In the final part of this book, I first turn to Pound’s writings and conditions during the St. Elizabeths period, again seeing him in action and dealing with his poem and flighty associates. Summary: Pound begins The Cantos with a passage describing Odysseus and his companions sailing to Hades to find out what their futures hold. And poetry, which should hold it all together: Poetry is the beginning and end of The Cantos—a poetic attitude towards experience, a way of listening. I hope the volume as it now appears, though still a gathering, suggests a sense of what it means to read Pound the person and poet against his chosen Italian background. We will never get anything out of this multifarious work more important than the one bright perception that clarity is at hand—as in the lines just quoted. We visit with Pound his favorite cities and landscapes (Rome, Venice, Rapallo) and encounter some of his foremost Italian peers, associates and translators. (last updated 9 July 2019) Speaking in Washington in 1946 to Jerome Kavka, a psychiatrist, Ezra Pound said that he did not drink habitually but “had a few historic drunks, one when I arrived at the Russian point of view and another when I prophesied the return of the Pagan gods about ten years ago.”¹ This seems to be the occasion referred to in an Italian fragment printed in English in the same 1991 issue of Paideuma in which the Kavka interview appeared. I was interested in the time he had spent in Rapallo in the 1930s and asked him in 1991 for some memories when editing a second enlarged edition of my father Giuseppe Bacigalupo’s memoir Ieri a Rapallo. زY� ��T:g��-*��%�Dn�G�_���}�"�zk0�~�����6����?�����!a9�Vtf��;_IN�u��kv�/&j�Xr/. If Dante is still closely read and loved, not only (as is natural) by scholars and specialists, but also by young and engaged anglophone readers and writers, this is due in part to... Ezra Pound had little interest in and contact with prominent Italian writers of his time—poets even less than novelists (Marinetti being a partial exception). (An English-language edition appeared in 2015.) it is La Rouchefoucauld and de Maintenon audibly. In February 1956, a booklet of 9.9 centimeters by 7.2 centimeters was published in Milan. What thou lov’st well shall not be reft from thee, What thou lov’st well is thy true heritage, First came the seen, then thus the palpable. The following chapters were written over a period of years and address their subject from various perspectives. or as Jo Bard says: they never speak to each other. It is my belief that Pound remains an exciting poet and a major if disquieting presence. 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. Trevathan, Andy K. “At Home In Exile: Ezra Pound and the Poetics of Banishment.” Diss. And poetry, which should hold it all together: Poetry is the beginning and end of The Cantos—a poetic attitude towards experience, a way of listening. More Poems by Ezra Pound. He produced single-handedly a notable and detailed Storia della letteratura nord-americana (1957),¹... James Laughlin and I began corresponding circa 1971, though we only met in 1975 at his daughter Leila’s and his son-in-law Daniel Javitch’s apartment in New York. Free online. 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. By Ezra Pound. New York: Walker, 1977. P., H. D., and La Martinelli, CHAPTER FIFTEEN Sant’Ambrogio in the Half-Light, CHAPTER SIXTEEN America vs. Italy in the Posthumous Cantos, The Ezra Pound Center for Literature Book Series. The language of Italian poetry has always been somewhat forbidding even for native speakers and this may have made it difficult for him to fathom, had he wanted to.