What Was Ezra Pound Really Like ? - IMG INT
01-13-2012, 05:23 AM (This post was last modified: 11-14-2012 06:26 AM by Negentropic.)
What Was Ezra Pound Really Like ? - IMG INT
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"The technique of infamy is to invent two lies and to get people arguing heatedly about which one of them is true." --- Ezra Pound
What Was Ezra Pound Like?
"It would be too dangerous to allow authors to imagine themselves to be profound thinkers."
--- Balzac, in his critical article on Stendahl's The Charterhouse at Parma
I am certainly no Pound scholar. And although I knew E.P. when he was in St. Elizabeths in the late 50's, I have very little if any new information to contribute.
But I have noticed through subscribing to the Ezra Pound mailing list that many of those academics who have made a profession out of studying Pound don't seem to have any concept at all of who the man actually was. (Many of these academics seem to actually despise him.) One problem is apparently that academics like to work from documents. But when you read Pound's letters, and the transcripts of the radio broadcasts he made from Italy during the war, and his various published opinionated prose works, you see a very different person than the Pound seen by those who actually knew him.
Below, I simply want to quote from some of the standard reference materials to give an impressionistic portrait of Ezra Pound as seen by those who knew him.
In my opinion, if you look for the one salient detail that really brings Pound to life, it is Gertrude Stein's comment that he was the "village explainer." ("Met Ezra Pound. Didn't like him. Found him to be the village explainer. Very useful if you happen to be a village; if not, not.") I don't have much hope for any biography that doesn't highlight this comment.
I could I trust starve like a gentleman. It's listed as part of the poetic training, you know.
--- Ezra Pound
Pound, in my opinion, was in his youth (and really, still in his fifties) what in contemporary terms would be called a nerd. Extremely bright, quite arrogant intellectually, generous, with a lively interest in other human beings but a rather superficial one (see especially Lewis Hyde's book The Gift in this respect), a good judge of literature but not a good judge of people. (He was taken in by Mussolini's enormous personal charm just as much as the ladies in Franco Zefferelli's recent film Tea With Mussolini.)
If Pound had been born a little later and the circumstances of his life had been a little different, I think he would have been ideally suited to be a science fiction writer of the Golden Age of Science Fiction --- someone like Damon Knight or Frederick Pohl or, perhaps more to the point, A. E. van Vogt.
He was someone who looked at the surface, and he developed a form of poetry that looks at the surface, and developed an entire critical mystique to justify his idea that the important part of literature is what's on the surface; what's important, according to him, is the beauty of the language: melopeia, phanopeia, and mythopeia. (The ABC of Reading for the definitions.) "Literature is language that's highly charged with meaning." You never see Pound saying, "Literature is writing that sees deeply into the human heart," or anything of that sort.
One notices in his poetry that he tended to be much more at home with mythology and things that had happened at least fifty years previously than with the world around him.
He was not a thinker; he was an enthusiast. In the realm of literature, he did have some important ideas, but otherwise few of the non-literary ideas he promoted were his own. One might almost refer to him as a popularizer, except that the form in which he expressed his ideas made them quite inaccessible to all but a small audience.
Most of the quotations below have been taken from Charles Norman's book Ezra Pound (MacMillan, 1960).
Robert Graves on first meeting Pound (c. 1920): "From his poems, I had expected a brawny, loud-voiced, swashbuckling American; but he was plump, hunched, soft-spoken and ill-at-ease, with the limpest of handshakes." (Quoted in Charles Norman.)
Scofield Thayer, 1921 (quoted in Charles Norman's book): "Ezra Pound, of whom I have been seeing more rather than less, is a queer duck. He wears a pointed yellow [?] beard and an elliptical pince-nez and open Byronic collar and an omelette-yellow bathrobe. On entering a restaurant, one has observed him so awkward as unintentionally to knock over a waiter and then so self-conscious as to be unable to say he is sorry. But like most other people he means well, and unlike most other people he has a fine imagination. At close quarters, he is much more fair in his judgements than his correspondence and his books would warrent one to believe.
"When one arrives at his hotel on the street of the Holy Fathers, one usually learns from the young lady that Mr. Pound is au bain. But the young lady consents to go upstairs and inquire if Mr Pound will see guests. Mr. Pound receives, beaming and incisive."
Hemingway, in A Moveable Feast (p. 108): "His own writing, when he would hit it right, was so perfect, and he was sincere in his mistakes and so enamored of his errors, and so kind to people that I often thought of him as a kind of saint."
Hemingway in 1925: "We have Pound, the major poet, devoting, say, one fifth of his time to poetry. With the rest of his time he tries to advance the fortunes, both material and artistic, of his friends. He defends them when they are attacked, he gets them into magazines and out of jail. He lends them money. He sells their pictures. He arranges concerts for them. He writes articles about them. He introduces them to wealthy women. He gets publishers to take their books. He sits up all night with them when they claim to be dying and he witnesses their wills. He advances them hospital expenses and dissuades them from suicide. And in the end, a few of them refrain from knifing him at the first opportunity.
"Personally, he is tall, has a patchy red beard, strange haircuts and is very shy. But he has the temperament of a toro di lidia from the breeding establishments of Don Eduardo Miura. No one ever presents a cape, or shakes a muleta at him without getting a charge. Like Don Eduardo's product, too, he sometimes ignores the picador's horse to pick off the man and no one goes into the ring with him in safety. And though they can always be sure of drawing his charge yet he gets his quota of bull-baiters each year." (Reprinted in An Examination of Ezra Pound, edited by Peter Russell.)
Of course one of the things that Pound is famous for is having been able to recognize the talent of a large number of extremely notable writers and having helped them get started on their careers and gain recognition. And certainly Pound's judgement in this respect was very astute. But I believe that even more than this is true: I believe that even some of the young writers Pound helped developed into notable literary figures precisely because of Pound's help. It seems clear to me that this was certainly true, for instance, of H.D., who had been Pound's sweetheart back in Pennsylvania before he, and eventually she, came to Europe. Certainly H.D. deserves credit for her wonderful talent. But, in my opinion (based mostly on reading her autobiographical book An End to Torment), she would never have developed that talent and become a poet if it hadn't been for Pound's encouragement. And T.S. Eliot, on numerous occasions over the years, expressed his opinion that Pound's help was absolutely crucial in his own development as a serious poet. (Eliot's talent was certainly there from the beginning. He wrote "Prufrock," for instance, before meeting Pound. But Pound, as I understand it, was the one who encouraged him to take his poetry seriously rather than thinking of it as an amusing hobby.)
In 1959, E.E. Cummings wrote about the Pound of the Twenties (quotation also taken from Charles Norman), "During our whole promenade, Ezra was more than wonderfully entertaining: he was magically gentle, as only a great man can be."
Margaret Anderson (editor of the Little Review) in 1923 (again quoted from Norman's book): "He was dressed in the large velvet beret and flowing tie of the Latin Quarter artist of the 1830's. He was totally unlike any picture I had formed of him. Photographs could have given no idea of his height, his robustness, his red blondness -- could have given no idea of his high Teddy Roosevelt voice, his nervousness, his self-consciousness. After an hour in his studio I felt that I had been sitting through a human experiment in a behaviorist laboratory. Ezra's agitation was not of the type to which we were accustomed in America -- excitement, pressure, life too high-geared. It gave me somehow the sensation of watching a baby perform its repetoire of physical antics gravely, diffidently, without human responsibility for the performance."
She commented on his tendancy to "orientalize" his attitude toward women, who he kissed on the forehead or drew upon his knee. She concluded: "It will be interesting to know him when he has grown up."
In 1929, in A Packet for Ezra Pound, Yeats wrote his famous description of Pound's kindness to the stray cats in Rapallo: "Sometimes about ten o'clock at night I accompany him to a street where there are hotels upon one side, upon the other palm trees and the sea, and there, taking out of his pocket bones and pieces of meat, he begins to call the cats. He knows all their histories -- the brindled cat looked like a skeleton until he began to feed it; that fat gray cat is an hotel proprietor's favorite, it never begs from the guests' tables and it turns cats that do not belong to the hotel out of the garden; this black cat and that grey cat over there fought on the roof of a four-storied house some weeks ago, fell off, a whirling ball of claws and fur, and now avoid each other."
But then Yeats felt compelled to add: "Yet now that I recall the scene I think that he has no affection for the cats -- `some of them so ungrateful,' a friend says -- he never nurses the café's cat, I cannot imagine him with a cat of his own."
Yeats proposes an explanation as follows: "Cats are oppressed, dogs terrify them, landladies starve them, boys stone them, everybody speaks of them with contempt. If they were human beings we could talk of their oppressors with a studied violence, add our strength to theirs, even organize the oppressed and like good politicians sell our charity for power."
And yet, somehow, five or ten years later, Pound was unable to see that the Jews in Germany and the German-occupied countries, and eventually, toward the end of the war, in Italy itself, were in a situation very comparable to the cats in Rapallo. (According to Eustace Mullins's biography of Pound, however, he did give assistance to some Jewish families that had escaped from Germany. I think the only confirmation of this, though, is Pound's own account.)
Reading Yeats's account of Pound's care for the stray cats in Rapallo makes me think of Pound's care of John Chatell, one of the young regular visitors to St. Elizabeths in the late 50's. I would eventually learn that Chatell's family owned an extremely successful real estate company which handled a lot of expensives houses in Georgetown. But Chatell himself lived the life of a poor student (without actually being a student, except at the `Ezuversity'). Marcella Spann Booth's memoirs in Paideuma have reminded me of the way Pound used to mother him, scavenging hospital food for him to take home.
In 1928 or 1929, Yeats wrote to Richard Aldington, "In his work, Ezra can be abrupt and barbarous; when he wants, he can be a pleasant companion and the most generous of men. He is sensitive, highly strung, and irascible. All this throwing down of fire-irons and spluttering of four-letter words is merely Ezra's form of defense against a non too considerate world. I should say Ezra has had to put up with far more annoyances from other people than they have from him."
Certainly his "abrupt and barbarous" manner has caused a number of people who know his political views only through his letters and radio broadcasts to completely misjudge the tone of his attitudes (although certainly the content alone was at times reprehensible enough!)
Writers, artists, musicians, and the like (even mathematicians!) who are widely acclaimed as boy wonders in their twenties often find it difficult to find a path to follow as they reach maturity, and this seems to have been some of what happened to Pound after he moved to Italy and entered his fifties.
Pound's fiftieth birthday was in 1935, and about that time one began to learn the answer to Margaret Anderson's question of what Pound would be like "when he grows up," and the answer was not a pretty one. His old friends now often returned from visiting him in Rapallo to report that he was querrulous and intolerant of any disagreement with his opinions, which many now found quite bizarre. Some (Joyce, for instance) found him in fact quite insane.
Pound had now achieved a great triumph, which also seemed to have been his downfall: namely, the world was now taking him seriously. And yet despite having a couple dozen books to his name and being fairly universally recognized as one of the world's great living poets, he was not well off financially, only surviving because of the income from his wife's inheritance. (When this money became inaccessible during the Second World War, his life became one of almost drastic poverty.)
Being taken seriously was, as I see it, an extremely pernicious thing for Pound, because it encouraged him to take himself far more seriously than was compatible with rationality. The brash egotism which had earlier been seen as tolerable and somewhat natural in a bright young man now seemed to be turning into an irrational egomania. And it encouraged the world to look at his stupidities, in particular his radio broadcasts, much more harshly than would have been the case if the world had still seen him as the extremely bright but eccentric writer that he had been in London and Paris during his thirties and forties -- in some ways, not only the village explainer, but also the village fool, albeit a highly intelligent fool; almost an idiot savant. (It's important to remember, though, that in the context of the 1930's, Pound's support for Mussolini and for eccentric (we would now say "crackpot") economic theories were not as bizarre as they now seem to us in retrospect, and were shared by many notable intellectuals of the time. Until Mussolini invaded Ethiopia in 1935, his support both in Europe and the U.S. was widespread, including the Luce publications: Time, Life, and Fortune.)
In Humphrey Carpenter's biography A Serious Character, Robert Fitzgerald is quoted as saying that Pound's letters and articles written during the Rapallo period "had the tone of a man no longer in touch.... What had seemed high-hearted and rather Olympian fun began to seem childish and beside the point. Only a man working in isolation, without criticism or ignoring it, could have failed to see the fretfulness and poverty of argument."
It's always important to remember, though, as Fitzgerald acknowledged, that throughout his life Pound in person was very different and much pleasanter than Pound on paper. However Carpenter also quotes Giuseppe Bacigalupo as having noted an unpleasant change in manner at his occasional meetings with Pound, saying, "It was not possible to hold a normal conversation.... He had come increasingly to adopt the attitude of someone who assumes that the person he is talking to shares his own interests and knowledge, so that some cryptic allusion seemed to him to be enough to explain what he was thinking --- a hypothesis which was far from well founded."
(This manner of speaking by means of references to totally obscure books or historical events as if of course this would totally clarify the matter for the listener was very much what I noticed of him at St. Elizabeths. Although I don't think that this is a valid sign of insanity, one can readily understand why psychiatrists who talked to him briefly would get the impression that he was totally insane.)
In any case, Pound in Rapallo seemed, as always, to be having a very good time. In Humphrey Carpenter's book, James Laughlin is quoted on the subject of Pound at the movies.
The movies were simply awful, but Ezra loved them. He'd sit up in the gallery with a cowboy hat on and his feet on the rail, eating peanuts, roaring with laughter.
The fact is, it seems as though Pound in many ways never did "grow up." Almost all the available photographs of Pound make him look like a very "serious character" (the phrase which Humphrey Carpenter used as the title of his biography on Pound), and because of this they totally misrepresent Pound. They certainly look nothing at all like the images in my own memory. One characteristic that most people who knew Pound, from his twenties into his seventies if not his eighties, seem to agree on was a joyous quality along with a boyishness which at times seemed to verge on an insane immaturity. In the PBS Voices and Visions program on Pound, one of the former officials in the Fascist government reports that when they tried to discourage Pound from his radio broadcasts during the war, and asked him whether he realized how seriously such an action would be considered and how serious the consequences for him might be, his response was to laugh and to say that such a concern was absurd.
In the Pisan detention camp, where he was at first barbarically prisoned in an open iron cage (after all, the Army thought of him as a despicable traitor, an American who had supposedly broadcast propaganda for the Fascists), he became a camp character, and his self-devised bizarre exercise ritual, including fencing and playing tennis with imaginary opponents using an old broom handle, became a source of amusement for the guards. Many of the guards developed an affection for the old man, and started showing him various kindnesses in violation of their orders.
He told the medics in the camp that the United States government would never try him for treason, because he "had too much on several people in Washington." (My source here, as for most of this, are the biographies by Charles Norman and Humphrey Carpenter.)
As he left the camp to be flown to the United States, he put his hand under his chin to indicate a noose and made a pantomine gesture of being hanged. And when the plane became airborne, he started laughing, because he'd never been in the air before. (This was reported by Olga Rudge in the PBS Voices and Visions program.)
When Pound was first put into St. Elizabeths mental hospital, he was put into Howard Hall, where the most dangerous patients were kept, because the staff at St. Elizabeths had been told that he was a serious criminal. Although the time in Howard Hall was a horrible ordeal as one can see from Humphrey Carpenter's biography (aside from everything else, he was never allowed to go outside during this period), when he talked about the experience several times later in my presence, he expressed amusement that the authorities would consider him dangerous enough to warrent this treatment and said that it gave him the opportunity to meet a couple of murderers, which had been an interesting new experience for him.
Even after Pound was moved to the more benign Chestnut Ward, his conditions at St Elizabeths would be seen as intolerable to most people. He had a tiny little room which was mostly packed with books, notebooks, and the like, with a small cot to sleep on. Humphrey Carpenter quotes from a report that
His room was a confusion of jars, bottles, boxes, make-shift containers filled with dainties, exotics, and plain fare of bread, cheese, ham, sweets... and all the left-over food he could `pouch' three times a day at St. Liz. The main purpose of his bulging larder was to feel the starving artist; jar after jar of food went of the grounds `for the noble purpose of nourishing the arts.'
He was surrounded by mentally ill patients, with whom he seemed to stay on fairly good terms. Apparently the inmates in the asylum were in fact quite devoted to him, and he seemed to enjoy them. In either Charles Norman's biography or Humphrey Carpenter's, there is a report from someone who visited Pound at St Liz, that while Pound was commenting on his lawn chairs, which he found the ideal furniture, one of the inmates said, "Yes, and not only has he got a lawn chair, but he's got a heart bigger than all Washington."
Despite the appalling conditions he lived under, it is my personal belief (which many will certainly argue with) that the years at St Elizabeths, at least after the first few --- the later years when he was allowed to spend the afternoons outside on the lawn in good weather and allowed whatever visitors he chose --- were the best years of Pound's life since he left London and Paris. But of course it was only for a few hours each day that he could spend time with visitors.
Pound's old friends in the literary world were often bothered by the indiscriminateness of his friendliness to visitors, and seemed to think that there was something wrong with Pound's being friendly to people with so little stature. But E.P. seemed to be equally interested in and friendly toward just about everybody (and despite his well known anti-semitism, this apparently included those Jews who managed to visit him). When Sheri's lover Gilbert Lee was sent to the penitentiary for dealing heroin, E.P.'s attitude was apparently that this was regretable, but typical of the trouble that artists get themselves into when they're young. In a letter subsequent to Gilbert's release, Pound wrote, "Well, he's apparently devoting himself to composing jazz now." (Gilbert was a jazz pianist, and earned his living as an auto mechanic. Unfortunately, a few years later he had an accident while working on a car that seriously damaged his fingers and consequently ended his career as a musician. Years later, when I met him and Sheri again in San Francisco, he was still an auto mechanic.)
The regular visitors, mostly young, were interesting people. Pound was known as a traitor and someone with extremist political views, including anti-semitism, and he fact that someone would choose to visit E.P. regularly was a pretty good indication that this was someone who was willing to color outside the lines and had a desire to learn more about the world than what was taught in conventional educational institutions. (With a very few exceptions, academics did not visit Pound. Becoming familiar with Pound did not then seem a good way to advance an academic career.) Diane DiPrima was a regular visitor for a while, although unfortunately that was before the time I showed up. There were Reno Odlin, Hollis Frampton, and too many others who I no longer remember. And Pound thoroughly enjoyed some of the young disciples who never went on to become famous, especially John Chatel ("young Chatel," as E.P. so often called him in his letters), who Pound scrounged food for from the hospital cafeteria.
Sheri Martinelli was truly delightful and was in some ways, I believe, a woman as remarkable as Lou Andreas-Salomé (an intimate friend of Niezsche, Rilke, and Freud). (After reading H.D.'s memoir An End to Torment, I realized that Sheri was also in many ways a younger copy of H.D.) Most of Pound's biographers have not bothered to learn much about Sheri, but she had been a protege of Anais Nin before putting herself under Pound's wing. Both Anatole Broyard and William Gaddis were in love with Sheri in the Forties. Sheri was in some sense (it's probably impossible now to ever establish to exactly what extent) E.P.'s lover, but she was much more like a favored daughter. She usually referred to him as Maestro and her affection toward him, mixed with deep reverence, was like that one might have to a favorite older relative.
Sheri brought him cookies, fudge, and jasmine tea. In a short article in Paideuma (volume 13), Marcella Spann gives an account of Pound jumping out of his chair and running across the lawn to greet Sheri with his most affectionate and energetic bear hug. The cookies she has brought scatter about them, and Sheri exclaims: "Grampa is the only man in the world you can bring cookies and before he can eat one of them, he drops them all on the ground; and before you can help him pick them up, he steps on every one."
In a lot of ways, I think the circle on the lawn at St Elizabeths was very much like the friends Pound had associated with in Paris and London, although unfortunately not endowed with comparable talent. (And I have to say that E.P. certainly did little to help bring out what talents we may have had. His prescriptions were much too dogmatic to be helpful.)
And of course we provided Pound with what he had always wanted: an appreciative audience. We were an uncritical audience, of course, but many of us did the required homework. We all read Pound's translations of Confucius, not to mention the Cantos and Pound's other books, as well as the monographs by Fenellosa and Louis Agassiz and Alexander Del Mar published by the Square Dollar Press. I, for one, also read Eimi amd The Enormous Room by E.E. Cummings, several novels by Ford Madox Ford and Wyndham Lewis, and also the autobiography of Martin van Buren and Thomas Hart Benton's enormous memoir Thirty Years in the Senate. In the Library of Congress (which at that time was open to high school students) I was able to find copies of Blast, the Vorticist magazine edited by Pound and Wyndham Lewis in the Twenties. Later, because of E.P.'s recommendation, I would subscribe to the Congressional Record for at least a year, reading it fairly thoroughly although not cover to cover. (And yes, I also read The Protocols of the Elders of Zion, although it was not E.P. himself who recommended them or gave them to me.)
E.P. usually referred to himself as "Grampa," and all the younger visitors were encouraged to do likewise.
But many people of stature, both old acquainances and writers who Pound had never met before, did in fact come and visit E.P. at St Liz --- more than would have ever visited him at Rapallo. One of the major disappointments for me was having missed meeting both E.E. Cummings (a long-time friend of Pound's, of course) and Tennessee Williams, because they came in the middle of the week when I was in school. (Sheri reported that Cummings wore a suit with a vest and pocket watch and looked like the White Rabbit from Alice in Wonderland. To her disgust, E.P. and Cummings spent most of their time together talking about the weather.) A son or grandson of Frank Lloyd Wright showed up one weekend. And there were a few bright young academics: Hugh Kenner, Guy Davenport, and Professor Giovannini from Catholic University.
Considering the harshness with which he often attacked both friend and foe in his correspondance and his published writings, one of the amazing things about E.P. was that just about everyone who ever knew him personally, including those who were vehemently opposed to his ideas, loved him. And many of his old colleagues who might otherwise have simply dropped him went out of their way to send friendly communications to him in St. Elizabeths simply because of the injustice with which they believed he was being treated. (They saw him as a fool, not a traitor or a criminal.) Eliot, Williams, and Hemingway were among those who continued to regularly correspond with him, despite drastic political differences. I suspect that even Joyce would have written him a letter from time to time if he'd still been alive, although certainly Joyce had every reason to feel aggrieved by Pound's treatment of him.
Humphrey Carpenter's biography on Pound (A Serious Character) in Chapter 13 quotes the following report by Louis Dudek on Pound at St. Elizabeths.
He continually kept doing little things to make us comfortable: cutting the fruit ... and passing it around; pouring the tea out of a thermos; offering newspapers to lay on the grass for sitting; bringing out books, magazines, letters from a bag... He would also feed the birds... Said Mrs Pound: `He would never do that in the old days; he was always too busy, always doing something.'
This description (and some of the other reports Carpenter quotes in the same chapter) agree very much with my own memories of St Elizabeths. Although Pound has often been called a narcissist, and was certainly an egomaniac, he was always very attentive to the people around him (including the orderlies and at least many of the patients at the hospital) and took a keen interest in the lives of his regular visitors and was concerned for their well being. As mentioned above, he regularly scavenged hospital food for John Chatel ("young Chatel," as he called him in his letters), and possibly some of the other starving artists and writers among his visitors as well.
I think that one can see here a strong continuity here between the Pound in Paris in the 1920's, as described by passages quoted above from Charles Norman's book, and the Pound in St. Elizabeths during the 1950's.
Some academics now take the fact that John Kasper was welcome at St. Elizabeths as proof that Pound was a racist. But in fact, although Pound's anti-semitism was quite conspicuous in almost all his conversations, he was not notably racist. (Furthermore, although Kasper was later to become infamous as a White supremacist, his personal attitudes toward Negroes seemed to be rather confused.) For the most part, everyone was welcome at St. Elizabeths, provided only that they were willing to listen to Pound respectfully and try to learn from him. (Journalists were usually not welcome. Jews were usually not welcome, although they were usually treated courteously if they did show up.)
When I started visiting Pound at St. Elizabeths, one of the first things I wondered about was whether he was actually sane or not. At the time, I know not the slightest thing about mental illness, so all I could do was to judge whether he seemed basically rational or not.
Pound certainly had his own style of communicating. On my first visit, I couldn't understand a word he said. Later, I started to catch on to his style. The comments by Giuseppe Bacigalupo quoted above describe this fairly well. To repeat,
He had come increasingly to adopt the attitude of someone who assumes that the person he is talking to shares his own interests and knowledge, so that some cryptic allusion seemed to him to be enough to explain what he was thinking --- a hypothesis which was far from well founded.
One had to read the correct books and learn the right things in order to make sense of what E.P. was saying. To my seventeen-year-old self at the time, this did not seem completely unreasonable, and once I had learned the background material, Pound's talk seemed fairly reasonable.
Reading the ABC of Reading and his other books was a big help, because I realized that a lot of his discourse when there was a big crowd present consisted of quotations from his books; slogans such as "Artists are the antennae of the race" or "Great literature is news that stays news." This was perhaps an unusual form of communication, but it seemed quite rational and deliberate; he believed that these slogans were very fundamental truths which it was important to re-iterate over and over again in the hopes that they would finally sink in for the listener.
Later on, when I experienced him in small groups of friends, I found his conversation quite ordinary. He was quite capable of small talk.
One day Sheri, as I recall (or it may have been John Chatel), mentioned that recently St. Elizabeths had been granting weekend furloughs to some of the patients so that they could spend time with their families, and complained that it was unfair that EP had not been granted a similar privilege. But he responded quite calmly that after all, he was charged with a extremely serious federal crime, and so naturally the hospital would be ultra-cautious about relaxing their control.
Oddly enough, this is the one case where I think Pound's usual complaint of oppression by his enemies could have been justified. A lot of influential people, both in Congress and otherwise, hated Pound because of his anti-semitism and in particular because of his radio broadcasts (very few people in those days were familiar with the actual contents of the broadcasts, which were then only available in the Library of Congress on microfilm) and might have raised a big stink if St. Elizabeths had allowed him any sort of freedom.
On many other occasions, though, he claimed that he was being kept incarcerated, or that publishers were refusing to include his work in anthologies, because the government or the banking interests wanted to suppress some of the information he would reveal to the public. Even at the time, I was considerably skeptical of this.
But one can't claim that someone is crazy just because some of his opinions are irrational. The fact is that very few people are able and willing to apply critical thinking to their own beliefs about politics, religion, and the like, although most of us are quite capable of subjecting the beliefs of those who disagree with us to rigorous critical analysis.
In retrospect, though, I do think that Pound had a megalomania that went beyond the bounds of rationality.
Ezra Pound, Tristan Tzara, Man Ray, Kiki, Mina Loy, Jane Heap, Jean Cocteau, Martha Dennison and others, Jockey Club Paris 1923
Ezra Pound with Tristan Tzara, Man Ray, Jean Cocteau, and others.
". . . the collapse of our civilization in the war of the 1860's . . . The total democracy bilge, by which I mean the cliches, the assumptions, the current cant about "the people" arose from sheer misunderstanding or perversion. Perversion of ideas by means and by misuse of words. The disequality of human beings can be observed. . . . There is no more equality between men than between animals." -- Ezra Pound, National Culture - A Manifesto 1938
“Ezra Pound Speaking”
RADIO SPEECHES OF WORLD WAR II
01-19-2012, 04:43 PM (This post was last modified: 09-29-2012 04:28 PM by Negentropic.)
RE: What Was Ezra Pound Really Like ?
no other parts posted as yet
Homosexual, Communist, Poet, Linguist, Journalist, Novelist & Film Director Pier Paolo Pasolini Interviews Ezra Pound
The original English version of the poem that Pasolini reads in Italian translation in the above video:
"Master thyself, then others shall thee beare
Pull down thy vanity
Thou art a beaten dog beneath the hail
A swollen magpie in a fitful sun,
Half black half white
Nor knowst'ou wing from tail
Pull down thy vanity
How mean thy hates
Fostered in falsity
Pull down thy vanity
Rathe to destroy, niggard in charity
Pull down thy vanity,
I say pull down.
But to have done instead of not doing
this is not vanity
To have, with decency, knocked
That a Blunt should open
To have gathered from the air a live tradition
or from a fine old eye the unconquered flame
This is not vanity
Here error is all in the not done,
all in the diffidence that faltered . . .
---- Ezra Pound
Bernardo Bertolucci and Pier Paolo Pasolini near Rome during the filming of Pasolini’s first film ‘Accattone’, which Bertolucci worked on as a scriptwriter. In 1962, at the age of 22, Bertolucci directed his first feature film, produced by Tonino Cervi with a screenplay by Pier Paolo Pasolini, called La commare secca (1962). Photograph: Marina Cicogna. Via: The Observer.
Olga Rudge (13 April 1895, Youngstown, Ohio – 15 March 1996) was an American-born concert violinist, now mainly remembered as the long-time mistress of the poet Ezra Pound, by whom she had a daughter, Mary.
A gifted  concert violinist of international repute, her considerable talents  and reputation were eventually eclipsed by those of her lover, in whose shade she appeared content to remain. In return, Pound was more loyal, not to say faithful, to her than to any of his many other mistresses. He dedicated the final stanza of his epic The Cantos to her, in homage and gratitude for her courageous and loyal support of Pound during his 13 year incarceration in a mental hospital after having been indicted for treasonous activities against the United States and in support of Benito Mussolini's Fascist regime. She also defended Pound against the accusation that he was anti-Semitic. During the last 11 years of Pound's life, Rudge was his devoted companion, secretary, and nurse, as he sank into eccentricity and prolonged silences.
Rudge survived Pound by twenty-four years, remaining in the small house in Venice she had shared with him. In her declining years, an ongoing difficult relationship with Mary, her only child, left her vulnerable to the attention of parties with ulterior motives, resulting in the sad situation described in John Berendt's The City of Falling Angels, in which Rudge could not account for how Pound's papers and letters in her possession had found their way to Yale University. Failing health eventually forced her to leave her beloved Venice and spend her final days with her daughter. Rudge died a month before her 101st birthday and is buried next to Pound in Venice's Isola di San Michele cemetery.
Olga Rudge and Ezra Pound
‘‘What Thou Lovest Well . . .’’
by Ann Conover
Yale University Press - Read entire book here:
Hilda Doolittle was born into the Moravian community in Bethlehem in Pennsylvania's Lehigh Valley. Her father, Charles Doolittle, was professor of astronomy at Lehigh University and her mother, Helen (Wolle), was a Moravian with a strong interest in music. In 1896, Charles Doolittle was appointed Flower Professor of Astronomy at the University of Pennsylvania, and the family moved to a house in Upper Darby, an affluent Philadelphia suburb. She attended Philadelphia's Friends Central High School, at Fifteenth and Race streets, graduating in 1905. In 1901, she met and befriended Ezra Pound, who was to play a major role both in her private life and her emergence as a writer. In 1905, Pound presented her with a sheaf of love poems under the collective title Hilda's Book.
That year, Doolittle attended Bryn Mawr College to study Greek literature, but left after only three terms due to poor grades and the excuse of poor health. While at the college, she met the poets Marianne Moore and William Carlos Williams. Her first published writings, some stories for children, were published in The Comrade, a Philadelphia Presbyterian Church paper, between 1909 and 1913, mostly under the name Edith Gray. In 1907, she became engaged to Pound. Her father disapproved of Pound, and by the time her father left for Europe in 1908, the engagement had been called off. Around this time, H.D. started a relationship with a young female art student at the Pennsylvania Academy of Fine Arts, Frances Josepha Gregg. After spending part of 1910 living in Greenwich Village, she sailed to Europe with Gregg and Gregg's mother in 1911. In Europe, H.D. began a more serious career as a writer. Her relationship with Gregg cooled, and she met a writing enthusiast named Brigit Patmore with whom she became involved in an affair. Patmore introduced H.D. to another poet, Richard Aldington.
Soon after arriving in England, H.D. showed Pound some poems she had written. Pound had already begun to meet with other poets at the Eiffel Tower restaurant in Soho. He was impressed by the closeness of H.D. poems's to the ideas and principles he had been discussing with Aldington, with whom he had shared plans to reform contemporary poetry through free verse, the tanka and the tightness and conciseness of the haiku, and the removal of all unnecessary verbiage. In summer 1912, the three poets declared themselves the "three original Imagists", and set out their principles as:
1. Direct treatment of the 'thing' whether subjective or objective.
2. To use absolutely no word that does not contribute to the presentation.
3. As regarding rhythm: to compose in the sequence of the musical phrase, not in the sequence of a metronome.
During a meeting with H.D. in a tea room near the British Museum that year, Pound appended the signature H.D. Imagiste to her poetry, creating a label that was to stick to the poet for most of her writing life. However H.D. told different versions of this story at various times, and during her career published under a variety of pseudonyms. That same year, Harriet Monroe started her Poetry magazine and asked Pound to act as foreign editor. In October, he submitted three poems each by H.D. and Aldington under the rubric Imagiste. Aldington's poems were in the November issue of Poetry and her poems "Hermes of the Ways," "Orchard," and "Epigram", in the January 1913 issue. Imagism as a movement was launched with H.D. as its prime exponent.
Quote: Snow on his beard. But he had no beard, then. Snow blows down from pine branches, dry powder on the red gold. "I make five friends for my hair, for one for myself."
Hilda Doolittle (1886 – 1961)
Quote: Hilda declared in a letter to (William Carlos) Williams that she had decided to dedicate her life to Pound "who has been, beyond all others, torn and lonely--and ready to crucify himself yet more for the sake of helping all." The couple met at dances and parties and at musical evenings at the Pound home in Wyncote. Pound was writing his daily sonnet while Hilda, with less facility, was chiseling out a few lines every few days which she would timidly proffer for criticism.
Quote: What is Money For?
01-25-2012, 06:58 AM (This post was last modified: 04-24-2012 03:59 PM by Negentropic.)
RE: What Was Ezra Pound Really Like ?
Dorothy Shakespear (14 September 1886 – 8 December 1973) was the wife of the poet Ezra Pound, the daughter of novelist Olivia Shakespear and an artist. She participated in the Vorticism movement, and had her artwork published in the literary magazine BLAST.
Dorothy met Ezra Pound in 1909; after a long courtship the two were married 1914. The couple moved to Paris in 1920, living there until 1924, when they moved to Rapallo, Italy. Dorothy stayed married to Pound in spite of his long-lasting affair with Olga Rudge whom he met in Paris in the early 1920s. In 1926 Dorothy gave birth to her son Omar Pound, whom she sent to England to be raised by her mother. By the 1930s, she became financially independent, the result of various family bequests, but lost much of her money following Pound's advice to invest in Benito Mussolini's fascist regime.
Toward the end of World War II, Dorothy and Pound were evacuated from their home in Rapallo, and for a period she, Pound and Rudge lived together in Rudge's home. After the war, when Pound had been arrested for treason and incarcerated on grounds of insanity in Washington, D.C., she moved there to be visit him regularly, assumed control of his estate, and stayed with him until his release. They returned to Italy in 1958; in the 1960s she moved to London, leaving her husband to live out the last decade of his life with Olga Rudge.
Dorothy's mother, Olivia Shakespear (b. 17 March 1863), came from a British Indian Army family on her father and mother's side. Olivia was born on the Isle of Wight, lived in Sussex as a child before moving to London in 1877 where she and her sister, Florence, were raised to enjoy a life of leisure. Dorothy's father, Henry Hope Shakespear (b. 1849), traced his family to 17th-century East London rope makers and, like his wife, came from a military family. Educated at Harrow, he went on to study law, became a barrister and in 1875 joined a law practice. He and Olivia were married in 1885; Dorothy, the couple's only child, was born nine months later. By the late 1880s, Dorothy's mother was active in London literary circles, started writing and by 1894 had published two novels.
From her father, Dorothy learned to paint, accompanying him on regularly scheduled painting excursions in the country. Pound biographer Wilhelm writes as "bright, pert, pretty English girl with a winning smile although some people found her cold". She was educated at Hampshire Boarding School and at a finishing school in Geneva, after which she lived at home, spending her time in activities such as water-colour painting, reading, letter writing, and accompanying her mother on social visits. Pound biographer Humphrey Carpenter writes she had little romance in her life until she met Ezra Pound.
Dorothy met Pound at her own home on 16 February 1909 when her mother, who recently met the young American poet at a friend's salon in Kensington, invited him to tea. Although Olivia was more than 20 years older than Pound, she was a beautiful woman, and influential in London literary society, to whom Pound may have been attracted. But it was Dorothy, a year younger than Pound, who was struck by his presence, writing in her diary on the very day she met him:
"Listen to it—Ezra! Ezra! And a third time—Ezra! He has a wonderful, beautiful face, a high forehead, prominent over the eyes; a long delicate nose, with little, red, nostrils; a strange mouth, never still & quite elusive; a square chin, slightly cleft in the middle—the whole face pale; the eyes grey-blue; the hair golden-brown, and curling in soft wavy crinkles. Large hands, with long, well-shaped fingers and beautiful nails."
Many years later she would tell Ezra Pound biographer Noel Stock that her memory of the visit "was very hazy, all she could remember was that it was winter and she sat on a low stool near the fire and listened".
Dorothy's mother, Olivia Shakespear, introduced Pound to her daughter in 1909.
In late 1909 and early 1910, chaperoned by her mother, Dorothy attended Pound's lectures at the London Polytechnic Institute; in June 1910, mother and daughter went to Italy and joined him in Sirmione for a few weeks. Dorothy spent the time painting, becoming enthralled with Lake Garda, as was Pound, claiming it was the first time she had seen color. At this time Olivia restricted contact between the two; days before Pound left for an extended stay in the US, Dorothy wrote to him in a letter she would abide: "In case I do not see you alone on Wednesday, I take it that during your 'exile' you have been forbidden to write to me? .... if you have promised—don't break your word—don't write to me!" Olivia allowed Dorothy to write a thank you note when Pound's Canzoni were published—dedicated to Oliva and Dorothy—the only instance in which Dorothy was allowed direct contact with him. John Harwood, Olivia Sharkespear biographer, writes that Dorothy's lack of resistance seems extreme, even by Edwardian standards; however, he speculates that Olivia's motives were to keep Dorothy's behaviour controlled, whereas Pound's behaviour was ignored. Dorothy likely considered herself engaged to Pound after the Italian trip.
The two remained unofficially engaged until 1914, with Dorothy adhering to social convention and waiting for her father's permission to marry. In 1911 Pound returned from America and in October formally approached Dorothy's father asking permission to marry her. Pound told Shakespear he had a guaranteed annual income of ₤200 in addition to earnings from writing and Dorothy's own income of ₤150 a year. Shakespear refused on the grounds of insufficient income believing Pound overstated his potential to earn money writing poetry. At the same time, Hilda Doolitle arrived from America, believing herself to be engaged to Pound. Walter Rummel, with whom Pound was sharing a room while he waited for his old rooms at Church Walk to be vacated, told Hilda about Dorothy a few days before Pound asked permission to marry Dorothy. During that period Olivia invited Hilda to her home to meet her, and was concerned about the tension between Dorothy, Hilda and Pound, as well as her daughter's apparent obsession with Pound. Olivia continued to restrict contact between the two while Dorothy continued to treat the relationship as an engagement, despite short weekly or bi-weekly supervised visits in the family drawing room.
Throughout the nearly five-year-long courtship, Dorothy and Pound corresponded regularly, fillng their letters with gossip about mutual acquaintances such as T.E. Hulme, Violent Hunt, Walter Rummel, Florence Farr, and Henri Gaudier-Brzeska; additionally in their letters they shared trivial incidents, family information, and showed affection for one-another. They were separated for long periods each year when the Shakespear family visited friends and extended family (mostly members of the Tucker family) in the country, returning to London only for a few months in the spring and autumn—customary for many Victorian families. Generally young women of the period were expected to indulge in activities such as painting, embroidery and music while waiting for marriage. Dorothy, however, through the influence of her mother, was well-read (and quite capable of conversing with Pound who had multiple degrees), knowledgeable in music, and a talented artist. She became a skilled artist and during the vorticist period was capable of conversing easily with artists such as Wyndham Lewis whom she met at her mother's salon.
Olivia realised her 27-year-old daughter was determined to marry Pound and in 1914 allowed the two to marry. At that time Pound earned less than he had in 1911 at the time of his first proposal.
On 20 April 1914, Dorothy married Pound despite her father's opposition who relented when the couple agreed to a church rather than a civil ceremony. The marriage ceremony took place in the morning with six guests in attendance; official witnesses were the bride's father and her uncle Henry Tucker. As a wedding present Olivia gave them two circus drawings by Pablo Picasso.
Dorothy and Pound moved into an apartment at 5 Holland Place, with Hilda Doolittle, recently married to Richard Aldington, living in the adjacent apartment. Hilda was shocked and hurt when Pound married Dorothy, and even more shocked to find he rented the apartment opposite at Holland Place. She and Dorothy were not on friendly terms, with Hilda writing of her, "she is unbearably critical and never has been known to make a warm friend with a man or woman. She loathes (she says) children! However that may be a little pose. She is a bit addictive to little mannerisms. I don't think she can be poignantly sensitive or she would never have stuck Ezra". When Dorothy came to in the small apartment she refused to cook—ever. In fact, she never cooked until she was to forced to during World War II. Pound cooked in the larger room and worked in a small better-lit room. He made furniture for the apartment where they stayed until 1919.
Although Dorothy and Ezra planned to honeymoon in Spain that September, the outbreak of World War I forced them to postpone. Instead they lived with W.B. Yeats at Stone Cottage for the winter, where Pound worked on proofs for the second issue of BLAST magazine. Of Dorothy, Yeats wrote, "she looks as if her face were made out of Dresden china. I look at her in perpetual wonder. It is hard to believe she is real; yet she spends all her daylight hours drawing the most monstrous cubist pictures." Poet Iris Barry, writing in the 1930s about the Pounds during this period, describes Dorothy as, "With [Ezra] came Mrs. Pound, carrying herself delicately with the air, always of a young Victorian lady out skating, and a profile as clear and lovely as that of a porcelain Kuan-yin".
From her father she learned landscape art but by 1913 her art showed influences of Japanese prints. Additionally, she was influenced by exposure to artists such as Wyndham Lewis and Henri Gaudier-Brzeska and by 1914 had assimilated her own abstract Vorticist style. In 1915, she designed the cover-art for her husband's volume of poetry, Ripostes. Her work was simply signed as 'D.S.' and never exhibited. Despite her fragile demeanor, when BLAST was published, Dorothy carried the brightly coloured avant-garde magazine conspicuously along Tottenham Court Road in an effort to promote the publication. Additionally, she designed for her husband Chinese characters to add to his manuscripts.
Paris and Italy
Dorothy and Pound moved to Paris in 1920 where they first lived in a hotel until renting a studio at 70 bis rue de Notre Dame des Champs, a small street near the Dôme Café. With a letter of introduction from Sherwood Anderson, Hemingway secured an invitation to tea for himself and his wife Hadley, who found Dorothy's manners to be intimidating, and he considered their apartment to be as "poor as Gertrude Stein's studio was rich". Nonetheless they forged a firm friendship that lasted many years, with Dorothy turning to Hemingway for help in the early 1950s, during Pound's incarceration at St. Elizabeths.
During this period Pound edited and Dorothy worked as business manager for the four volume literary magazine, The Exile, featuring works by Pound himself, Hemingway, and others. In 1923, Pound met classical violinist Olga Rudge, with whom he fell in love and kept as his mistress until his death.
In 1924 Dorothy and Pound left Paris for Italy to allow Ezra time to recuperate after suffering from appendicitis. They stayed in Rapallo briefly, moving on to Sicily, and then returning to settle in Rapallo in January 1925. On 9 July 1925 Pound's mistress Olga gave birth to their child Mary, in the Italian Tyrol. Dorothy was separated from Pound for much of that year and the next: she joined her mother in Siena in the autumn; and visited Egypt from December 1925 to March 1926, returning home pregnant. Visiting Paris in June for the opening of Pound's opera Le Testament de Villon, Dorothy decided to stay there for the child to be born at the American Hospital. Pound was away at the time of the birth; Dorothy was brought by Hemingway to the hospital to the hospital where Omar Pound was born in the afternoon of 10 September 1926. A year and half later he was sent to London to be raised by Olivia.
In 1938 Olivia died, leaving Dorothy a substantial income. In 1931 Olivia doubled Dorothy's income, who by that time had additional income in the form of various family bequests and dividends from investments. With her husband earning as little as ₤50 annually, the Pounds lived on Dorothy's income. Olivia set up a stock account for her which was soon depleted because she followed Pound's advice to invest in Italian stock. She inherited ₤16,000 from her mother, but during the war the money was inaccessible with assets from England prohibited from being sent to an Axis country. As a result, during the war years the couple relied solely on Pound's income, for the first time since their marriage.
In 1941 Pound tried on two separate occasions to leave Italy with Dorothy: on the first he was denied passage on by plane, the second time they were refused on a diplomatic train out of the country. In 1944 Pound and Dorothy were again evacuated (during World War they had been evacuated from Stone Cottage one winter), from their home for being too near the coast. Pound wanted Dorothy to stay in Rapallo and care for his mother, Isabel, while he joined Olga. Dorothy insisted, however, on staying with her husband—for a year the three lived together. Olga took a job in an Ursuline school; Dorothy who had not learned Italian after almost two decades in the country was forced to learn to shop and finally how to cook.
On 25 November 1945, Pound was arraigned in Washington D.C. on charges of treason. The list of charges included broadcasting for the enemy, attempting to persuade American citizens to undermine government support for the war, and strengthening morale in Italy against the United States. Pound was unwell at the reading and remanded to a Washington D.C. hospital where he underwent psychiatric evaluation. A week later he was admitted to St. Elizabeths hospital and assigned to a lunatic ward until February 1947. Unable to renew her passport, Dorothy only arrived in June, when her 'legally incompetent' husband was placed in her charge. She was allowed infrequent visits until his move to Chestnut Ward the following year—the result of an appeal she initiated—after which she spent several hours with him each day. Upon his release twelve years later, they returned to Italy. According to Wilhelm, Dorothy was too frail to continue tending her husband, and Olga took over. From 1962 she lived with her in Sant'Ambrogio.[41
Olivia Shakespear, (born Olivia Tucker; 17 March 1863 – 3 October 1938), was a British novelist, playwright, and patron of the arts. She wrote six books that are described as "marriage problem" novels. Her works sold poorly, sometimes only a few hundred copies. Her last novel, Uncle Hilary, is considered her best. She wrote two plays in collaboration with Florence Farr.
Olivia was the daughter of a retired Adjutant General, and had little formal education. She was well-read however, and developed a love of literature. In 1885 she married London barrister Henry Hope Shakespear, and in 1886 gave birth to their only child, Dorothy. In 1894 her literary interests led to a friendship with William Butler Yeats that became physically intimate in 1896. For Yeats, Olivia was willing to lose her daughter, financial security, social standing, and the goodwill of her family. Although her husband had grounds to sue and destroy Yeats' reputation, her best hope against complete ruin was Shakespear's strong dislike of public scenes. Then Yeats lost his nerve again, suggesting instead each seek advice from a friend (a "sponsor"). He probably chose Florence Farr to be his sponsor while Olivia chose Valentine Fox—Harwood speculates that the sponsors advised the two to go ahead with the affair, perhaps to Yeats' discomfort. On 15 July 1895, Yeats and Olivia travelled to Kent to visit Valentine Fox; the trip Harwood says "would have been, emotionally speaking a highly charged outing". Of the railway trip, Yeats wrote in his memoirs, "when on our first railway journey together—we were to spend the day at Kent—she gave the long passionate kiss of love, I was startled & a little shocked". They went on to share more passionate kisses in art galleries and at her home.
Following their consummation he declared that they "had many days of happiness" to come, but the affair ended in 1897. They nevertheless remained life-long friends and corresponded frequently. Yeats went on to marry Georgie Hyde-Lees, Olivia's step-niece and Dorothy's best friend.
Olivia began hosting a weekly salon frequented by Ezra Pound and other modernist writers and artists in 1909, and became influential in London literary society. Dorothy Shakespear married Pound in 1914, despite the less-than-enthusiastic blessing of her parents. After their marriage, Pound would use funds received from Olivia to support T.S. Eliot and James Joyce. When Dorothy gave birth to a son, Omar Pound, in France in 1926, Olivia assumed guardianship of the boy. He lived with Olivia until her death on 3 October 1938.
05-26-2012, 11:29 PM (This post was last modified: 10-20-2012 02:18 AM by Negentropic.)
RE: What Was Ezra Pound Really Like ?
The Tree by Ezra Pound
I stood still and was a tree amid the wood,
Knowing the truth of things unseen before;
Of Daphne and the laurel bow
And that god-feasting couple old
that grew elm-oak amid the wold.
'Twas not until the gods had been
Kindly entreated, and been brought within
Unto the hearth of their heart's home
That they might do this wonder thing;
Nathless I have been a tree amid the wood
And many a new thing understood
That was rank folly to my head before.
In a note on the poem Pound commented on the formative embodiments of mythmaking that are basic to the imaginative process leading to the poem, and his comments seem to be a touchstone for much of his subsequent poetry:
"The first myths arose when a man walked into "nonsense," that is to say, when some very vivid and undeniable adventure befell him, and he told someone else who called him a liar. Thereupon, after bitter experience, perceiving that no one could understand what he meant when he said that he 'turned into a tree,' he made a myth--a work of art, that is--an impersonal or objective story woven out of his own emotion, as the nearest equation that he was capable of putting into words. The story, perhaps, then gave rise to a weaker copy of his emotion in others, until there arose a cult, a company of people who could understand each other's nonsense about gods." -- Ezra Pound
"Energy depends on one's ability to make a vortex-genius meme at the cross-conflicts of art and ideology." -- Ezra Pound
Quote: Dorothy returned to Paris in September and together with her husband encountered an American sculptor, Nancy Cox-McCormack. An acquaintance of Harriet Monroe's in Chicago, McCormack knew of Pound by reputation and had read some of his work in Poetry. The meeting was spontaneous and McCormack's memory of it is instructive:
Nancy Cox-McCormack working on a bust of Benito Mussolini, 1923
BLAST was the short-lived literary magazine of the Vorticist movement in Britain. Two editions were published: the first on 2 July 1914 (dated 20 June 1914, but publication was delayed) and the second a year later on 15 July 1915. Both editions were written primarily by Wyndham Lewis, and was published with uncharacteristic and shockingly bright pink cover art, referred to by Ezra Pound as the "great MAGENTA cover'd opusculus". The magazine is emblematic of the modern art movement in England, and recognised as a seminal text of pre-war 20th-century modernism.
The first section of Wyndham Lewis' Manifesto, Blast 1, 1914
The manifesto is primarily a long list of things to be 'Blessed' or 'Blasted'. It starts:
1. Beyond Action and Reaction we would establish ourselves.
2. We start from opposite statements of a chosen world. Set up violent structure of adolescent clearness between two extremes.
3. We discharge ourselves on both sides.
4. We fight first on one side, then on the other, but always for the SAME cause, which is neither side or both sides and ours.
5. Mercenaries were always the best troops.
6. We are primitive Mercenaries in the Modern World.
7. Our Cause is NO-MAN'S.
8. We set Humour at Humour's throat. Stir up Civil War among peaceful apes.
9. We only want Humour if it has fought like Tragedy.
10. We only want Tragedy if it can clench its side-muscles like hands on its belly, and bring to the surface a laugh like a bomb.
[Blast 1] included the now famous pages of subjects either 'Blasted' or 'Blessed' depending on how they were seen by the fledgling Vorticists. 'Blast' pages generally had a go at [Roger] Fry, the Bloomsbury set, the average art critic, and Putney (for some reason). Amongst those being Blessed are hairdressers and mariners. The latter two professions were celebrated because they both battle against elemental nature. Tonks, the Slade drawing tutor has the unique honour of being both 'Blessed' and 'Blasted'. —Vorticism Online
The first edition also contained many illustrations in the Vorticist style by Jacob Epstein, Lewis and others.
The second edition, published on 20 July 1915, contained a short play by Ezra Pound and T. S. Eliot's poems Preludes and Rhapsody on a Windy Night. Another article by Gaudier-Brzeska entitled Vortex (written from the Trenches) further described the vorticist aesthetic. It was written whilst Gaudier-Brzeska was fighting in the First World War, a few weeks before he was killed at Verdun.
"NO, HELL NO! ! ! Rebel Art Centre, was serious VORT centre, supported by the pure in heart.
There the emissaries of Moscow came to gaze, and having listened to Ez-vort
BUTTT ! ! you are
in-di-VID-ualists ! ! !
Whereto, I ever imprudent, replied: Yes, what the hell do you expect?
AND they departed sadly. And there was one notice in hroosian, conserved somewhere."
-- Ezra Pound, letter to Eustace Mullins, April 6, 1959
Wyndham Lewis photo by George Charles Beresford 1917
Quote:Percy Wyndham Lewis is credited with being the founder of the only modernist cultural movement indigenous to Britain. Nonetheless, he is seldom spoken of in the same breath as his contemporaries, Ezra Pound, James Joyce,. T S Eliot and others. Lewis was one of the number of cultural figures who rejected the bourgeoisie liberalism and democracy of the 19th century that descended on the 20th. However, in contradiction to many other writers who eschewed democracy, liberalism and "the Left", Lewis also rejected the counter movement towards a return to the past and a resurgence of the intuitive, the emotional and the instinctual above the intellectual and the rational. Indeed, Lewis vehemently denounced D H Lawrence, for example, for his espousal of instinct above reason.
Froanna (Portrait of the Artist's Wife) (1937)
Kelvingrove Art Gallery and Museum
© The Estate of Mrs G.A. Wyndham Lewis: The Wyndham Lewis Memorial Trust,
“The intelligence suffers today automatically in consequence of the attack on all authority, advantage, or privilege. These things are not done away with, it is needless to say, but numerous scapegoats are made of the less politically powerful, to satisfy the egalitarian rage awakened.” -- Wyndham Lewis
Quote: Wyndham Lewis: Radical for the Permanent Things
Ezra Pound, Paris, 1923, Photographed by Man Ray
(Man Ray was born Emmanuel Radnitzky in South Philadelphia, Pennsylvania, USA, in 1890, the eldest child of Russian Jewish immigrants.)
L'Oiseau de feu
plaster with black paint
three plaster casts were made from the original clay sculpture, one of which was sent to the Parlanti Foundry, Parsons Green, to serve as the mould for the bronze; the location of the other two plaster is not known Raymond Drey had three bronzes cast from the plaster c.1914 - 1918 Leicester Galleries had a further six bronzes made after 1918
63.6 (h) x 34.0 (w) x 27.0 (d) cm
signed, incised lower right base, "H. Gaudier/ Brzeska";
Dancer (1913) by Henri Gaudier-Brzeska
Henri Gaudier-Brzeska Fallen Workman 1912, posthumous cast
Henri Gaudier-Brzeska displaying 'Bird Swallowing a Fish', 1914
Henri Gaudier-Brzeska ‘Hieratic Head of Ezra Pound’ (1914) marble, 35 5/8 x 18 x 19 1/4 in., National Gallery of Art
Quote: Gaudier brought Pound to visit Jacob Epstein, who had constructed what he called the Rock-Drill, an assemblage of a machinelike robot with a menacing visor carrying its progeny, armored, within itself, all mounted on an actual drill. Pound immediately praised Epstein's work in The Egoist, even though it might be expected to "infuriate the denizens of this superficial world," and years later he called a section of his Cantos "Rock-Drill."
Epstein's 1913 sculpture The Rock Drill in its original form. It is now lost.
Rock Drill Reconstruction - Jacob Epstein
In 1913 Epstein created an astonishing figure now recongnised as the sculptural masterpiece of the vorticist movement. It comprised a life size plaster figure of a visored seated upon an actual rock drill. It was shown briefly in 1915 before being dismantled. This is a reconstruction made in 1974 from Epstein's studio photographs.
This disturbing figure was concieved as europe slid into the chaos of the first world war. It reduces the human form to a faceless robot, at one with the machine it straddles - an appropriate symbol for the first mechanical conflict.
"And so that you don't continually misunderstand--usury and interest are not the same thing. Usury is a charge made for the use of money regardless of production and often regardless of even the possibilities of production" --
Ezra Pound Reading, vol. 2, Caedmon Records 1962
"I knew at fifteen pretty much what I wanted to do . . . . I resolved that at thirty I would know more about poetry than any man living, that I would know the dynamic content from the shell . . . what part of poetry was 'indestructible,' what part could not be lost by translation . . . what effects were attainable in one language only and were utterly incapable of being translated.
In this search I learned more or less of nine foreign languages, I read Oriental stuff in translations, I fought every University regulation and every preofessor who tried to make me learn anything except this or who bothered me with 'requirements for degrees.'
Of course, no amount of scholarship will help a man write poetry, it may even be regarded as a great burden and hindrance, but it does help him to destroy a certain percentage of his failures. It keeps him discontented with mediocrity."
---- "How I Began," Ezra Pound 1913
"My problem is to keep alive a certain group of advancing poets, to set the arts in their rightful place as the acknowledged guide and lamp of civilization." -- Ezra Pound, Letter to Harriet Monroe, January 1915
"The layman does not realize that a change in literary tastes imperils a lot of electroplates, and that a more efficient mode of expression is just as dangerous for the deciduous or stilted as is a new mechanical invention for a firm which has all its capital sunk in old-fashioned machinery. . . . And so the world goes on being poisoned with dead thought." -- Ezra Pound, Letter to Henry Allen Moe, March 1925
"Lest you forget the nature of money/i.e., that it is a ticket. For the govt. To issue it against any particular merchandise or metal, is merely to favour the owners of that metal and by just that much to betray the rest of the public. You can see that the bill here photod. has SERVED (I mean by the worn state of the note). Certificates of work done. That is what these notes were in fact / before the bank swine got the monopoly. Thus was the wilderness conquered for the sake of pork-barrelers who followed." -- Ezra Pound - postcard to Franklin D. Roosevelt
06-07-2012, 03:45 PM (This post was last modified: 11-17-2012 04:32 AM by Negentropic.)
RE: What Was Ezra Pound Really Like ?
Quote: Early in the year Pound met a young American reporter named Ernest Hemingway who had come to Sylvia Beach's bookshop with a letter of introduction and praise from Sherwood Anderson. The son of a physician, he had learned a tremendous concision in writing by working on newspapers rather than attending universities. Hemingway had an earthy immediacy and boyish charm that Pound found irresistible. Radiant wiht an air of robust health and vigor, Hemingway was slim, but he had the back and shoulders of a football player. He rarely spoke about books or writing, but about sports and fishing and his love for woods and streams. When Pound tried to interest him in Eliot's difficulties, Hemingway's response was characteristically abrupt, hard and facetious. If Eliot would strangle his wife, he suggested, rob the bank, and bugger his brain specialist, he might write an even better poem. Pound was impressed by Hemingway's avoidance of sentimentality or affectation in his writing, the economy and lack of superfluous language, a kind of Imagism in prose, and he tried to show Hemingway how to make his style even more sparse and unadorned. Later Hemingway remembered that Pound had taught him more "about how to write and how not to write than anyone else." Pound was the man, he claimed, "who had taught me to distrust adjectives as I would later learn to distrust certain people in certain situations." Soon Hemingway was teaching Pound how to box, a practice he described to his friend Howell Jenkins:
Hadley and Ernest Hemingway in Switzerland, 1922
Quote: Believing in his own fervent and oracular way that consciousness does determine being, he (Ezra Pound) continued to storm the barricades. During 1938 and 1939 he not only sent out a swarm of letters to politicians like Borah and Taft, who were against America getting involved in the war in Europe, but kept up his more serious inquiries into American social history, writing to historians, for example, Charles Beard and Davis R. Dewey; . . .
Ezra Pound with his father and his daughter Mary by Olga Rudge
Quote: From Ezra Pound, The Last Rower, Heymann, pages 80-89
Pound was very much pro-fascism as not incompatible with the Jeffersonian vision but a way of safeguarding of it, Hemingway very much against
Jefferson and/or Mussolini by Ezra Pound - can be read here:
zoom the text a little for easier reading
Hemingway's only speech given during his life: Fascism is a lie
Can be read here:
zoom the text a little for easier reading
THE TIME NOW, THE PLACE SPAIN
"Of the fascist Achilles, now threatening the peace of the world, Mussolini is the heel. To know him is to understand why Italian fascism is a bully's bluff, the romantic thinking of a people who want to be heroes but aren't brave, who want to play soldiers but fear to die, who are terrific in attack until opposed, and then uncatchable in retreat. The way to avoid the world war is to end it where it has begun, in Spain, by smashing world fascism's weakest link, the beatable Italian military machine" -- Ernest Hemingway, KEN, April 7th 1938
My Autobiography by Benito Mussolini (1928) - pdf download here:
"I personally think extremely well of Mussolini. If one compares him to American presidents (the last three) or British premiers, etc., in fact one can NOT without insulting him. If the intelligentsia don't think well of him, it is because they know nothing about 'the state,' and government, and have no particularly large sense of values. Anyhow, WHAT intelligentsia?" -- Ezra Pound, Letter to Harriet Monroe, November 1925
"Mussolini has steadily refused to be called anything save 'Leader' (Duce) or 'Head of the Government,' the term dictator has been applied by foreign envy, as the Tories were called cattle-stealers. It does not represent the Duce's fundamental conception of his role. His authority comes, as Eirugina proclaimed authority comes, 'from right reason' and from the general fascist conviction that he is more likely to be right than anyone else is." ---Ezra Pound, Jefferson and/or Mussolini, 1935
"I don't believe that anyone venerates Mussolini more than I... I know many exalted personages, and my artist's mind does not shrink from political and social issues. Well, after having seen so many events and so many more or less representative men, I have an overpowering urge to render homage to your Duce. He is the saviour of Italy and – let us hope – Europe". Later, after a private audience with Mussolini, he added, "Unless my ears deceive me, the voice of Rome is the voice of Il Duce. I told him that I felt like a fascist myself... In spite of being extremely busy, Mussolini did me the great honour of conversing with me for three-quarters of an hour. We talked about music, art and politics". --- Igor Stravinsky
Stravinsky, Venice 1925
"The nation has not disappeared. We used to believe that the concept was totally without substance. Instead we see the nation arise as a palpitating reality before us! ... Class cannot destroy the nation. Class reveals itself as a collection of interests—but the nation is a history of sentiments, traditions, language, culture, and race. Class can become an integral part of the nation, but the one cannot eclipse the other. The class struggle is a vain formula, without effect and consequence wherever one finds a people that has not integrated itself into its proper linguistic and racial confines—where the national problem has not been definitely resolved. In such circumstances the class movement finds itself impaired by an inauspicious historic climate" -- Benito Mussolini
Quote:The Mark Weber Report: What Really was Fascism? Changing Views of Fascism, Facts vs. Propaganda
Despite their political differences Hemingway was the only one of Pound's American friends along with T.S. Eliot to completely refuse to cooperate with the FBI in their attempt to gather information to indict Pound for committing treason against the USA after Pound started broadcasting from Italy during the war.
Hemingway did not understand what Pound was talking about and considered his political and economic ideas vile, absolutely idiotic drivel. He thought that Pound needed to be saved from himself before it was too late.
Quote:Ernest Hemingway 1943 letter to Archibald MacLeish about Ezra Pound
Quote:Archibald MacLeish(May 7, 1892 – April 20, 1982) was an American poet, writer, and the Librarian of Congress. He is associated with the Modernist school of poetry. He received three Pulitzer Prizes for his work.
Posted right on Ziopedia as some sort of defense of Theodore Kaufman's despicable 1941 book 'Germany Must Perish' is this quote from this Hemingway:
Ernest Hemingway would adopt the same ideas (as Kaufman) in his introduction to his anthology "Men at War."  Writing:
"When this war is won, though, Germany should be so effectively destroyed that we should not have to fight her again for a hundred years, or, if it is done well enough, forever. This can probably only be done by sterilization. This act can be accomplished by an operation little more painful than vaccination and as easily made compulsory. All members of Nazi party organizations should be submitted to it if we are ever to have a peace that is to be anything more than a breathing space between wars. . . . It is not wise to advocate sterilization now as a government or allied policy since it can only cause increased resistance. So I do not advocate it. I oppose it. But it is the only ultimate settlement."
Can you believe this scumbag Hemingway ?
America was literally 50% from German stock at the time and this guy is advocating the complete sterilization of the majority of the people in their land of origin ! 98% of Germans & 99% of Austrians freely voted for the NSDAP in 1936 but this guy wants them all sterilized and genocided off the face of the planet just like Kaufman !
And this douchebag disgrace to his teacher Ezra Pound's heroic and patriotic memory is considered one of the greatest American writers ?
No wonder ! Now you know why. Now it all makes sense.
This is why Hemingway was so heavily hyped and promoted for so many years. He was practically the German-hating goy version of Theodore Kaufman.
Quote:It is a sad reflection of our time that Che Guevara is seen as a hero
Ricefoot's The Real Truth Behind The Illusion Of 9/11
The Key - Collin Alexander
A Funny Thing Happened on the Way to the Moon (Full Movie) -
Deanna Spingola Interview with Bart Sibrel of "A Funny Thing Happened on the Way to the Moon"
Astronauts Gone Wild -
Last Days of the Big Lie
Introductory Tour Guide to the September Clues research by Simon Shack - (updated on July 18 2011)
Interview with Simon Shack of September Clues - Brian S Staveley, Justin Cooke - 04 / 08 / 2012
Michael Tsarion Archives
Terence McKenna Archives
John Friend's Blog
Mami - Freedom Monkey Radio Commercial Free Archives
07-22-2012, 06:22 PM (This post was last modified: 10-25-2012 09:47 AM by Negentropic.)
RE: What Was Ezra Pound Really Like ?
Quote:ON THE EZRA POUND/ MARSHALL MCLUHAN CORRESPONDENCE
Quote:Letter to Ezra Pound
Ezra Pound on Usury:
This war didn’t begin in 1939. It is not a unique result of the infamous Versailles Treaty. It is impossible to understand it without knowing at least a few precedent historic events, which mark the cycle of combat… This war is part of the age-old struggle between the usurer and the rest of mankind: between the usurer and peasant, between the usurer and producer, and finally between the usurer and the merchant…
Usurers provoke wars to impose monopolies, so that they can get the world by the throat. They provoke wars to create debts, so that they can extort the interest and rake in the profits resulting from changes in the values of monetary units. A nation that will not get into debt drives the usurers to fury. This war is a chapter in the long and bloody tragedy which began with the foundation of the Bank of England in far away 1694, with the openly declared prospectus: ‘The bank hath the benefit of the interest on all monies which it creates out of nothing’.
Usury has gnawed into England since the days of Elisabeth. First it was mortgages, mortgages on earls’ estates; usury against the feudal nobility. Then there were attacks on the common land, filching of village common pasture. Then they developed a usury system, from Cromwell’s time, ever increasing… They are working day and night, picking your pockets. Every day and all day and all night picking the Russian working man’s pocket.
I do not want my compatriots from the ages of 20 to 40 to go get slaughtered to keep up the Sassoon and other British Jew rackets in Singapore and Shanghai… No Rothschild is English, no Baruch, Morgenthau, Cohen, Lehman, Warburg, Kuhn, Kahn, Schiff, Sieff or Solomon was ever born Anglo-Saxon. And it is for this filth that you fight. It is for this filth that you murdered your Empire…
Wars are destructive to nation-states but profitable for the special interests. International bankers, Jewish bankers in particular are those who are the primary beneficiaries of the profits from war. Sometime the Anglo-Saxon may awaken to the fact that nations are shoved into wars in order to destroy themselves, to break up their structure, to destroy their social order, to destroy their populations.
Understanding of usury is central to understanding of history. Until you know who has lent what to whom, you know nothing whatever of politics, you know nothing whatever of history, you know nothing whatever of international wrangles.
There is no freedom without economic freedom. Freedom that doesn’t include freedom from debt is plain bunkum. It is fetid and foul logomachy to call such servitude freedom…
History of Usury - by J.B.C. Murray
"I understand that I am under indictment for treason. I have done my best to get an authentic report of your statement to this effect. And I wish to place the following facts before you.
I do not believe that the simple fact of speaking over the radio, wherever placed, can in itself constitute treason. I think that must depend on what is said, and on the motives for speaking.
I obtained the concession to speak over Rome radio with the following proviso. Namely that nothing should be asked of me contrary to my conscience or contrary to my duties as an American citizen. I obtained a declaration on their part of a belief in 'the free expression of opinion by those qualified to have an opinion.'
The legal mind of the Attorney General will understand the interest inherent in this distinction, as from unqualified right of expression.
The declaration was made several times in the announcement of my speeches; with the declaration 'He will not be asked to say anything contrary to his conscience, or contrary to his duties as an American citizen'
These conditions have been adhered to. The only time I had an opinion as to what might be interesting as subject matter, I was asked whether I would speak of religion. This seemed to me hardly my subject, though I did transmit on one occasion some passages from Confucius under the title 'The Organum of Confucius.'
I have not spoken with regard to this war, but in protest against a system which creates one war after another, in series and in system. I have not spoken to the troops, and have not suggested that the troops should mutiny or revolt.
The whole basis of democratic or majority government assumes that the citizen shall be informed of the facts. I have not claimed to know all the facts, but I have claimed to know some of the facts which are an essential part of the total that should be known to the people.
I have for years believed that the American people should be better informed as to Europe, and informed by men who are not tied to a special interest or under definite control.
The freedom of the press has become a farce, as everyone knows that the press is controlled, if not by its titular owners, at least by the advertisers.
Free speech under modern conditions becomes a mockery if it does not include the right of free speech over the radio.
And the point is worth establishing. The assumption of the right to punish and take vengeance regardless of the area of jurisdiction is dangerous. I do not mean in a small way; but for the nation.
I returned to America before the war to protest against particular forces then engaged in trying to create war and to make sure that the USA should be dragged into it.
Arthur Kitson's testimony before the Cunliffe and MacMillan commissions was insufficiently known. Brooks Adams brought to light several currents in history that should be better known. The course of events following the foundation of the Bank of England should be known, and considered in sequence: the suppression of colonial paper money, especially in Pennsylvania! The similar curves following the Napoleonic wars, and our Civil War and Versailles need more attention.
We have not the right to drift into another error similar to that of the Versailles Treaty.
We have, I think, the right to a moderate expansion including defence of the Caribbean, the elimination of foreign powers from the American continent, but such expansion should not take place at the cost of deteriorating or ruining the internal structure of the USA. The ruin of markets, the perversions of trade routes, in fact all the matters on which my talks have been based is of importance to the American citizen; whom neither you nor I should betray either in time of war or peace. I may say in passing that I took out a life membership in the American Academy of Social and Political Science in the hope of obtaining fuller discussion of some of these issues, but did not find them read for full and frank expression of certain vital elements in the case; this may in part have been due to their incomprehension of the nature of the case.
At any rate a man's duties increase with his knowledge. A war between the U.S. and Italy is monstrous and should not have occurred.
And a peace without justice is no peace but merely a prelude to future wars. Someone must take count of these things. And having taken count must act on his knowledge; admitting that his knowledge is partial and his judgment subject to error."
~ Ezra Pound -- Letter to Francis Biddle, Attorney General of the United States during Bankster World Massacre II and primary American judge during the postwar Nuremberg Trials. During World War II Biddle used the Espionage Act to attempt to shut down 'vermin publications'. This included Father Coughlin's publication entitled Social Justice.
"Dorothy Pound had finally learned through the press that her husband was imprisoned in Washington. When she arrived there, her funds were nearly exhausted. Government officials promptly declared her an 'enemy alien,' although she had been married to an American citizen for forty-two years. As an enemy alien, she was not allowed to draw upon her savings in England. Cummings and Hemingway generously advanced money, which carried her through those difficult days. She was allowed to visit her husband for only fifteen minutes each afternoon, as she began a vigil that was to last for more than twelve years. A guard was present during these brief meetings. Dr. Overholser explained this extra precaution by saying that Pound was under indictment for the most serious offense in American jurisprudence." -- from "Ezra Pound, This Difficult Individual" by Eustace Mullins, Page 19
"In this atmosphere, Ezra led a monastic existence. He spent most of the day studying and writing in an incredibly tiny room that had a single narrow window. He was able to close his door partially, but this did not keep out the blare of the radios, or the roar of the television, which came after 1952. Nor did the door protect him from teh murmur of the old men's voices as they paused in teh hall, muttering over and over the arguments that they had used, or had meant to use, in some long-forgotten crisis.
I had said very little on this first visit, and supposed that I was making no impression. As the hospital bell tolled four, the signal for visitors to leave, Ezra fixed those very piercing eyes on me and asked, 'What day would you like?'
'Oh, Tuesday would be all right with me,' I replied hesitantly, without knowing what was meant.
'Let's see, we don't have anyone coming on Tuesday, do we?' he asked his wife.
'Not at the present,' she answered. 'Dick has gone off on some sort of expedition, and he won't be around for awhile.'
'Good,' he said to me. 'I'll see you then.'
He vigorously shook hands with each of us, as the gaoler came up with his bunch of keys and unlocked the door. Ezra kissed his wife goodbye, and we were let out into an atmosphere of freedom. Once we were on the lawn, I breathed deeply, trying to get that terrible musty odor out of my lungs. Dorothy Pound was observing me, and she smiled gently but said nothing. After all, she was going in and out of that hellish place every day.
The Flemings drove Dorothy Pound home to the tiny apartment that she occupied a few blocks from the hospital. Later, as they took me downtown, Polly triumphantly exclaimed, 'I thought he would like you!'
'How do you know?' I asked. 'He didn't seem to pay much attention to me.'
'Oh yes,' she said. 'Why, he has given you your own day!' She explained that this was quite unusual. Only a few of Pound's friends were allowed a specific day of their own each week, adn to their knowledge, Pound had never extended this privilege to anyone on his first visit." -- from Ezra Pound, This Difficult Individual, by Eustace Mullins, pages 24-25
Eustace Mullins - Secrets of the Federal Reserve
Eustace Mullins - The World Order
Eustace Mullins - Murder by Injection, The Medical Conspiracy Against America
Eustace Mullins - The Secret holocaust -
Eustace Mullins - The Rape of Justice: America's Tribunals Exposed
Eustace Mullins - Mullins' New History of the Jew
Eustace Mullins - The Curse of Canaan, A Demonology of History
08-19-2012, 10:49 PM (This post was last modified: 11-17-2012 04:28 AM by Negentropic.)
RE: What Was Ezra Pound Really Like ?
Quote:Ezra Pound on Money
Quote:Silvio Gesell - The NATURAL ECONOMIC ORDER translated by Philip Pye M.A. can be read here:
"Men do not understand books until they have a certain amount of life, or at any rate no man understands a deep book, until he has seen and lived at least part of its contents."
- Ezra Pound
"A great age of literature is perhaps always a great age of translations."
- Ezra Pound
"The modern artist must live by craft and violence. His gods are violent gods. Those artists, so called, whose work does not show this strife, are uninteresting."
- Ezra Pound
"Good art however "immoral" is wholly a thing of virtue. Good art can NOT be immoral. By good art I mean art that bears true witness, I mean the art that is most precise."
- Ezra Pound
"A civilized man is one who will give a serious answer to a serious question. Civilization itself is a certain sane balance of values."
- Ezra Pound
"The image is more than an idea. It is a vortex or cluster of fused ideas and is endowed with energy."
- Ezra Pound
"An Introduction to the Economic Nature of the United States" by Ezra Pound
On the Protocols By Ezra Pound
"Social Credit: An Impact " by Ezra Pound
America, Roosevelt and the Causes of the Present War by Ezra Pound
Literary Essays of Ezra Pound
The Letters of Ezra Pound to James Joyce, with Pound’s Critical Essays and Articles about Joyce
Poems of Ezra Pound
Letters of Ezra Pound: 1907-1941
Jefferson And/Or Mussolini by Ezra Pound
“Ezra Pound Speaking” Radio Speeches of World War II
Eustace Mullins - Ezra Pound, pt 1 of 4
Eustace Mullins - Ezra Pound, pt 2 of 4
Eustace Mullins - Ezra Pound, pt 3 of 4
Eustace Mullins - Ezra Pound, pt 4 of 4
Ezra Pound - Various Audio Recordings
The Music of Ezra Pound
The Cantos of Ezra Pound
Ezra Pound - Planners
The Trial of Ezra Pound
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