1. See, e.g., O My 365–66.
2. For the Montezuma project, see O My 459–60 and 494. Crane's letters from his time in Mexico offer numerous examples of his amateur research, first- and secondhand, into Mexican history and traditional culture. See, e.g., O My 480–82, 491–92, 495–96, and 499.
3. See box 9 of the Hart Crane Papers at the Columbia University Rare Book and Manuscript Library.
4. “Suicide” is by Walter Lowenfels 18–24; “Fish Food” by John Wheelwright 45–46. For other examples see Agee 49–50; Hartley 119–27; Rexroth, Collected Shorter Poems 122–25; and Winters, Collected 140, and 142. Hartley also painted an elegy for Crane, Eight Bell Folly, that depicts the Orizaba amid an expressionist seascape. See Weinberg 163–70.
5. After completing this book, I discovered that Gordon Tapper's Machine That Sings: Modernism, Hart Crane, and the Culture of the Body is soon to be published by Routledge. I look forward to what will surely be a major addition to the secondary literature on Crane.
6. See R. Martin for an earlier, pioneering discussion of Crane's poetry in relation to his sexuality. Martin's mode is primarily hagiographic, however, and its aims are primarily identitarian. That is, he crafts a genealogy of gay male U.S. poets from Walt Whitman to the present without dwelling on the mutability of sexual identity categories over the last 150 years. Yingling examines Crane in the wake of poststructuralism, and his central concerns, such as the relationship in Crane's verse between sexuality, claims to universality, and nationhood, prefigure later culture studies preoccupations.
7. See Yingling, ch. 1 (“Critical Indifference; or, Tradition and the Homosexual Talent in American Poetry”), esp. 17–18, and 20–23.