Posts Tagged ‘Hart Crane’
August 4, 2016 | by Wei Tchou
How the Brooklyn Bridge became a living landfill.
I too saw the satin ribbons, the scrunchies, the clothing tags, the fat knots of underwear and panty hose, had my eyes dazzled by the foil of a bag of potato chips, the ripped labels of Poland Spring water bottles, look’d on the clear plastic rosary with a cross, the teak mantra beads strung on red thread, look’d at the fine centrifugal spokes of light round the shape of a plastic spoon, and saw how four black locks neatly proselytized in gold marker (JESUS <3’S YOU, BE A CHRISTIAN, KEEP GOD <3 FIRST <3, GOD IS GREAT). Crossing the Brooklyn Bridge one evening last week, I too felt the curious abrupt questionings stir within me when I saw the white diaphanous fluff of tampons—unused, I hope—that had been tied to the railings by the living crowd. Read More »
July 21, 2015 | by Dan Piepenbring
As part of its new Project REVEAL (not an empty acronym: it stands for Read and View English and American Literature), the Harry Ransom Center of the University of Texas at Austin has digitized the papers of writers from the nineteenth and early twentieth centuries. Among them is Hart Crane, born on this day in 1899, the man who gave us The Bridge and who, according to Malcolm Cowley, enjoyed hurling furniture out the window when he was soused.
He and I have that in common. But our approach to writer’s block, suggests a lost poem from the Ransom Center collection, is entirely different. When Hart Crane gets writer’s block, he invokes the muses with a torrent of absurd, white-hot prose poetry that wouldn’t be out of place on the bathroom wall of a Haight-Ashbury flophouse circa 1967. Read More »
July 11, 2014 | by Dan Piepenbring
In his Art of Criticism interview from our Spring 1991 issue, Harold Bloom tells of a kind of literary conversion experience:
I was preadolescent, ten or eleven years old. I still remember the extraordinary delight, the extraordinary force that Crane and Blake brought to me—in particular Blake’s rhetoric in the longer poems—though I had no notion what they were about. I picked up a copy of the Collected Poems of Hart Crane in the Bronx Library. I still remember when I lit upon the page with the extraordinary trope, “O Thou steeled Cognizance whose leap commits / The agile precincts of the lark’s return.” I was just swept away by it, by the Marlovian rhetoric. I still have the flavor of that book in me. Indeed it’s the first book I ever owned. I begged my oldest sister to give it to me, and I still have the old black and gold edition she gave me for my birthday back in 1942. It’s up on the third floor. Why is it you can have that extraordinary experience (preadolescent in my case, as in so many other cases) of falling violently in love with great poetry … where you are moved by its power before you comprehend it? In some, a version of the poetical character is incarnated and in some like myself the answering voice is from the beginning that of the critic.
A few years later, in 2000, Bloom appeared on C-Span’s Booknotes in support of How to Read and Why. In the excerpt above, the host, Brian Lamb, gets him on the subject of teaching; and Bloom, who’s been a member of the Yale faculty since 1955, becomes visibly moved as he vacillates on the degree of isolation he feels:
Do I feel isolated in America? Yeah, I guess in a way I do. It does seem to me … I’m a somewhat outspoken old monster. You know, why not, at my age—what can they do to me? One wants to tell the truth. And I think the truth is pretty dreadful nowadays, culturally speaking and intellectually speaking … I guess I can feel kind of isolated. Isolated, maybe, in the profession. Isolated in terms of the media … But not isolated with the reading public … Clearly there are a vast number of what I would call solitary and authentic deep readers in the United States who have not gone the way of counterculture, and they are of all ages, and all races, and all ethnic groups.
And toward the end of the segment, as he blinks tears out of his eyes:
Here I am about to turn seventy and maybe I am obsolete, but that’s just personal inadequacy … What I hope to represent, what I try to represent, that cannot be obsolete. If that is obsolete, then we will go down. But I’m being too emotional. I’m sorry.
Bloom is eighty-four today, and still teaching. Happily his work is no closer to obsolescence than it was fourteen years ago.
The entire episode of Booknotes is available here.
December 31, 2012 | by Rex Weiner
On a brisk December day in 1972, the SS Statendam left New York Harbor with an extraordinary passenger list. Theoretical physicists, science fiction writers, a handful of paying passengers, a reporter from the New York Times, media personalities, and a couple of distinguished literary figures, including Norman Mailer. All were aboard for the ship’s destination, Cape Canaveral, to observe Apollo 17, the last manned rocket launch to the moon.
As the skyline receded in the distance, two individuals in black leather jackets and boots tried discreetly to mingle with the other passengers on deck. Eschewing the one thousand dollar passage and without the freebies extended to celebrity guests and credited media, they had simply strolled on board at the last minute. Once the ship cast off they became—in the legal parlance of the sea—stowaways. Stowaways with a mission to rescue Norman Mailer from the clutches of a diabolical cabal of elite space imperialists.
Advance media hype surrounding the Voyage Beyond Apollo, as it was billed, promised stellar seminars, expert panel discussions, and learned presentations by marquee names, including former astronaut Capt. Edgar Mitchell, top NASA rocketeer Wernher von Braun, sci-fi hero Arthur C. Clarke, and Mailer, whose 1970 book, Of a Fire on the Moon, qualified him as an expert on space travel. Read More »
April 30, 2012 | by Sadie Stein
January 13, 2012 | by Lorin Stein
As Mr. Wilson so justly proclaims in the beginning of “The Strange Case of Pushkin and Nabokov,” we are indeed old friends. I fully share “the warm affection sometimes chilled by exasperation” that he says he feels for me. In the 1940s, during my first decade in America, he was most kind to me in various matters, not necessarily pertaining to his profession. I have always been grateful to him for the tact he showed in refraining from reviewing any of my novels. We have had many exhilarating talks, have exchanged many frank letters. A patient confidant of his long and hopeless infatuation with the Russian language, I have always done my best to explain to him his mistakes of pronunciation, grammar, and interpretation. As late as 1957, at one of our last meetings, we both realized with amused dismay that despite my frequent comments on Russian prosody, he still could not scan Russian verse. Upon being challenged to read Eugene Onegin aloud, he started to do this with great gusto, garbling every second word and turning Pushkin’s iambic line into a kind of spastic anapaest with a lot of jaw-twisting haws and rather endearing little barks that utterly jumbled the rhythm and soon had us both in stitches.
So begins the famous response, by Vladimir Nabokov, to a negative review by Edmund Wilson in The New York Review of Books. The book: Nabokov’s translation of Eugene Onegin. A fun game to play: Exactly where does Nabokov start to show his teeth? Is it “the tact he showed in refraining from reviewing any of my novels”? Or “not necessarily pertaining to his profession”? Or even that “justly” in sentence one?
Six years later, when Norman Mailer was attacked by Gore Vidal in that same magazine, Mailer took his case to the masses—on The Dick Cavett Show—with less sinuous results. The lesson, most publishers will tell you, is never respond. But it's awfully good TV.
I am taking a beginning poetry class and am expected to write imitations of poets on the class list. What should I be careful to do or not do? What should I pay attention to in an imitation?
To get the most out of the exercise, try to make the meter sound exactly like the meter of the poem you’re imitating. And make sure the teacher checks your work. The meter will look and sound right to you—and if you are a beginner, it will almost certainly be wrong. (You will say your words out loud in your head as if they marched along ka-thunk, ka-thunk, ka-thunk, when in fact they will go baah-duh-dee, buh-dee-doo.) Don’t get hung up on matching the vocabulary of the old poems. You won’t get it right, and it will sound fake. Use words that are more or less natural to you.
And have fun! Read More »