To enforce   both the grave   and the acute? This chapter offers an annotated English translation, with commentary, of one of the most characteristic and tantalizing productions of the always unpredictable Pound, who for many years kept his readers in the dark as to the very... Over half a century after their composition (1945), The Pisan Cantos remain widely admired, imperfectly understood, and hotly debated. In 2002, I published a selection of drafts of Cantos, from Ezra Pound’s manuscripts, typescripts, and magazine publications, under the title Canti postumi. The devil is in the detail—in “microhistory” of the... Enrico Pea (1881–1958) was a notable Italian writer, born in Tuscany, who devoted his poetic fiction to village life as he had known it and to memories of his adventurous youth, when he sold marble in Alexandria, Egypt, and made of his “red cabin” (baracca rossa) a Socialist or Anarchist meeting point, frequented among others by Giuseppe Ungaretti. In this part of my study I will consider some particular episodes in Pound’s career as a producer of (unstable) texts, surely his main concern as ten volumes of Contributions to Periodicals confirm.¹ I will present and discuss certain major and minor writings of the Pound canon, hoping to prove that a close look unearths striking bits of information that illuminate the whole, while profiles of collaborators and acquaintances (like Enrico Pea and Douglas Fox) emerge from the shadows of the past to claim a place in Pound’s earthly comedy. Pound had become interested in Pea’s novella Moscardino (1922)... Cantos 72 and 73, written in Italian, have been much debated and little understood. Ezra Pound thought of The Cantos as a container, an encyclopaedia, a way of storing information in relatively small compass. Thus, they shock us, reminding us... Ezra Pound thought of The Cantos as a container, an encyclopaedia, a way of storing information in relatively small compass. Pound confirmed T. S. Eliot’s early interest in Dante, and the passion for Dante of these two American poets is responsible to some extent for the wider readership the Divine Comedy enjoyed in twentieth-century England and America. <>stream This is the first time that so much material concerning a central aspect of Pound's life and writing has been gathered in one volume. And later Bowers wrote: “but such hatred, and the London reds wouldn’t show up his friends, forty years gone, they said: go back to the station to eat. x��KO�0���sSԾ�ƛ�u��6�PmA����ژ,�zvCH ���3�?��R�' � �s౰};��@%�g�>Dp �@{ݯ��E��ydmæҵ��m2m�ԋٺ�M�5�.�H�gB`.F�e �� �#�;GE��3�/F��`gr��4x�e"��Lf��S{_b�G�e���.,xsӡ�u����A��u��GC����ζi��,��*�&����O��}݌b!G�52B٘� Q���ja~�&�-�A���jSmf��Q�K��~ n�/Ҧ���qU�*��X�<9���pi�4{׻b{TG])t����_� If we look at the middle “decads” of Cantos we find these peremptory rhythms both in the Fertility Cantos (as Cantos 39 and 47 have come to be known)... Ezra Pound’s interest in Dante has critical as well as poetic aspects, since Pound was primarily a poet and there is a continuous interchange between his prose and his verse. American, European, and Oriental history, both classic and modern; art, philosophy, religion, music. The Late Cantos of Ezra Pound. or as Jo Bard says:   they never speak to each other. JSTOR®, the JSTOR logo, JPASS®, Artstor®, Reveal Digital™ and ITHAKA® are registered trademarks of ITHAKA. endobj He admired, with some reservations, the poet– warrior Gabriele D’Annunzio, who for post-World War I Italian writers... Montale remained essentially a puzzled spectator of the Pound phenomenon, viewing him at a safe and somewhat uncomprehending distance; their relationship, rather one-sided, illuminates Pound’s reception by a major figure and by mainstream culture, in Italy and elsewhere.