On another level, the book offers an implicit case for the continuing value of author-centered literary criticism today. The Bridge appears in its entirety in the Norton Anthology of American Literature, and Crane himself has been the subject two recent biographies. What makes less sense is the particular published form that this retooling has taken. Crane and Baird were aboard the cruise ship Orizaba, sailing north from Veracruz to New York City. Brian Reed is a specialist in twentieth- and twenty-first-century poetry and poetics and a past Rhodes and Fulbright Scholar. Part 3 assents to the poststructuralist principle that generational, genealogical, and oedipal metaphors are woefully inadequate for understanding influence.
I am also grateful to my current and former colleagues at the University of Washington, Seattle. The merits of his poetry had been debated publicly by many of the most eminent literary and cultural critics of his day, among them Van Wyck Brooks, Kenneth Burke, Robert Graves, Matthew Josephson, Laura Riding, Allen Tate, and Edmund Wilson. The E-mail message field is required. Digital Library Federation, December 2002. Graduate students, researchers, and faculty. ¹¹ Although this catalog of interpretive frames might make it sound like the primary beneficiary is to be the secondary literature on Crane, the dynamic involved is fully dialogic. A new book, A Mine of Intersections: Writing the History of Contemporary American Poetry, is forthcoming from the University of New Mexico Press.
Is The Bridge an epic if its model is Wagnerian opera? Skeptics would be right to wonder how its restive movement from interpretive frame to frame could ever contribute in any meaningful, cumulative way to ongoing, urgent academic debates. Intertextual encounters are simply too jumbled, wayward, and variable to license the creation of neat family trees. When opting to write chapters exclusively about Crane, critics whose ostensible subject is the history of homo sexuality are making implicit claims for the value of his verse, even if they sideline the question of evaluation, aesthetic or otherwise, in order to focus on sociopolitical issues. Modernist gives way to lyric possession. To put it bluntly, since 1990 the single-author monograph has become a suspect genre. The reason is simple: to reach conclusions that hold true across individual cases, critics must sacrifice precision and comprehensiveness.
Various other writers—among them John Ashbery, Djuna Barnes, T. By necessity, authors and their works enter such discussions only partially and partway. In chapters 4 How to Write a Lyric and 5 How to Write an Epic , the book retraces the coming-into-being of these texts so as to expose them as artifactual sedimentations of concrete, specific writerly choices that negotiate and hence register an array of historical pressures, opportunities, and drives. He had previously been beaten, robbed, and otherwise humiliated during his nocturnal escapades. Her books include Unsettled: Refugee Camps and the Making of Multicultural Britain 2018. Over the decades, the man and his poetry have served all manner of interpretive purpose, from apotheosis to morality tale.
There is an added, further benefit as well. He has been involved with this project for six years; throughout, he has been a most welcome collaborator. The chapters in part 1 Reading Crane collectively demonstrate that, in the context of author-centered literary criticism, rubrics such as nationality, sexuality, and period are perhaps more readily understood as interpretive vectors than as sources of neat taxonomies. If its course is not carefully plotted, it could easily suffer from its lack of a definite, predetermined goal. Regrettably, the turgid prose and academic stubble indicative of a revised dissertation will limit interest in this book to specialists. Serial application of different interpretive frames suggests the challenge and usefulness of the author-anthology as an object for close, sustained scrutiny regardless of the literary- or cultural-critical rubric of choice.
Throughout, the argument proceeds at two levels. The result is a study that complicates and enriches our understandings of Crane's poetry and contributes to the ongoing reassessment of literary modernism's origins, course, and legacy. A critical reassessment of the life's work of a major American poet. Eliot, Marianne Moore, Ezra Pound, William Carlos Williams, and W. The first part of the study tests common rubrics of literary theory-nationality, sexuality, period-against Crane's poetry, and finds that these labels, while enlightening, also obfuscate the origin and character of the poet's work. Queer recedes in favor of masculinist. Verse, so central to New Critical pedagogy, has likewise lost its erstwhile place of privilege.
Kathleen Woodward Director, Simpson Center; Lockwood Professor in the Humanities; Professor, English Kathleen Woodward teaches and publishes in the areas of American literature, women studies, and aging and technology. ¹ Part of the pattern, too, was morning-after remorse. Author-anthologies are just too diverse. That is, instead of writing a whole book about a single poet, a critic merely turns out four or more thematically linked close readings of individual poets. This book offers a study of Crane's poetic output that takes into account the post-structural and theoretical developments in humanities scholarship that have pigeonholed him as representative of his class, gender, or sexual orientation.
But the officer in charge of the bridge maintained they had only seen the white disc lifted on a sudden wave. Her work explores how narrative produces race as it intersects with constructions of gender, sexuality, and class. Some claimed they saw an arm raised from the water and others that a life preserver turned over as though gripped by an unseen hand. Moreover, while offering too small a sample size and too varied results to arrive at the generalizations that more sociologically minded cultural-critical modes provide, author-focused study can nonetheless play a valuable role by defusing, qualifying, or complicating the conclusions reached by more comprehensive, synthetic methodologies by directing attention back to the messiness, contingency, and hybridity of the individual case. The Simpson Center operates under the direction of. Jordanna Bailkin Professor of History and Jere L.
Over the decades, the man and his poetry have served all manner of interpretive purpose, from apotheosis to morality tale. Details: Master and use copy. Crane, Hart, 1899—1932—Criticism and interpretation. Hank Lazer and Charles Bernstein, editors of the University of Alabama Press series Modern and Contemporary Poetics, have been most supportive throughout the publication process. The result is a study that complicates and enriches our understandings of Crane's poetry and contributes to the ongoing reassessment of literary modernism's origins, course, and legacy. . The first part of the study tests common rubrics of literary theory - nationality, sexuality, period - against Crane's poetry, and finds that these labels, while enlightening, also obfuscate the origin and character of the poet's work.