Photopoetry 1845-2015, a Critical History by Michael Nott

Author:Michael Nott
Language: eng
Format: epub, pdf
Publisher: Bloomsbury USA

When this, too, proved unviable, Crane arranged to use photographs by friend and neighbour Evans, whom he rated ‘the most living, vital photographer of any whose work I know. More and more I rejoice that we decided on his pictures rather than Stella’s.’77 ‘When they were set as small plates on the oversized pages of the Black Sun edition of The Bridge,’ notes Langdon Hammer, ‘Evans’s photos of the Brooklyn Bridge ... did not compete with the poem’s images, as Stella’s heroic paintings would have done. Instead, in their surprising smallness, they emphasized the intimacy and inwardness of Crane’s vision.’78 The deluxe nature of the Black Sun edition sets The Bridge apart from the uniformity of earlier photopoetry books. The pages measured 8½ by 10½ inches, a generous size that emphasized the small photographs; smaller, indeed, than their original negatives. The first and third photographs bracket the text, while the second is placed in the middle of the poem, surrounded by blank pages. The position of this photograph was crucial. Crane insisted

that the middle photograph ... goes between the ‘Cutty Sark’ Section and the ‘Hatteras’ Section. That is the ‘center’ of the book, both physically and symbolically... . Evans is very anxious, as am I, that no ruling or printing appear on the pages devoted to the reproductions.79

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