...Christopher Patrick Miller Hart Crane’s lyrics abound with transient figures who often doubt their intelligibility or viability as persons, and his letters reflect a significant anxiety about his own ability to communicate the problems he experienced in being and remaining intelligible to others...

...Julie Taylor Copyright © Hofstra University 2014 On Holding and Being Held: Hart Crane’s Queer Intimacy On Holding and Being Held: Hart Crane’s Queer Intimacy Julie Taylor And I have been able to give freedom and life which was acknowledged in the ecstasy of walking...

...Paul Bradley Bellew American modernist Hart Crane’s poem “The Idiot” details the poet’s real-life encounters with a young man with a cognitive disability. Beginning in 1926, Crane worked on the poem through different versions through letters, manuscripts, and magazine publications until about 1932...

...Madison Priest Helga Crane, the heroine of Nella Larsen’s critically acclaimed 1928 novel, Quicksand , is a maddening protagonist. Hysterical, reactive, impulsive, and compulsive, she seems constitutionally incapable of finding any sort of happiness. In accounting for Helga’s frustrating...

... location, and thus attract private capital ( Long 1968 : 212). Bishop and her friend Louise Crane, the wealthy heiress and art patron were exactly the kind of travelers whom Stone wanted to lure to the island. In 1937, a May 2, 1937 headline announced, “New Deal Awakens Key West, America’s Tropical...

... Catholic poet” (xii), and in the coda he describes Hart Crane poring over a borrowed copy of Hopkins’s poetry while composing The Bridge. Crane then wrote to his bookseller, promising a month’s rent in exchange for his collection of Hopkins’s work. Virginia Woolf, while visiting Robert...

..., in which Axel Olsen proposes marriage, “or something less—and easier,” while “speaking seemingly to the pictured face” of Helga Crane (2001, 114), reflects back to the early Wharton tale “The Moving Finger” in which a male boasts,“You don’t know how much of a woman belongs to you after you’ve painted her...

... evocation of chain gangs both interrupt and seem to be the inevitable consequence of the mechanistic, ticking movement of the river. With the figure of the socially excluded black man, Stephen Yenser (1970 : 211) suggests, Lowell’s poem harks back to Hart Crane’s The Bridge (1930), particularly...

.... Perhaps most notably, humans are described as having a species-level estrangement affliction, unable to feel on an affective level their kinship with nonhumans. A parallel plot to Mark and Karin’s un- folding drama concerns the annual migration of Sandhill cranes to the area around Kearney...

..., William Carlos Williams, Robert Frost, John Crowe Ransom, Allen Tate, and Hart Crane at the heart of modernism along with them. Even the anti-modernists Yvor Winters and Robinson Jeffers had notable romantic strains in their work, if one bothered to look. For Gelpi, the whole poetic field of American...

... without inhabiting. For Allen Grossman, Hart Crane finds in stylistic defilement the sole guarantee of authenticity, and in Nightwood a magisterially orchestrated desecration would lead us to the verge of the real.24 In The Ethics of Psychoanalysis Lacan says of paganism that “[t]he numinous...

...” and the affective relationships between the human mind and the physical environments it experiences. Houser focuses on the way in which Powers intersperses his accounts of the complex relationship between siblings Karin and Mark Schluter’s consciousnesses with chapters on the threatened sandhill crane population...

... that a kind of transcendental power is at work, transmuting the question (posed in honest ignorance of what this “divine inconsequence” might look like) into an exclamation (which implies a clear vision of that “inconsequence”) even as it is being asked. The narrator learns that Mr. Crane...

... before Berryman’s death tried to separate the scholar from the poet. Berryman, the poet, had published ten books; the scholar, a critical biography of Stephen Crane and a coedited handbook on the arts of reading. “I have seldom known you wrong about anything,” Berryman shot back, “but you couldn’t...

..., philosophy, and anthropology) to diagnose universals of literary production and reception. The result has been a tendency for such approaches to overlook the conscious, specific uses to which writers have put the cognitive sciences to individuate their works of art.2 Mary Crane’s and Alan...

... a greater role in making a story come alive. Within the American literary canon, Lamb rightly aligns Heming- way with Poe’s dramatized presentations rather than Hawthorne’s more self-reflexive tales, and he shows how Hemingway’s fiction extends the work of Crane and James while contrasting...

... and backward, making the case that the poetry of the 1990s was distinctively resistant to categorization, and that this resistance finds roots in the work of modernists like Gertrude Stein and Hart Crane. This run-down of the chapters in the second half of the volume will probably lead prospective readers...

... of the manifesto—written in all capital letters; containing witty asides from William Blake; and signed by sixteen supporters, including Boyle, Crane, Jolas, Paul, Hoffman, and “Theo Rutra,” a Czech immigrant, New York poet, and transition contributor invented by Jolas—try to reach into the ether...

... delete “apart- ment,” but Bishop held strong: the word, she argued, emphasized a sense of “apartness” and a “ ‘cut-off’ mode of existence so well” (One Art 46). She was living with Louise Crane, and apparently they had a pair of doves. She had written Moore 4 February 1936 that she was reading...

... and other forms of cultural transaction. Dreiser, Crane, and Norris openly conceded their rich and bitter inher­ itance from Balzac, from Maupassant and Zola. Stark French naturalism would find its place, of course, not within the democratic dream but on its failed, dark side. In the shadow...