Opposing the Money Lenders - The Struggle to Abolish Interest Slavery is a collection of writings from some of the most determined fighters against usury and the Central Banking system during the 20th Century. Those included are Arthur Nelson Field, John A. Lee, John Hargrave, Ezra Pound, Father Charles Coughlin, and Gottfried Feder, who fought and inspired mass movements that struggled to liberate their nations from the forces of what one - Gottfried Feder - aptly called "Mammonism."

The subject of the supply of our money, and who controls it, is the greatest social issue that confronts humanity today. It is the "Hidden Hand" behind history. Without dealing with the problems of banking and usury, without a people having control over its own means of credit and exchange, there can be no genuine nationhood, and no real freedom, whether personal or national.

Almost every individual, family, nation, indeed most of the world, is today in thrall to the money lenders. Despite advances in mechanisation and technology, people are working longer hours, and are more enslaved to the economic treadmill than were their ancestors in Medieval times. At the same time, despite mass education, people today understand the economic and financial system far less than their parents and grandparents. Opposing the Money Lenders examines our parasitic financial system and the means by which it might be replaced.

Even before establishing New Directions, James Laughlin had encountered and studied with one of the greatest poets of this century: Ezra Pound. These selected letters capture the spirit of their growing relationship from pupil-teacher to publisher-author. In his idiosyncratic prose, Pound's correspondence summons up both the man as he was actually known and the literary figure. Literature, music, friends, and politics fill his pages. And even when Laughlin's and Pound's politics totally diverged during World War II, Pound's respect for Laughlin remained intact. Also of great interest are the years spent by Pound at St. Elizabeths and his observations while there. These letters give insight into the state of Pound's mind and the supposition of his insanity. Ezra Pound and James Laughlin: Selected Letters is a modernist source book - essential reading for anyone interested in tracing the real development of twentieth-century literature.

You Know How a Cat

will bring a mouse it has

caught and lay it at your

feet so each morning I

bring you a poem that

I've written when I woke

up in the night as my tribute

to your beauty &

a promise of my love.

-James Laughlin

Across the ages, cats have provided their adopted humans with companionship, affection, mystery, and innumerable metaphors. Cats raise a mirror up to their beholders; cats endlessly captivate and hypnotise, frustrate and delight. To poets, in particular, these enigmatic creatures are the most delightful and beguiling of muses, as they purr, prowl, hunt, play, meow, and nap, often oblivious to their so-called masters. Cat Poems offers a litter of odes to our beloved felines by some of the greatest poets of all time.

The Cantos of Ezra Pound is one of the great landmarks in twentieth-century poetry. This Fourth Collected edition of 1987 includes two previously uncollected cantos, and some passages from other cantos, omitted from earlier printings, restored to the text. The additional cantos, numbered LXXII and LXXIII, were written by Ezra Pound in Italian, during the collapse of Italy at the end of the war.. They belong in the sequence between the John Adams and the Pisan cantos.

Collecting in full for the first time the correspondence between Ezra Pound and members of Leo Frobenius' Forschungsinstitut für Kulturmorphologie in Frankfurt across a 30 year period, this book sheds new light on an important but previously unexplored influence on Pound's controversial intellectual development in the Fascist era. Ezra Pound's long-term interest in anthropology and ethnography exerted a profound influence on early 20th century literary Modernism. These letters reveal the extent of the influence of Frobenius' concept of 'Paideuma' on Pound's poetic and political writings during this period and his growing engagement with the culture of Nazi Germany. Annotated throughout, the letters are supported by contextualising essays by leading Modernist scholars as well as relevant contemporary published articles by Pound himself and his leading correspondent at the Institute, the American Douglas C. Fox.

First published in 1915, Cathay, Ezra Pound's early monumental work, originally contained fourteen translations from the Chinese and a translation of the Anglo-Saxon poem "The Seafarer." Over time, these poems have been widely read and loved as both translations and original poetry. In 1916, Cathay was reprinted in the book Lustra without "The Seafarer" and with four more Chinese poems. Cathay is greatly indebted to the notes of a Harvard-trained scholar Ernest Fenollosa. "In Fenollosa's Chinese poetry materials," Pound scholar Zhaoming Qian writes, "Pound discovered a new model that at once mirrored and challenged his developing poetics." Edited by Qian, this centennial edition reproduces for the first time the text of the original publication plus the poems from Lustra and transcripts of all the relevant Fenollosa notes and Chinese texts. Also included is a new foreword by Ezra Pound's daughter Mary de Rachewiltz, providing an appreciation and fascinating background material on this pivotal work of Pound's oeuvre.

Delmore Schwartz said about The Cantos: "They are one of the touchstones of modern poetry." William Carlos WIlliams said "[Pound] discloses history by its odor, by the feel of it-in the words; fuses it with the words, present and past, to MAKE his Cantos. Make them." Since the 1969 revised edition, the Italian Cantos LXXII and LXXIII (as well as a 1966 fragment concluding the work) have been added. Now appearing for the first time is Pound's recently found Eglish translation of Italian Canto LXXII.