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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.
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.
This selection provides an excellent introduction to Ezra Pound's poetry for the general reader, and for the student of contemporary literature. It takes the place of the pioneer edition edited by T. S. Eliot which was published in 1928. A representative group of early poems is included; Hugh Selwyn Mauberley, Cathay and Homage to Sextus Propertius are printed complete; and there is a selection from the Cantos up to and including Drafts & Fragments (1969).
Poetic visionary Ezra Pound catalyzed American literature's
modernist revolution. From the swirling center of poetic change he
excited the powerful energies of Eliot, Joyce, and William Carlos
Williams and championed the Imagism and Vorticism movements. This
volume, the most comprehensive collection of his poetry and
translations ever assembled, gathers all his verse except "The
Cantos." In addition to the famous poems that transformed modern
literature, it features dozens of rare and out-of-print pieces,
such as the handmade first collection "Hilda's Book" (1905-1907),
late translations of Horace, rare sheet music translations, and
works from a 1917 "lost" manuscript.
Ezra Pound's The Pisan Cantos was written in 1945, while the poet was being held in an American military detention center near Pisa, Italy, as a result of his pro-Fascist wartime broadcasts to America on Radio Rome. Imprisoned for some weeks in a wire cage open to the elements, Pound suffered a nervous collapse from the physical and emotional strain. Out of the agony of his own inferno came the eleven cantos that became the sixth book of his modernist epic, The Cantos, themselves conceived as a Divine Comedy for our time. The Pisan Cantos were published in 1948 by New Directions and in the following year were awarded the Bollingen Prize for poetry by the Library of Congress. The honor came amid violent controversy, for the dark cloud of treason still hung over Pound, incarcerated in St. Elizabeths Hospital for the Criminally Insane. Yet there is no doubt that The Pisan Cantos displays some of his finest and most affecting writing, marking an elegaic turn to the personal while synthesizing the philosophical and economic political themes of his previous cantos. They are now being published for the first time as a separate paperback, in a fully annotated edition prepared by Richard Sieburth, who also contributes a thoroughgoing introduction, making Pound's master-work fully accessible to students and general readers.
Ezra Pound was born in 1885 in Hailey, Idaho. He came to Europe in 1908 and settled in London, where he became a central figure in the literary and artistic world, befriended by Yeats and a supporter of Eliot and Joyce, among others. In 1920 he moved to Paris, and later to Rapallo in Italy. During the Second World War he made a series of propagandist broadcasts over Radio Rome, for which he was later tried in the United States and subsequently committed to a hospital for the insane. After thirteen years, he was released and returned to Italy; dying in Venice in 1972.
The verse and criticism which he produced during the early years of the twentieth century very largely determined the directions of creative writing in our time; virtually every major poet in England and America today has acknowledged his help or influence. Pound's lyric genius, his superb technique, and his fresh insight into literary problems make him one of the small company of men who through the centuries have kept poetry alive one of the great innovators. This book offers a compact yet representative selection of Ezra Pound's poems and translations. The span covered is Pound's entire writing career, from his early lyrics and the translations of Provencal songs to his English version of Sophocles' Trachiniae. Included are parts of his best known works the Chinese translations, the sequence called Hugh Selwyn Mauberly, the Homage to Sextus Propertius. The Cantos, Pound's major epic, are presented in generous selections, chosen to emphasize the main themes of the whole poem."
If the invention of literary modernism is usually attributed to Joyce, Eliot and Pound, it was Pound's personality and position in the artistic world that enabled the experiment to transform itself into an international movement. In 1926 Pound brought together the body of his shorter poems into a definitive collection which would illustrate the hallmarks of the new style. This collection, where Pound presented himself in a variety of characters or 'masks', was called Personae. In 1926, Personae's publication gave solidity to a movement; today the work stands as one of the classic texts of the twentieth century.
First published in 1919 by Ezra Pound, Ernest Fenollosa's essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound's understanding-it is fair to say, his appropriation-of the text. Fenollosa's manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North America and East Asia. Pound's editing of the essay obscured two important features, here restored to view: Fenollosa's encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This book is the definitive critical edition of Fenollosa's important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound's deletions, insertions, and alterations to Fenollosa's sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa's ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition. This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.
"In making this selection, " writes William Cookson in his introduction to this paperback edition of early and out-of-print writings, "my aim has been to show the unity of Ezra Pound's concern." The sixty-six pieces in Pound's "Selected Prose 1909-1965" are arranged thematically, and while they are organized chronologically within several groupings, there are natural cross-currents of thoughts among them. Particular emphasis, however, is given to the article concerned with "Civilization, Money and History." This section contains such essential texts as the "ABC of Economics" and "What is Money For?" as well as two essays - "Gold and Work" and "A Visiting Car" - translated from Pound's Italian and never before published in English in their entirety. Much space is devoted, too, to Pound's evaluation of his native America, its history, culture, economy, and his 1913 essay, "Patria Mia, " is reprinted.
For this definitive collection of Pound's Literary Essays, his friend (and English editor) T. S. Eliot chose material from five earlier volumes: Pavannes and Divisions (1918), Instigations (1920), How to Read (1931), Make It New (1934), and Polite Essays (1937). 33 pieces are arranged in three groups: "The Art of Poetry," "The Tradition," and "Contemporaries." Eliot wrote in his introduction: "I hope that this volume will demonstrate that Pound's literary criticism is the most important contemporary criticism of its kind . . perhaps the kind we can least afford to do without . . . the refreshment, the revitalization and 'making new' of literature in our time."
Ezra Pound is destined to rank as one of the great translators of all time. Ranging through many languages, he chose for translation writers whose work marked a significant turning point in the development of world literature, or key poems which exemplify what is most vital in a given period or genre. This new enlarged edition, devoted chiefly to poetry, includes some forty pages of previously uncollected material. Anglo-Saxon: The Seafarer. Chinese: (Cathay) Rihaku (Li Po). Bunno, Mei Sheng, T'ao Yuan Ming. Egyptian: Conversations in Courtship. French: du Bellay, de Boufflers, D'Orleans, Lalorgue, Lubicz-Milosz, Rimbaud, Tailhade. Prose: de Gourmont. Hindi: Kabir. Italian: Cavalcanti, St. Francis, Guinicelli, Leopardi, Montanari, Orlandi. Japanese Noh Plays: 15 plays with Fenollosa's commentary. Latin: Catullus, Horace, Navagero, Rutilius. Provencal: Bertrand de Born, Cercalmon, Daniel, Folquet de Romans, Li Viniers, Ventadorn."
Opposing the Money Lenders 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 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.
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