Hart Crane

Hart Crane (born July 21, 1899, Garrettsville, Ohio, U.S.—died April 27, 1932, at sea, Caribbean Sea) was an American poet who celebrated the richness of life—including the life of the industrial age—in lyrics of visionary intensity. His most noted work, The Bridge (1930), was an attempt to create an epic myth of the American experience. As a coherent epic it has been deemed a failure, but many of its individual lyrics are judged to be among the best American poems of the 20th century. A poet whose restlessness and personal torments granted him a legendary status in his own time, Crane was deemed “the Shelley of [our] age” by Robert Lowell.

Early life and background

Crane grew up in Cleveland, where his boyhood and education were disturbed by his parents’ unhappy marriage, which culminated in divorce when he was 17. Emotionally ill at ease and self-destructive for the rest of his life, he was given to bouts of heavy drinking and engaged in numerous anonymous, sometimes violent sexual encounters with men outside his social and artistic circles, especially sailors. He worked in a variety of jobs in New York City and Cleveland and, as his poetry began to be published in little magazines, eventually settled in New York in 1923. The clamorous vitality of urban life impressed him, and he attempted to deal with it in his poetry by insinuating into contemporary things a sense of continuity with an epic past.

Literary influences and friends

Crane was heavily influenced by the work of the earlier American poets Walt Whitman and Ralph Waldo Emerson, the Victorian British poet Robert Browning, and the Modernist poet T.S. Eliot. Mostly self-taught (he planned to take entrance examinations to enroll at Columbia University but ultimately never attended college), he read widely, including 19th-century writers such as the English Romantic poet Percy Bysshe Shelley and the French writers Honoré de Balzac, Arthur Rimbaud, and Charles Baudelaire. He also admired his literary contemporaries, such as James Joyce, William Butler Yeats, Ezra Pound, and Robert Frost.

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Poetry: First Lines

In New York he made friendships with other writers and artists such as Katherine Anne Porter, E.E. Cummings, Georgia O’Keeffe, and Alfred Stieglitz. In 1929 Crane traveled to Europe, where he was part of an expatriate community in Paris. During his Paris sojourn, however, he got into a brawl involving several waiters and two policemen at a café, and he was arrested and ordered to pay a fine. He was also sentenced to eight days in prison but was released because it was his first offense.

White Buildings

Crane’s first published book was White Buildings (1926). It contains his long poem “For the Marriage of Faustus and Helen,” which he wrote as an answer to what he considered to be the cultural pessimism of Eliot’s poem The Waste Land.

The Bridge

With financial assistance from his father (who owned a candy factory) and from the philanthropist Otto H. Kahn, Crane completed The Bridge, which had taken him years to compose. He also received support from the publishers Caresse and Harry Crosby, whom he had met in Paris. Inspired in part by the Brooklyn Bridge and standing for the creative power of humanity uniting the present and the past, Crane’s poem has 15 parts and is unified by a structure modeled after that of the symphony.

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Death and legacy

Crane was granted a Guggenheim fellowship (1931) and went to Mexico City, where he planned to write another verse epic with a Mexican theme. The tensions of his life had become increasingly disturbing, however, and he did not write it, though he did write a good poem, “The Broken Tower” (1932), during his Mexican stay. On his voyage back to the United States he jumped from the ship into the Caribbean and was drowned.

His Collected Poems appeared in 1933 but was superseded in 1966 by The Complete Poems and Selected Letters and Prose, which incorporates some of his previously uncollected writings. Considered a failed Romantic poet after his death, Crane and his work were reassessed in the late 20th century by queer theorists and writers, who have held him up as an exceptionally important queer artist. Among his works that have seen new appreciation is his poem “Voyages” (published in White Buildings), which documents his affair with a Danish sailor named Emil Opffer.