Princeton University Press.
Hanley, Alfred. 1981. Hart Crane's Holy Vision: "White Buildings." Pittsburgi: Duquesne University Press.
Herman, Barbara. 1950. The Language of Hart Crane. The Sewanee Review 58.
Lewis, R. W. B. 1967. The Poetry of Hart Crane: A Critical Study. Princetoniae: Princeton University Press.
Nickowitz, Peter. 2006. Rhetoric and Sexuality: The Poetry of Hart Crane, Elizabeth Bishop, and James Merrill. Novi Eboraci: Palgrave Macmillan.
Pease, Donald. 1981. Blake, Crane, Whitman, and Modernism: A Poetics of Pure Possibility. PMLA 96:1.
Ramsey, Roger. 1980. A Poetics for The Bridge. Twentieth Century Literature 26:3.
Reed, Brian. 2000. Hart Crane’s Victrola. Modernism/Modernity 7.1.
Reed, Brian. 2006. Hart Crane: After His Lights. Tuscaloosae: University of Alabama Press.
Riddel, Joseph. 1966. Hart Crane's Poetics of Failure. ELH 33.
Rowe, John Carlos. 1978. The "Super-Historical" Sense of Hart Crane’s The Bridge. Genre 11:4.
Schwartz, Joseph. 1983. Hart Crane: A Reference Guide. Bostoniae: G. K. Hall & Co.
Snediker, Michael. 2005. Hart Crane's Smile. Modernism/Modernity 12(4).
Trachtenberg, Alan. 1979. Brooklyn Bridge: Fact and Symbol. Sicagi: University of Chicago Press.
Unterecker, John. 1962. The Architecture of The Bridge. Wisconsin Studies in Contemporary Literature 3:2.
Winters, Yvor. 1930. The Progress of Hart Crane. Poetry 36 (Iunio).
Winters, Yvor. 1947. In Defense of Reason. Novi Eboraci: The Swallow Press and William Morrow.
Woods, Gregory. 1987. "Articulate Flesh: Male Homo-eroticism and Modern Poetry." Portu Novo et Londinii: Yale University Press.
Yannella, Philip R. 1974. "Inventive Dust": The Metamorphoses of 'For the Marriage of Faustus and Helen. Contemporary Literature 15.
Yingling, Thomas E. 1990. Hart Crane and the Homosexual Text: New Thresholds, New Anatomies. Sicagi: University of Chicago Press.

Nexus externi

Vicicitatio habet citationes quae ad Hart Crane spectant.

Crane, Hart, Works, Wikilivres .
Biographia, www.poets.org (Academia Poetarum Americanorum)
Biographia, www.poetryfoundation.org (Societas Fundata Poesis)
The Fales Library of NYU's guide to the Richard W. Rychtarik/Hart Crane Papers
Brian Reed de Voyages, www.poetryfoundation.org
Modern American Poetry: Hart Crane (1899–1932)
A Great American Visionary, www.nybooks.com (Colm Tóibín commentarius de Crane)
Yale College Lecture on Hart Crane audio, video and full transcripts from Open Yale Courses

David's face

Haec stipula ad biographiam spectat. Amplifica, si potes!

Catullus

Haec stipula ad poësim spectat. Amplifica, si potes!

[1] Commentarius, New York Times, 29 Iunii 2003.

[2] Harold Bloom, "Introduction," in The Complete Poems of Hart Crane (Novi Eboraci: Liveright, 2001).

[3] "Hart Crane," Voice and Visions Video Series (Novi Eboraci: New York Center for Visual History, 1988).

[4] Lee Oser, T. S. Eliot and American Poetry (Columbia Missuriae: University of Missouri Press, 1998), 112–114.

[5] Anglice: "less limited than any other poet of his generation."

[6] Biographia Crane.

[7] Anglice: "at the point most nearly determined as the point at which Hart Crane gave himself back."

[8] Leverich 1995:9–10.

[9] The Theatre of Tennessee Williams, vol. 6 (Novi Eboraci: New Directions, 1971–1992).

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