Ezra Pound and America

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In , after finishing college, Pound accepted a teaching job at Indiana's Wabash College. But the fit between the artistic, somewhat bohemian poet and the formal institution was less than perfect, and Pound soon left. His next move proved to be more daring. With his own money, Pound paid for the publication of his first book of poems, "A Lume Spento. Despite the fact that the work did not create the kind of fireworks he had hoped for, it did open some important doors for him.

His friendship with Yeats in particular was a close one, and Pound eventually took a job as the writer's secretary, and later served as best man at his wedding. In , Pound found the kind of success as a writer that he had wanted. Over the next year, he produced three books, "Personae," "Exultations" and "The Spirit of Romance," the last one based on the lectures he had given in London. All three books were warmly received. Wrote one reviewer: Pound "is that rare thing among modern poets, a scholar. In addition, Pound wrote numerous reviews and critiques for a variety of publications, such as New Age, the Egoist, and Poetry.

As his friend T.

Ezra Pound and his Italian Critics

Eliot would later note, "During a crucial decade in the history of modern literature, approximately —, Pound was the most influential and in some ways the best critic in England or America. In , Pound helped create a movement that he and others called "Imagism," which signaled a new literary direction for the poet.

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At the core of Imagism, was a push to set a more direct course with language, shedding the sentiment that had so wholly shaped Victorian and Romantic poetry. Precision and economy were highly valued by Pound and the other proponents of the movement, which included F. With its focus on the "thing" as the "thing," Imagism reflected the changes happening in other art forms, most notably painting and the Cubists.

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Pound's maxims included, "Do not retell in mediocre verse what has already been done in good prose" and "Use no superfluous word, no adjective which does not reveal something. After just a few years, he stepped aside, frustrated when he couldn't secure total control of the movement from Lowell and the others.

Pound's influence extended in other directions. He had an incredible eye for talent and tirelessly promoted writers whose works he felt demanded attention.

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He introduced the world to up-and-coming poets like Robert Frost and D. Lawrence, and was T. Eliot's editor. In fact, it was Pound who edited Eliot's "The Waste Land," which many consider to be one of the greatest poems produced during the modernist era. Over the years, Pound and Eliot would become great friends. Early in his career, when Eliot abandoned his graduate studies in philosophy at Oxford, it was Pound who wrote the young poet's parents to break the news to them.

Pound's lineup of friends also included the Irish novelist James Joyce, whom he helped introduce to publishers and find landing spots in magazines for several of the stories in "The Dubliners" and "A Portrait of the Artist as a Young Man.

Ezra Pound Poems > My poetic side

Pound's own work continued to flourish as well. The years immediately following World War I saw the production of two of his most admired works, "Homage to Sextus Propertius" and the part "Hugh Selwyn Mauberley" , the latter of which tackled a wide range of subjects, from the artist and society to the horrors of mass production and World War I. In late , after 12 years in London, Pound left England for a new start in Paris. But his tolerance for French life, it seems, was limited.

In , tired of the Parisian scene, Pound moved again, this time settling in the Italian city of Rapallo, where he would remain for the next two decades. It was here that Pound's life changed significantly. In , he had a daughter, Maria, with American violinist Olga Rudge, and the following year he had a son, Omar, with his wife, Dorothy. Professionally, Pound had turned his full attention to "The Cantos," an ambitious long- form poem he had begun in A work he self described as his "poem including history," "The Cantos" revealed Pound's interest in economics and in the world's changing financial landscape in the wake of World War I.

As Pound's interest in economics and economic history increased, he showed his support for the theories of Major C. Douglas, the founder of Social Credit, an economic theory that believed that the poor distribution of wealth was due to insufficient purchasing power on the part of governments. Pound began to see a world of injustice shaped by international bankers, whose manipulation of money led to wars and conflict. Pound's impassioned feelings on the matter soon led him to support the Italian dictator, Benito Mussolini. The poems are replete with Pound's enthusiasm for and defense of the nightmare of European fascism; over fifty million people died in the Second World War, and Pound believed the wrong side won.

Moreover, as Pound looked over history, he decided that all the arts were at their best when allied with absolute political power. Despite this anguished history, The Cantos remains the primary model for an ambitious American poem based on collage and historical and literary citation. You are currently not logged in. Skip to main content Skip to navigation. Primary tabs View active tab Forum Tree. Ezra Pound 30 Oct to 01 Nov Overview Media Keywords Timeline. Poems There is no content to display.

https://esgusgaza.tk Hugh Witemeyer: On "Portrait d'une Femme". Michael Alexander: On "Portrait d'une Femme". Jeanne Heuving: On "Portrait d'une Femme". Walter Sutton: On "Portrait d'une Femme". Christine Froula: On "Portrait d'une Femme".

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Christine Froula: On "A Pact". Hugh Witemeyer: On "A Pact". James F. Knapp: On "In a Station of the Metro". Barbarese: On "In a Station of the Metro". Knapp: On "Canto I". Michael Alexander: On "Canto I". Joseph G. Kronick: On "Canto I".

Voices & Piano: No. 17. Ezra Pound

Lawrence S. Rainey: On "Canto IX". Knapp: On "Canto IX". Michael Alexander: On "Canto 45". Christine Froula: On "Canto 45". Ronald Bush: On "Canto 45".