A distanza di cinquant'anni dalla precedente, presentiamo una nuova traduzione di Edifici Bianchi (White Buildings) di Hart Crane, raccolta di forte tensione lirica in cui la poesia americana del Novecento raggiunge una delle sue vette più elevate. Animata da metafore iperdense, improvvise illuminazioni e da un sistema di riferimenti di straordinaria ricchezza e complessità, la poesia di Hart Crane fonde tecniche compositive e visioni del mondo: dallo gnosticismo al romanticismo, da Blake, a Marlowe, a Coleridge, a Rimbaud, a Emerson, a Whitman. Albe e fiumi, uomini e divinità, e gli edifici bianchi, il progresso e il futuro al termine di una notte in cui si agitano l'istinto primordiale, lo spettro e lo spirito di New York con le sue poderose avveniristiche impalcature d'acciaio, simbolo del mondo e dell'uomo nuovo.

Welcome to the Kingdom of Id, a one-horse kingdom ruled by a wretched, pint-sized tyrannical despot known only as The King.

This is a collection of Brant Parker and Johnny Hart’s award-winning newspaper strip, featuring a cast of wise-cracking wizards and rotten rulers, drunken has-been jesters and cowardly knights.

This volume collects the daily and Sunday strips from 1973 for the very first time, as well as new background feature material!

A definitive collection of writings by the complicated American poet includes his complete body of poetic and prose works as well as a generous selection of his letters, in a volume that offers insight into his tempestuous relationships with family members and such contemporaries as Allen Tate, Marianne Moore, and e. e. cummings.

This first book of poems by hart Crane, one of his three major collections, was originally published in 1926. The themes in White Buildings are abstract and metaphysical, but Crane's associations and images spring from the American scene. Eugene O'Neill wrote: 'Hart Crane's poems are profound and deep-seeking. In them he reveals, with a new insight and unique power, the mystic undertones of beauty which move words to express vision.' 'Genius is a mystery resistant to reductive analysis, whether sociobiological, psychological, or historical. Like Milton, Pope, and Tennyson, the youthful Crane was a consecrated poet before he was an adolescent.'—Harold Bloom 'Crane's poems are as distinct from those of other contemporary American poets as one metal from another. This man is a mystical maker: he belongs to a group of poets who create their world, rather than arrange it, and who employ the idiom of their fellows with divine arbitrariness to model the vision of themselves.'—The New Republic 'In single lines of arresting and luminous quality and in whole poems Mr. Crane reveals that his originality is profound.'—Times Literary Supplement  'The line structure is so beautiful in itself, the images so vividly conceived, and the general aura of poetry so indelibly felt that the intelligent reader will move pleasurably among the impenetrable nuances.'—New York Times

This edition features a new introduction by Harold Bloom as a centenary tribute to the visionary of White Buildings (1926) and The Bridge (1930). Hart Crane, prodigiously gifted and tragically doom-eager, was the American peer of Shelley, Rimbaud, and Lorca. Born in Garrettsville, Ohio, on July 21, 1899, Crane died at sea on April 27, 1932, an apparent suicide. A born poet, totally devoted to his art, Crane suffered his warring parents as well as long periods of a hand-to-mouth existence. He suffered also from his honesty as a homosexual poet and lover during a period in American life unsympathetic to his sexual orientation. Despite much critical misunderstanding and neglect, in his own time and in ours, Crane achieved a superb poetic style, idiosyncratic yet central to American tradition. His visionary epic, The Bridge, is the most ambitious and accomplished long poem since Walt Whitman's Song of Myself. Marc Simon's text is accepted as the most authoritative presentation of Hart Crane's work available to us. For this centennial edition, Harold Bloom, who was introduced to poetry by falling in love with Crane's work while still a child, has contributed a new introduction.

This edition features a new introduction by Harold Bloom as a centenary tribute to the visionary of White Buildings (1926) and The Bridge (1930). Hart Crane, prodigiously gifted and tragically doom-eager, was the American peer of Shelley, Rimbaud, and Lorca. Born in Garrettsville, Ohio, on July 21, 1899, Crane died at sea on April 27, 1932, an apparent suicide. A born poet, totally devoted to his art, Crane suffered his warring parents as well as long periods of a hand-to-mouth existence. He suffered also from his honesty as a homosexual poet and lover during a period in American life unsympathetic to his sexual orientation. Despite much critical misunderstanding and neglect, in his own time and in ours, Crane achieved a superb poetic style, idiosyncratic yet central to American tradition. His visionary epic, The Bridge, is the most ambitious and accomplished long poem since Walt Whitman's Song of Myself. Marc Simon's text is accepted as the most authoritative presentation of Hart Crane's work available to us. For this centennial edition, Harold Bloom, who was introduced to poetry by falling in love with Crane's work while still a child, has contributed a new introduction.