Manual Money and Modernity: Pound, Williams, and the Spirit of Jefferson

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Machine Art and Other Writings presents previously unpublished and rare writings by one of the literary giants of the modernist period, Ezra Pound. As the study of travel writing has grown in recent years, scholars have largely ignored the literature of modernist writers. Marsh locates Pound and Williams firmly in the Jeffersonian tradition and examines their epic poems as manifestations of a Jeffersonian ideology in modernist terms.

Chinese culture held a well-known fascination for modernist poets like Ezra Pound and William Carlos Williams. What is less known but is made fully clear by Zhaoming Qian is the degree to which oriental culture made these poets the modernists they became. This ambitious and illuminating study shows that Orientalism, no less than French symbolism and Italian culture, is a constitutive element of Modernism.

Developing a new interpretation of important work by Pound and Williams, Orientalism and Modernism fills a significant gap in accounts of American Modernism, which can be seen here for the first time in its truly multicultural character. This book explores the relationships between four modernist poets and the museums that helped shape their writing.

American Literature

During the early twentieth century, museums were trying to reach a wider audience and used displayed objects to teach that audience about art, culture, and ecology. Writers such as Yeats, Pound, Moore, and Stein borrowed strategies and techniques from museums in order to create literary modernism. Poetry in the Museums of Modernism places these writers' poetry and prose within the context of specific gallery spaces, curatorial practices, displayed objects, and exhibition objectives of the museums that inspired them, exposing the ways in which literary modernism is linked to museums.

Although critics have attested to the importance of the visual arts to literary modernists and have begun to explore the relationships between literary production and social institutions, before now no one has examined the particular institutions in which modernist poets found the artworks, specimens, and other artifacts that inspired their literary innovations. Catherine Paul's book offers the reader a fresh encounter with modernism that will interest literary and art historians, literary theorists, critics, and scholars in cultural studies and museum studies.

Pound in Purgatory, available now in paperback, overturns all previous explanations of Ezra Pound's anti-Semitism by uncovering its roots in economic and conspiracy theory. Leon Surette demonstrates that, contrary to popular opinion, Pound was not a life-long anti-Semite and consistently ignored or resisted anti-Semitic comments from his correspondents until after From to Pound's poetry took a back seat to his activities as an economic reformer and propagandist for the corporate state.

Pound believed he had a simple and practical solution for the economic woes of the world brought on by the Great Depression, and he became increasingly preoccupied with capturing political power for the economic reform he envisioned. As the world spiraled toward war, Pound's program of economic reform foundered and he gradually succumbed to a paranoid belief in a Jewish conspiracy.

Through an incisive analysis of Pound's correspondence and writings, much of it previously unexamined, Surette shows how this belief fostered the virulent anti-Semitism that pervades his work-—both poetry and prose-—from this time forward. Ezra Pound and E. Cummings carried on a long and varied correspondence from the s until Cummings's death in This volume collects all of the important letters from this important friendship in the history of modern poetry.

Throughout the correspondence both poets reveal themselves and their beliefs to a remarkable degree. Pound entrusted to Cummings details of his political outlook in the s and s, including his opinions about Mussolini's Italy.

Although he was diagnosed as mentally unfit, the letters generally show no evidence of paranoia, only of his characteristic eccentricity. Similarly, these letters should provoke a reevaluation of Cummings.

Critics have treated Cummings's political views as either strictly private matters or merely incidental to his art. The letters, however, show that Cummings's radically conservative political opinions are wholly consistent with his poetics, and raise the question of the relation between Cummings's political principles and his enthusiasm for particular forms and particular stars of mass entertainment. In addition to their political revelations, the letters are steeped in the literary climate--and literary gossip--of the times.

Pound comments often and candidly on Cummings's poetry and prose; both Pound and Cummings send light verse to each other. There is much here to interest and delight both fans and foes of Pound and Cummings. The book will be of primary importance to students and scholars of modern poetry, especially those who emphasize the intersection of literary works and political history. This volume provides a first-hand survey of the arts and literature during a crucial period in modern culture, — Pound wrote to John Quinn—a New York lawyer, an expert in business law, and a collector of unusual taste and discrimination—about these artists and many more, urging him to support their journals, collect their manuscripts, and buy and exhibit their paintings and sculptures.

Yet he was often skeptical about the value of new schools of art, such as Vorticism, and disturbed by the outspokenness of authors such as Joyce. Chinese Dreams. The Dance of the Intellect. Ezra Pound among the Poets. Ezra Pound and China. Ezra Pound and Margaret Cravens. Ezra Pound and the Monument of Culture. Ezra Pound and the Mysteries of Love.

The Hall of Mirrors.

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Ezra Pound by Alec Marsh. Genius, Confucian, fascist, traitor, peace activist—Ezra Pound—love him or hate him, he is impossible to ignore as one of the most influential modernists and controversial poets of the twentieth century. His life, as Alec Marsh makes clear in this biography, raises vital questions for anyone interested in politics, art, and poetry.

No writer of his stature promoted so many Genius, Confucian, fascist, traitor, peace activist—Ezra Pound—love him or hate him, he is impossible to ignore as one of the most influential modernists and controversial poets of the twentieth century. No writer of his stature promoted so many acquaintances who would go on to become such distinguished names in their own right—James Joyce, T. Yet by , Pound himself was living in obscurity in Italy, having trouble publishing his own work.

There he became a Mussolini enthusiast and was eventually indicted for treason by the United States before being judged mentally incompetent to stand trial.

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Marsh takes us inside these years in an attempt to uncover what happened. How did such a great modern artist succomb to such views? Was he a traitor? And was he, in fact, insane? Get A Copy. Paperback , pages. More Details Other Editions 3.

A Phosphorous History: William Carlos Williams’ In the American Grain

Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Ezra Pound , please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. Feb 10, Lauren Albert rated it really liked it Shelves: books-about-books , poetry-and-poetry-criticism. I gave this 3 stars at first and then, after reading some other reviews, realized I was tarring the author with how I feel about Pound.

Even leaving aside his fascism and antisemitism, I've always disliked him. I find him pretentious, arrogant and sometimes incomprehensible. Where with other poets, I recognize the incomprehensibility as being due to my shortcomings, I attribute his as due to his own shortcomings.

I find his intentional misspellings in both poetry, prose and letters irritating to I gave this 3 stars at first and then, after reading some other reviews, realized I was tarring the author with how I feel about Pound. I find his intentional misspellings in both poetry, prose and letters irritating to distraction.

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It is part of his arrogance that he can spell as he likes. I like some of his early poems and translations but most of the Cantos I can't bear. But the influence Pound had on literature in general and poetry in specific, is absolutely remarkable. He brought any number of writers to public attention.