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“... of Ulysses.) As editor of the Dial she was politely sure of her judgments, turning down poems by Hart Crane, suggesting cuts in Conrad Aiken, and boldly improving other people’s poems, not always to their satisfaction. But when she was taken by a poem she was full of praise, not least for the early work of Elizabeth Bishop. Bishop went to Vassar, the ...”

“... Amherst College in 1917. Pound, Eliot, Wallace Stevens, William Carlos Williams, Marianne Moore, Hart Crane all lived by other means; though it’s worth pointing out that the poetry and criticism of Eliot in particular, and to a lesser extent of Pound, played a significant role in shaping the curriculum and methodologies these expanding departments ...”

“... Masefield’s ‘Cargoes’, Scott Fitzgerald, Delmore Schwartz, Marilyn Monroe, Un Chien Andalou, Hart Crane, Ben Hur... An index to proper names in the book would be several pages long. This all-pervasive cosmopolitan glamorousness, often treated ironically, is most vivid in ‘7, Middagh Street’. 7, Middagh Street was the three-storey brownstone ...”

“... intelligence. After the war he wound up in Greenwich Village, mixing with the likes of Williams, Hart Crane, Marianne Moore, Edna St Vincent Millay, Allen Tate and Djuna Barnes, who also lived on Patchin Place, as Theodore Dreiser once had and Marlon Brando later would. He had become well regarded as an experimental poet, but he hadn’t yet become ...”

“... writing, directing and starring in The Broken Tower, an apparently straightforward biopic about Hart Crane. ‘I was really taken with his life,’ Franco says. ‘He had the quintessential tortured artist’s life. Even before he killed himself, he was a huge drinker and had lots of sex.’ Franco has also written and hopes to direct an adaptation of ...”

“... life to her work: ‘It seems evident that this poem is about her relationship to Louise Crane’; ‘Did Bishop have Pauline Hemingway in mind when she began the poem on Sable Island the previous August?’ In an interview in the Atlantic, Quinn admits that one of her aims was to include material that seems connected with the life, and also says ...”

“... Hart Crane, for one, was in no doubt about it. ‘He’s the prime ram of our flock,’ he insisted to Allen Tate in the summer of 1922. Tate was initially puzzled by the phrase, as well as by various other ‘signals’ his friend was making, but eventually came to understand Crane’s drift: ‘In those days,’ he later commented, ‘a lot of people like Hart had the delusion that Eliot was homosexual ...”

“... affirmations of modernity, too, there was sometimes a ‘theological’ dimension; think of how Hart Crane and Joseph Stella celebrated the Brooklyn Bridge as a kind of cathedral (the Rockefeller Center wants to be seen as one as well). Koolhaas once suggested that the architectural modernity of Manhattan was driven by a passionate dialectic of two ...”

“... the entire canon of the damned: Hölderlin, Nerval, Baudelaire, Rimbaud, Esenin, Mayakovsky, Hart Crane, Lorca and, as a lone, unlikely English representative of the same tradition, A.E. Housman. Earlier in the same year, having been sent new books by Auden, Spender and MacNeice from Faber, he reflected on ‘the great gap between their ...”

“... Polly Peabody – Oh Bottom, one murmurs, thou art translated), you and your friendship with Hart Crane, you and your literary ambitions, you and your flying lessons, you and your interminable erections, you and your terminal lust, shooting your mistress, bang, bang, after the last bang in last hotel room, then going away to shoot yourself? I have ...”

“... alternative making inherent in the materials of which any world must be composed’. Writing about Hart Crane, Grossman develops his notion of a ‘virtual poem’ – what we might call poetry with a capital ‘P’, the abstract potentiality of the medium as felt by the poet when called on to write – and opposes it to the ‘actual poem’, which ...”

“... restoring to American poetry ‘the prophetic consciousness it had lost since the conclusion of Hart Crane’s The Bridge’. From the first Howl had a kind of totemic significance, partly as a result of its trial for obscenity, and partly because it drew so clearly and cleverly the lines of battle between the hips and the squares, the holy bums and ...”

“... whose name his own is a not so earnest comic diminutive). Dylan Thomas, Marlowe, Rimbaud, Hart Crane, all had been absorbed with startling authority into the richly-layered texture of Malley’s poetics. But the young bard wasn’t simply shooting from the hip: Ethel had also forwarded an excruciatingly dense and contorted hand-written ‘Preface ...”

“... Some works even intimate invisibility or blindness, as in the murky Diver (1962-63) and Periscope (Hart Crane) (1963), where they are also associated with watery suicide.As this art looks at itself, it folds back on itself: it develops by recursion, by ‘repetition and recombination’, as Rothkopf puts it. Johns first juxtaposes motifs within a ...”

“... a quizzical, even sceptical light on the titanic efforts of an American Modernist poet such as Hart Crane to impose on American history an overarching, all-comprehending myth or narrative: the sheer multiplicity of its characters and their stories defeats all impulses and attempts to generalise. Reznikoff was active in left-wing circles, and clearly ...”