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Complete Poems of Hart Crane

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Title: Complete Poems of Hart Crane
by Hart Crane, Marc Simon, John Unterecker
ISBN: 0-87140-147-9
Publisher: W.W. Norton & Company
Pub. Date: June, 1993
Format: Paperback
Volumes: 1
List Price(USD): $13.95
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Average Customer Rating: 4.75 (4 reviews)

Customer Reviews

Rating: 5
Summary: My Favorite Poet
Comment: Crane may very well be poetry's last great romantic. Though certainly influenced by Eliot's advances in form, he rejected that poet's despair in favor of a grander, more mythic, and ultimately more affirmative vision of the world. (Ironic then, that he would die young by his own hand, while Eliot lived to be much older...). Crane's poetry is dense, soaked in language, shot through with a burning eroticism, and goverened by what he called "the logic of metaphor." Often enigmatic, labyrinthian or just plain opaque, his poetry is well worth the effort one may need to put in to appreciate it fully. And as with any great work of art, one can discover something new with every repeated reading. This is not a book that sits on your shelf collecting dust.

Rating: 5
Summary: Intense.
Comment: Crane is an intensely exciting poet, though his verbal barrage might well be too much for some temperaments. Nevertheless, his poetry, though difficult, rewards serious reading.

Rating: 5
Summary: A martyr in art
Comment: Beautifully written, Crane's poetic compositions, with their choice diction, dense and imaginative allegories and technical virtuosity, fall easily into the category of the poetry of "sensation", that is say, poetry characterised chiefly by the registering of impressions. It must be acknowledged that Crane's gifts were best suited to the lyric form. His accomplished style, rhetorical, incantatory, inventive and rhapsodic, steeped in Symbolism and Romanticism, places him above the entire gallery of American Modernist poets. The poetry of Crane, Whitman's proper heir, while pregnant with symbol and allusion, and broad in intellectual reference, does not grow to become forced, pedantic and overlearned as that of Pound. His protests, his struggles, his torments are no less significant than those of Jeffers, though Crane could at least avoid the latter's preaching and occasional pomposity. Above all, he was the poet of "sensation" par excellence, endowed with a capacity for disclosing the furthest and deepest reaches of emotion and feeling, by virtue of his high poetic gifts. Prodigiously talented and doom-laden, Crane, in spiritual kinship with Rimbaud and Shelley, lived as though he were tyrannised, without respite, by Furies he could not conciliate, developing into a compulsive and violent drunk, battling his homosexual urgings, braving the tide of public opinion, which regarded him as a social outcast, and finally plunging to his death in the ocean (which serves in so many of his poems as a symbol of death) at the age of thirty-two. Few martyrs in art have suffered more painfully. Few have endured more grievous torments. All the more are we compelled to admire Crane's stoicism. "Impavidum ferient ruinae".

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