This edition features a new introduction by Harold Bloom as a centenary tribute to the visionary of White Buildings (1926) and The Bridge (1930). 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.

"Hart Crane may well remain as the greatest poet produced by America since Walt Whitman and Emily Dickinson... His imaginative intensity, his flashes of imagery, his Elizabethan grandeur, make his rich blank verse eclipse most of the poetry written in English since Yeats." – Henri Peyre, New York TimesA key figure in American modernist poetry, Hart Crane (1899-1932) was a visionary American poet known for his rich, imagistic language and bold exploration of themes such as identity, spirituality, and human connection.His celebrated work, The Bridge, is an epic meditation on America, using the Brooklyn Bridge – metaphorically connecting America's past with its industrialized future of innovation, progress, and hope within the American Dream. In White Buildings, his lyrical intensity is revealed in poems exploring the complexities of love, loss, and artistic ambition, along with his openness to queer themes. His experimental approach to poetry has solidified his place as a significant voice in twentieth-century poetry.Despite his tragically short life, Crane's works continue to inspire readers and writers alike, offering profound insights into the struggles and aspirations of the human spirit.

Hart Crane's long poem The Bridge has steadily grown in stature since it was published in 1930. At first branded a noble failure by a few influential critics— a charge that became conventional wisdom—this panoramic work is now widely regarded as one of the finest achievements of twentieth-century American poetry. It unites mythology and modernity as a means of coming to terms with the promises, both kept and broken, of American experience.The Bridge is also very difficult. It is well loved but not well understood. Obscure and indirect allusions abound in it, some of them at surprisingly fine levels of detail. The many references to matters of everyday life in the 1920s may baffle or elude today's readers. The elaborate compound metaphors that distinguish Crane's style bring together diverse sources in ways that make it hard to say what, if anything, is "going on" in the text. The poem is replete with topical and geographical references that demand explication as well as identification. Many passages are simply incomprehensible without special knowledge, often special knowledge of a sort that is not readily available even today, when Google and Wikipedia are only a click away.Until now, there has been no single source to which a reader can go for help in understanding and enjoying Crane's vision. There has been no convenient guide to the poem's labyrinthine complexities and to its dense network of allusions—the "thousands of strands" that, Crane boasted, "had to be sorted out, researched, and interwoven" to compose the work.This book is that guide. Its detailed and far-reaching annotations make The Bridge fully accessible, for the first time, to its readers, whether they are scholars, students, or simply lovers of poetry.

This first book of poems by hart Crane, one of his three major collections, was originally published in 1926. The themes in White Buildings are abstract and metaphysical, but Crane's associations and images spring from the American scene. Eugene O'Neill wrote: "Hart Crane's poems are profound and deep-seeking. In them he reveals, with a new insight and unique power, the mystic undertones of beauty which move words to express vision." "Genius is a mystery resistant to reductive analysis, whether sociobiological, psychological, or historical. Like Milton, Pope, and Tennyson, the youthful Crane was a consecrated poet before he was an adolescent."—Harold Bloom "Crane's poems are as distinct from those of other contemporary American poets as one metal from another. This man is a mystical maker: he belongs to a group of poets who create their world, rather than arrange it, and who employ the idiom of their fellows with divine arbitrariness to model the vision of themselves."—The New Republic "In single lines of arresting and luminous quality and in whole poems Mr. Crane reveals that his originality is profound."—Times Literary Supplement  "The line structure is so beautiful in itself, the images so vividly conceived, and the general aura of poetry so indelibly felt that the intelligent reader will move pleasurably among the impenetrable nuances."—New York Times

Begun in 1923 and published 1930, The Bridge is Crane's major work. "Very roughly," he wrote a friend, "it concerns a mystical synthesis of 'America' . . . The initial impulses of 'our people' will have to be gathered up toward the climax of the bridge, symbol of our constructive future, our unique identity."

This edition features a new introduction by Harold Bloom as a centenary tribute to the visionary of White Buildings (1926) and The Bridge (1930). 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.

Hart Crane’s modernist masterpiece The Bridge has steadily grown in stature since its 1930 publication. Once dismissed by influential critics as a noble failure, a view that hardened into conventional wisdom, it is now widely regarded as one of the major achievements of twentieth-century American poetry. The poem unites mythology and modernity to reckon with the promises, kept and broken, of American experience. The Bridge is challenging in the best sense, exacting and ultimately rewarding. Beloved yet often misunderstood, it threads indirect and finely grained allusions through period-specific references to 1920s life that can elude contemporary readers. Crane’s elaborate compound metaphors braid disparate sources, making the poem’s movement at times hard to track. Its topical and geographic markers call not only for identification but for explanation. Without specialized knowledge, much of it not readily available even online, many passages remain opaque. Until now, there was no single, convenient resource to help readers unlock Crane’s vision. This book is that guide. Its detailed, far-reaching annotations make The Bridge fully accessible, whether you are a scholar, a student, or a devoted reader of poetry.

Hart Crane (1899-1932) är ett av den poetiska modernismens stjärnskott, vars förtätade poesi och komplicerade liv nu får sin första riktiga presentation på svenska. Med diktsamlingarna White Buildings (1926) och The Bridge (1930) väckte han nytt liv i den amerikanska poesin, och i sina många brevväxlingar framträder bilden av en högst medveten estet som var före sin tid och stod på kant med det litterära etablissemanget.

This edition features a new introduction by Harold Bloom as a centenary tribute to the visionary of White Buildings (1926) and The Bridge (1930). 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.

"Hart Crane may well remain as the greatest poet produced by America since Walt Whitman and Emily Dickinson... His imaginative intensity, his flashes of imagery, his Elizabethan grandeur, make his rich blank verse eclipse most of the poetry written in English since Yeats." – Henri Peyre, New York TimesA key figure in American modernist poetry, Hart Crane (1899-1932) was a visionary American poet known for his rich, imagistic language and bold exploration of themes such as identity, spirituality, and human connection.His celebrated work, The Bridge, is an epic meditation on America, using the Brooklyn Bridge – metaphorically connecting America's past with its industrialized future of innovation, progress, and hope within the American Dream. In White Buildings, his lyrical intensity is revealed in poems exploring the complexities of love, loss, and artistic ambition, along with his openness to queer themes. His experimental approach to poetry has solidified his place as a significant voice in twentieth-century poetry.Despite his tragically short life, Crane's works continue to inspire readers and writers alike, offering profound insights into the struggles and aspirations of the human spirit.

Hart Crane's long poem The Bridge has steadily grown in stature since it was published in 1930. At first branded a noble failure by a few influential critics— a charge that became conventional wisdom—this panoramic work is now widely regarded as one of the finest achievements of twentieth-century American poetry. It unites mythology and modernity as a means of coming to terms with the promises, both kept and broken, of American experience.The Bridge is also very difficult. It is well loved but not well understood. Obscure and indirect allusions abound in it, some of them at surprisingly fine levels of detail. The many references to matters of everyday life in the 1920s may baffle or elude today's readers. The elaborate compound metaphors that distinguish Crane's style bring together diverse sources in ways that make it hard to say what, if anything, is "going on" in the text. The poem is replete with topical and geographical references that demand explication as well as identification. Many passages are simply incomprehensible without special knowledge, often special knowledge of a sort that is not readily available even today, when Google and Wikipedia are only a click away.Until now, there has been no single source to which a reader can go for help in understanding and enjoying Crane's vision. There has been no convenient guide to the poem's labyrinthine complexities and to its dense network of allusions—the "thousands of strands" that, Crane boasted, "had to be sorted out, researched, and interwoven" to compose the work.This book is that guide. Its detailed and far-reaching annotations make The Bridge fully accessible, for the first time, to its readers, whether they are scholars, students, or simply lovers of poetry.

This first book of poems by hart Crane, one of his three major collections, was originally published in 1926. The themes in White Buildings are abstract and metaphysical, but Crane's associations and images spring from the American scene. Eugene O'Neill wrote: "Hart Crane's poems are profound and deep-seeking. In them he reveals, with a new insight and unique power, the mystic undertones of beauty which move words to express vision." "Genius is a mystery resistant to reductive analysis, whether sociobiological, psychological, or historical. Like Milton, Pope, and Tennyson, the youthful Crane was a consecrated poet before he was an adolescent."—Harold Bloom "Crane's poems are as distinct from those of other contemporary American poets as one metal from another. This man is a mystical maker: he belongs to a group of poets who create their world, rather than arrange it, and who employ the idiom of their fellows with divine arbitrariness to model the vision of themselves."—The New Republic "In single lines of arresting and luminous quality and in whole poems Mr. Crane reveals that his originality is profound."—Times Literary Supplement  "The line structure is so beautiful in itself, the images so vividly conceived, and the general aura of poetry so indelibly felt that the intelligent reader will move pleasurably among the impenetrable nuances."—New York Times

Begun in 1923 and published 1930, The Bridge is Crane's major work. "Very roughly," he wrote a friend, "it concerns a mystical synthesis of 'America' . . . The initial impulses of 'our people' will have to be gathered up toward the climax of the bridge, symbol of our constructive future, our unique identity."

This edition features a new introduction by Harold Bloom as a centenary tribute to the visionary of White Buildings (1926) and The Bridge (1930). 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.

Hart Crane’s modernist masterpiece The Bridge has steadily grown in stature since its 1930 publication. Once dismissed by influential critics as a noble failure, a view that hardened into conventional wisdom, it is now widely regarded as one of the major achievements of twentieth-century American poetry. The poem unites mythology and modernity to reckon with the promises, kept and broken, of American experience. The Bridge is challenging in the best sense, exacting and ultimately rewarding. Beloved yet often misunderstood, it threads indirect and finely grained allusions through period-specific references to 1920s life that can elude contemporary readers. Crane’s elaborate compound metaphors braid disparate sources, making the poem’s movement at times hard to track. Its topical and geographic markers call not only for identification but for explanation. Without specialized knowledge, much of it not readily available even online, many passages remain opaque. Until now, there was no single, convenient resource to help readers unlock Crane’s vision. This book is that guide. Its detailed, far-reaching annotations make The Bridge fully accessible, whether you are a scholar, a student, or a devoted reader of poetry.

Hart Crane (1899-1932) är ett av den poetiska modernismens stjärnskott, vars förtätade poesi och komplicerade liv nu får sin första riktiga presentation på svenska. Med diktsamlingarna White Buildings (1926) och The Bridge (1930) väckte han nytt liv i den amerikanska poesin, och i sina många brevväxlingar framträder bilden av en högst medveten estet som var före sin tid och stod på kant med det litterära etablissemanget.