Ben Mazer
Ben Mazer was born in New York City in 1964. He was educated at Harvard University, where he studied with Seamus Heaney and William Alfred, and at the Editorial Institute, Boston University, where his advisors were Christopher Ricks and Archie Burnett. He is the author of several collections of poems, including White Cities (Barbara Matteau Editions, 1995), Poems (Pen & Anvil Press, 2010), January 2008 (Dark Sky Books, 2010), New Poems (Pen & Anvil Press, 2013), The Glass Piano (MadHat Press, 2015), December Poems (Pen & Anvil Press, 2016), February Poems (Ilora Press, 2017), and Selected Poems (MadHat Press, 2017). He is the editor of The Collected Poems of John Crowe Ransom (Un-Gyve Press, 2015), Selected Poems of Frederick Goddard Tuckerman (Harvard University Press, 2010), The Uncollected Delmore Schwartz (Arrowsmith Press, 2019), and Landis Everson’s Everything Preserved: Poems 1955–2005 (Graywolf Press, 2006), which won the first Emily Dickinson Award from the Poetry Foundation. Formerly the editor of The Battersea Review, he lives in Cambridge, Massachusetts, and is co-editor, with Raquel Balboni, of Art and Letters. He is currently editing The Collected Poems of Delmore Schwartz for Farrar Straus & Giroux.
“Mazer, through his writing, makes sure every reading, every
convergence between the eye of a reader and the line of a poem, is
determined by the joy—or the grief—of a momentous encounter.
Congratulations, Mr. Mazer, you have been hired as one of the
representatives of memorability in contemporary American poetry.”
—MARIO MURGIA, THE CRITICAL FLAME
is now available from MadHat Press.
is now available from MadHat Press.
edited by Ben Mazer, is now available from MadHat Press.
is now available from MadHat Press.
is now available from MadHat Press.
is now available from MadHat Press.
This edition of Hart Crane’s long poem The Bridge, first published as a book in 1930, collects, for the first time ever, the variant, earlier versions of the poem’s sections as they were first published in periodicals and anthologies during the years 1927–1930. The many differences between these earlier versions and the versions which appeared in the Horace Liveright edition of 1930 make this book an indispensable volume for anyone with a deep interest in Hart Crane, or indeed in American poetry, and a tremendous tool for the understanding of Crane and his poetry.
