The Lucky Form of Truth
This article explores poet Mark Strand’s facet as an art critic and, more specifically, the way in which the pictorial universe of American painter Edward Hopper influenced his own poetry, both thematically and stylistically. Reading Hopper’s well-known oil on canvas House by the Railroad (1925) in...
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| Format: | Article |
| Language: | English |
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Universidad de Jaén
2022-12-01
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| Series: | The Grove |
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| Online Access: | https://revistaselectronicas.ujaen.es/index.php/grove/article/view/6657 |
| _version_ | 1797978002510839808 |
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| author | Leonor María Martínez Serrano |
| author_facet | Leonor María Martínez Serrano |
| author_sort | Leonor María Martínez Serrano |
| collection | DOAJ |
| description |
This article explores poet Mark Strand’s facet as an art critic and, more specifically, the way in which the pictorial universe of American painter Edward Hopper influenced his own poetry, both thematically and stylistically. Reading Hopper’s well-known oil on canvas House by the Railroad (1925) in a New York Times article entitled “Crossing the Tracks to Hopper’s World,” published on 17 October 1971, Strand dwells on “Hopper’s fascination with passage” (340). Years later, he would expand his critical exegesis of House by the Railroad and other canvasses by the American painter in a book-length essay titled Hopper (1994) in ways that are expressive of his own poetics. Both Strand and Hopper look at the world with an inquisitive gaze and capture moments in time with utter clarity to show that the self is a mystery and humans are transients yearning for a moment of revelation, a momentary stay against confusion.
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| first_indexed | 2024-04-11T05:16:00Z |
| format | Article |
| id | doaj.art-389ae04a4bec44f4836abd0f4289ab82 |
| institution | Directory Open Access Journal |
| issn | 1137-005X 2386-5431 |
| language | English |
| last_indexed | 2024-04-11T05:16:00Z |
| publishDate | 2022-12-01 |
| publisher | Universidad de Jaén |
| record_format | Article |
| series | The Grove |
| spelling | doaj.art-389ae04a4bec44f4836abd0f4289ab822022-12-24T07:29:48ZengUniversidad de JaénThe Grove1137-005X2386-54312022-12-012910.17561/grove.v29.6657The Lucky Form of TruthLeonor María Martínez Serrano0University of Córdoba This article explores poet Mark Strand’s facet as an art critic and, more specifically, the way in which the pictorial universe of American painter Edward Hopper influenced his own poetry, both thematically and stylistically. Reading Hopper’s well-known oil on canvas House by the Railroad (1925) in a New York Times article entitled “Crossing the Tracks to Hopper’s World,” published on 17 October 1971, Strand dwells on “Hopper’s fascination with passage” (340). Years later, he would expand his critical exegesis of House by the Railroad and other canvasses by the American painter in a book-length essay titled Hopper (1994) in ways that are expressive of his own poetics. Both Strand and Hopper look at the world with an inquisitive gaze and capture moments in time with utter clarity to show that the self is a mystery and humans are transients yearning for a moment of revelation, a momentary stay against confusion. https://revistaselectronicas.ujaen.es/index.php/grove/article/view/6657Mark StrandEdward Hopperselfmatternon-human worldnothingness |
| spellingShingle | Leonor María Martínez Serrano The Lucky Form of Truth The Grove Mark Strand Edward Hopper self matter non-human world nothingness |
| title | The Lucky Form of Truth |
| title_full | The Lucky Form of Truth |
| title_fullStr | The Lucky Form of Truth |
| title_full_unstemmed | The Lucky Form of Truth |
| title_short | The Lucky Form of Truth |
| title_sort | lucky form of truth |
| topic | Mark Strand Edward Hopper self matter non-human world nothingness |
| url | https://revistaselectronicas.ujaen.es/index.php/grove/article/view/6657 |
| work_keys_str_mv | AT leonormariamartinezserrano theluckyformoftruth AT leonormariamartinezserrano luckyformoftruth |