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Ezra Pound: The Solitary Volcano
Unlike other biographical portraits of Ezra Pound, John Tytell's brilliant and ambitious work offers an interpretive study that boldly confronts the emotional truths and psychological drama that formed this complex and controversial American poet. Neither an apology nor a condemnation, it presents instead a meticulous exploration into the mind and vision of a man who galvanized a generation and challenged an entire literary--and world--establishment. Although he enjoyed little fame in his lifetime, Pound's notoriety and influence were enormous, as he arrogantly slashed away at convention and almost single-handedly brought about the twentieth-century revolution in poetry known as modernism. Ultimately, outrage and scandal turned his art to madness, and Pound's last years saw him fall tragically silent.
384 pages, Paperback
First published January 1, 1987
19 people are currently reading
97 people want to read
About the author
John Tytell
21 books5 followersBorn in Antwerp, Belgium, John Tytell is an American writer and academic. He has been a professor of English at Queens College, City University of New York since 1977. He was nominated for a Pulitzer Prize for his Ezra Pound: The Solitary Volcano (1987), which is also his best known book along with Naked Angels, an early history of the Beats.
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Displaying 1 - 19 of 19 reviews
February 8, 2017
Since when are you an economist, pal? The last I knew you were a fuckin' bassoon player. Hemingway in a 1933 letter to Pound.
Just before the holidays I bought a stack of copies of this less than regal biography in an ongoing attempt to keep a reading group afloat. We all are good friends, yet we all have lives and egos; social media has afforded all the willing a platform and thus an online reading group appears as it is: so 1999.
John Tytell appears to have a cut and pasted a modestly comprehensive view of this divisive literary figure. There is no speculation about Pound's eccentric behavior, his contradictions and his beaming generosity. There is really no life in this portrait, just a list of names and an a exhaustive bibliography. This is likely closer to a 2 star text, though I did glean benefit from those who orbited in wonky arabesques of influence from St. Ezra the Blackshirt.
Just before the holidays I bought a stack of copies of this less than regal biography in an ongoing attempt to keep a reading group afloat. We all are good friends, yet we all have lives and egos; social media has afforded all the willing a platform and thus an online reading group appears as it is: so 1999.
John Tytell appears to have a cut and pasted a modestly comprehensive view of this divisive literary figure. There is no speculation about Pound's eccentric behavior, his contradictions and his beaming generosity. There is really no life in this portrait, just a list of names and an a exhaustive bibliography. This is likely closer to a 2 star text, though I did glean benefit from those who orbited in wonky arabesques of influence from St. Ezra the Blackshirt.
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February 27, 2024ترجمهی این اثر به فارسی یک اتفاق بزرگ بود برای کسانیکه سالها فقط بصورت پراکنده با ازرا پاوند بزرگ مواجه میشدند. یا آن شعرها و مقالههای بینظیر در کتاب شعر شماره ۲ که محمود نیکبخت در اصفهان منتشر کرد از او، یا وقتی سرزمین هرز الیوت را شروع به خواندن کنید میبینید که الیوت این شعر جریانساز را به پاوند تقدیم کرده و همهجا در مقالات مربوط به سرزمین هرز نام و تاثیر او میدرخشد، همان ازرا پاوندی که احمد اخوت کتاب واژگان چینی را از او برگرداند...
به هر روی جای کتابی که بصورت دقیق به زندگی و مسیر حرکت او بپردازد در زبان فارسی بسیار خالی بود. حالا که کتاب «ازرا پاوند آتشفشان تنها» را میخوانم و بیش از پیش مبهوت او گشتهام!
••• ازرا پاوند آتشفشان تنها •••
به هر روی جای کتابی که بصورت دقیق به زندگی و مسیر حرکت او بپردازد در زبان فارسی بسیار خالی بود. حالا که کتاب «ازرا پاوند آتشفشان تنها» را میخوانم و بیش از پیش مبهوت او گشتهام!
••• ازرا پاوند آتشفشان تنها •••
September 12, 2014
For me, who knows nothing about Pound (or modernist poetry) and only a little about Modernism, this was a 4-star book. But for someone much better informed, it would probably be a 3-star book.
This is a solid biography that covers Pound's (many) associations and his unusual character (which is vividly portrayed) during a long and interesting life, and includes some (though few in number) interesting insights into the nature of High Modernism along the way. His account of Pound's years at St. Elizabeths is quite detailed and informed; his account of Pound's fascism and antisemitism does not pull any punches, but lacks analytical depth -- it is treated simply as a sort of circus show.
How, for instance, could Pound be such a rabid antisemite, while still being a strong patron of Louis Zukofsky -- even throughout the entire war years? There may be an answer, but Tytell does not even post the question.
Tytell seems to think that Pound's 'insanity' (from 1945-1958) was something of an act, but also leaves no doubt that during his entire life he was, essentialy, nuts. There were always "bats in his belfry" said Dorothy (or was it Olga?), but there were more of them after 1945 (she concluded).
Elsewhere Tytell suggests that there was no evidence, even at St. Elizabeth's, of psychosis or of paranoia, but that he did have a "psychopathic personality with strong neurotic tendencies -- a diagnosis (Tytell notes) which fit[s] a large part of the so-called normal world" (291). He was certainly difficult and narcissistic.
About Pound's poetry itself, on the other hand, Tytell has little to say.
This is a solid biography that covers Pound's (many) associations and his unusual character (which is vividly portrayed) during a long and interesting life, and includes some (though few in number) interesting insights into the nature of High Modernism along the way. His account of Pound's years at St. Elizabeths is quite detailed and informed; his account of Pound's fascism and antisemitism does not pull any punches, but lacks analytical depth -- it is treated simply as a sort of circus show.
How, for instance, could Pound be such a rabid antisemite, while still being a strong patron of Louis Zukofsky -- even throughout the entire war years? There may be an answer, but Tytell does not even post the question.
Tytell seems to think that Pound's 'insanity' (from 1945-1958) was something of an act, but also leaves no doubt that during his entire life he was, essentialy, nuts. There were always "bats in his belfry" said Dorothy (or was it Olga?), but there were more of them after 1945 (she concluded).
Elsewhere Tytell suggests that there was no evidence, even at St. Elizabeth's, of psychosis or of paranoia, but that he did have a "psychopathic personality with strong neurotic tendencies -- a diagnosis (Tytell notes) which fit[s] a large part of the so-called normal world" (291). He was certainly difficult and narcissistic.
About Pound's poetry itself, on the other hand, Tytell has little to say.
May 15, 2015
I missed Ezra Pound in my autodidactic education, and could never really fathom his greatest work - The Cantos - but recently thought that if I availed myself of a biography I might eventually jump into the deep end of the poetry. We shall see.
I chose John Tytell's biography because of a previous work, Naked Angels: Lives and Literature of the Beat Generation. I found this bio of Pound every bit as readable, and enjoyable, if not more than I really cared to know about old Ez.
Here's the bio in a nutshell:
Ezra Pound was a horse's ass. As a young horse's ass he wrote intricate and poetry changing verse, ushered modernism into the world of literature, and had the good taste to champion the likes of Joyce, Hemingway, Yeats, and W.C. Williams, aiding in their publication. For all intents and purposes he discovered T.S.Eliot, and mentored him through his most famous works. He started magazines, and journals, maintained a salon he referred to as his Ezraversity, and was the toast of the literati and intelligentsia of Paris, London, and New York. Not well loved, but widely admired and respected, he was a scholar poet, overbearing, and self-righteous with a deep-seated inability to ever be wrong - about anything. He was also a pedestrian anti-Semite, though also a champion of and mentor to Luis Zukofsky, and Delmore Schwartz. Pound and Whitman - they contained multitudes. All his qualities and flaws show up in his major work, The (impenetrable, at least to me) Cantos.
As an older horse's ass he delved into economics and politics and got totally side-tracked from his poetry by fringe economic policies, and the rise of fascism. Rather than championing literary lights, he took to Mussolini as an enlightened leader whose policies could save the world. He fooled himself into thinking he was in the inner circle of Italian politics, and therefore world politics, but he was primarily a dupe and propagandist for fascism. After the outbreak of WWII he began years of thrice weekly radio broadcasts from the studios of the Italian fascists. His antisemitism went from pedestrian to virulent. He called Pres. Roosevelt, "Jewsfeldt," and "Stinkie
Rooosenstein." He thought the war was being fought for the benefit of a "few bugerin' kikes," and that "the yid influence has never been anything but a stinking curse to Europe." In his defense, he never really preached treason, but he painted every Allied leader with the same vile brush. (On a current note, he was very clear on the coming corporatization and banksterism of the the US.)
He was arrested at the end of the war, and spent three weeks in a 6X6 1/2 foot crate with 24/7 lighting. He was tried for treason in D.C, found to be incompetent, and shipped off to St. Elizabeth's mental hospital where he ended up a cause celebre, spending 12 years wandering the wards. Many came to his defense, but the government was not inclined to mercy. Oddly enough, The Library of Congress awarded him the Bollingen for his Pisan Cantos, but Congress had the prize revoked. He was released from St. Elizabeth's after the interventions of Robert Frost, and Archibald MacLeish. He was 73 years old. He returned to Italy, and spent his days in self-imposed silence. He was bowed, and eventually repentant. He told visitors that his great work, The Cantos, were 80% wrong, and that he was ashamed of his anti-semitism. He died at the age of 87.
Given all the excesses of his life, he also managed to write this, in 1920.
From the poem Hugh Selwyn Mauberley:
Died some, pro patria,
non "dulce" non "et decor"...
walked eye-deep in hell
believing in old men's lies, then unbelieving
came home, home to a lie,
home to many deceits,
home to old lies and new infamy:
usury age-old and age thick
and liars in public places.
I chose John Tytell's biography because of a previous work, Naked Angels: Lives and Literature of the Beat Generation. I found this bio of Pound every bit as readable, and enjoyable, if not more than I really cared to know about old Ez.
Here's the bio in a nutshell:
Ezra Pound was a horse's ass. As a young horse's ass he wrote intricate and poetry changing verse, ushered modernism into the world of literature, and had the good taste to champion the likes of Joyce, Hemingway, Yeats, and W.C. Williams, aiding in their publication. For all intents and purposes he discovered T.S.Eliot, and mentored him through his most famous works. He started magazines, and journals, maintained a salon he referred to as his Ezraversity, and was the toast of the literati and intelligentsia of Paris, London, and New York. Not well loved, but widely admired and respected, he was a scholar poet, overbearing, and self-righteous with a deep-seated inability to ever be wrong - about anything. He was also a pedestrian anti-Semite, though also a champion of and mentor to Luis Zukofsky, and Delmore Schwartz. Pound and Whitman - they contained multitudes. All his qualities and flaws show up in his major work, The (impenetrable, at least to me) Cantos.
As an older horse's ass he delved into economics and politics and got totally side-tracked from his poetry by fringe economic policies, and the rise of fascism. Rather than championing literary lights, he took to Mussolini as an enlightened leader whose policies could save the world. He fooled himself into thinking he was in the inner circle of Italian politics, and therefore world politics, but he was primarily a dupe and propagandist for fascism. After the outbreak of WWII he began years of thrice weekly radio broadcasts from the studios of the Italian fascists. His antisemitism went from pedestrian to virulent. He called Pres. Roosevelt, "Jewsfeldt," and "Stinkie
Rooosenstein." He thought the war was being fought for the benefit of a "few bugerin' kikes," and that "the yid influence has never been anything but a stinking curse to Europe." In his defense, he never really preached treason, but he painted every Allied leader with the same vile brush. (On a current note, he was very clear on the coming corporatization and banksterism of the the US.)
He was arrested at the end of the war, and spent three weeks in a 6X6 1/2 foot crate with 24/7 lighting. He was tried for treason in D.C, found to be incompetent, and shipped off to St. Elizabeth's mental hospital where he ended up a cause celebre, spending 12 years wandering the wards. Many came to his defense, but the government was not inclined to mercy. Oddly enough, The Library of Congress awarded him the Bollingen for his Pisan Cantos, but Congress had the prize revoked. He was released from St. Elizabeth's after the interventions of Robert Frost, and Archibald MacLeish. He was 73 years old. He returned to Italy, and spent his days in self-imposed silence. He was bowed, and eventually repentant. He told visitors that his great work, The Cantos, were 80% wrong, and that he was ashamed of his anti-semitism. He died at the age of 87.
Given all the excesses of his life, he also managed to write this, in 1920.
From the poem Hugh Selwyn Mauberley:
Died some, pro patria,
non "dulce" non "et decor"...
walked eye-deep in hell
believing in old men's lies, then unbelieving
came home, home to a lie,
home to many deceits,
home to old lies and new infamy:
usury age-old and age thick
and liars in public places.
February 10, 2015
Balanced bio of the insane poet.
May 10, 2024
ازرا پاوند: آتشفشان تنها، یک کتاب درجهیک که با ترجمهی خوبی به زبان فارسی هم منتشر شده. مطالبی در کتاب مطرح شده که معمولا کمتر به آن پرداخته میشود. مطالبی چون نوع دخالت بعضی از نویسندگان، هنرمندان و روشنفکران در سیاست و حمایت آنها از حکومتهای مستبد و خونریز. کتاب افزون بر روایت زندگی ازرا پاوند، تصویر جالبی از فضای فکری روشنفکران و هنرمندان اروپایی و آمریکایی در نیمهی نخست سدهی بیستم نشان میدهد که معمولا در کتابهای تاریخ هنر و ادبیات دیده نمیشود. این چیزیست که به نظرم باید در این روزهای ایران که شباهت زیادی به فضای آن دوران دارد بیشتر به آن پرداخته شود و مورد توجه قرار بگیرد.
October 30, 2022
It will be hard for any fan of Ezra Pound’s poetry not to feel a bit conflicted after reading this well researched and written account of his life and cultural influence. I was of course aware of his seduction by Italian Fascism when he lived in Rapallo, and the propaganda broadcasts he made on Mussolini’s behalf during WWII, which is bad enough. I didn’t realize however how deep the roots of his anti-Semitism and casual bigotry ran; it’s certainly most evident in his correspondence as early as the 1910s, when though a cultural iconoclast in both his poetry and activity with the Vorticists, he remained rather reactionary in his political opinions. His cultural elitism is understandable but this central taint to his character is impossible to forgive.
Nevertheless, in the plus column, he was certainly a genius, and remains one of my favorite poets. He was also certainly a fascinating ‘character’, very interesting to read about, engagingly eccentric in his dress and behavior, though many of his peers and associates found him obstreperous and difficult to deal with. To this should also be added his untiring promotion and proselytization for modernist literature and its practitioners. He was largely responsible for bringing talents like T.S. Eliot, William Carlos Williams, James Joyce, and Ernest Hemingway into publication, and tirelessly gave his support to them, and to already established friends like W. B. Yeats, throughout his life. This crucial support as an influential cultural impresario early in their careers was not forgotten by these now epochal figures (despite their universal repugnance for his politics) when Pound was facing charges of treason at the end of World War II; their intercession with friends in the US Government helped him avoid trial, though it meant his commitment to St. Elizabeth’s Asylum for over a decade. After his eventual pardon and release he returned to his beloved Italy, apparently unrepentant; immediately upon disembarking, he gave the Fascist salute.
His last years were largely unproductive, as apparently he’d been left a largely broken man by his institutionalization. Towards the very end of his life, it’s recorded that he acknowledged his errors, and showed some contrition, though it feels too little, too late. As he approached death in the 1960s, was he primarily thinking of his legacy? Or had he really had an epiphany?
In this era of ‘Cancel Culture’, I certainly hope his works continue to be taught and appreciated as they deserve. He is one of many great artists whose ethics and behavior leave a lot to be desired, or are in fact despicable. I am certainly in the camp that believes the two — the artist as an individual, and the artist’s enduring works — can and should be separated, if the latter do not epitomize the worst of their character. That is largely true of Pound’s poetry, with the exception of some of the later ‘Cantos’. (Based on this biography, and so I believe; I’m revisiting “The Selected Poems of Ezra Pound” now to remind myself of his prodigious talent. I will update this review should my belief prove mistaken.) Poems like “In a Station of the Metro” and “Hugh Selwyn Mauberley” are but two masterpieces that should be on every modernist poetry syllabus.
Nevertheless, in the plus column, he was certainly a genius, and remains one of my favorite poets. He was also certainly a fascinating ‘character’, very interesting to read about, engagingly eccentric in his dress and behavior, though many of his peers and associates found him obstreperous and difficult to deal with. To this should also be added his untiring promotion and proselytization for modernist literature and its practitioners. He was largely responsible for bringing talents like T.S. Eliot, William Carlos Williams, James Joyce, and Ernest Hemingway into publication, and tirelessly gave his support to them, and to already established friends like W. B. Yeats, throughout his life. This crucial support as an influential cultural impresario early in their careers was not forgotten by these now epochal figures (despite their universal repugnance for his politics) when Pound was facing charges of treason at the end of World War II; their intercession with friends in the US Government helped him avoid trial, though it meant his commitment to St. Elizabeth’s Asylum for over a decade. After his eventual pardon and release he returned to his beloved Italy, apparently unrepentant; immediately upon disembarking, he gave the Fascist salute.
His last years were largely unproductive, as apparently he’d been left a largely broken man by his institutionalization. Towards the very end of his life, it’s recorded that he acknowledged his errors, and showed some contrition, though it feels too little, too late. As he approached death in the 1960s, was he primarily thinking of his legacy? Or had he really had an epiphany?
In this era of ‘Cancel Culture’, I certainly hope his works continue to be taught and appreciated as they deserve. He is one of many great artists whose ethics and behavior leave a lot to be desired, or are in fact despicable. I am certainly in the camp that believes the two — the artist as an individual, and the artist’s enduring works — can and should be separated, if the latter do not epitomize the worst of their character. That is largely true of Pound’s poetry, with the exception of some of the later ‘Cantos’. (Based on this biography, and so I believe; I’m revisiting “The Selected Poems of Ezra Pound” now to remind myself of his prodigious talent. I will update this review should my belief prove mistaken.) Poems like “In a Station of the Metro” and “Hugh Selwyn Mauberley” are but two masterpieces that should be on every modernist poetry syllabus.
March 24, 2008
I originally picked up the biography of Ezra Pound for three reasons, and one of them was that I've always been interested in the guy. However, I must admit, this was the lesser of the three reasons. Mainly it was influence on T.S. Eliot, followed closely by it being only $7 at the local second-hand bookstore. Surprisingly, after a couple of weeks, I found myself in the last few pages, weeping.
Most of the information I had on Pound was, I now realize, sensationalized - his artistic fervor, his madness, treason charges, etc.. And ... he certainly was all those things. He was a bit insane, he was violently passionate about poetry and he did have charges of treason brought against him. However, that is the flattest analysis of a life I believe I've ever heard.
Through these pages the literate of the modernist era are all major players. William Carlos Williams and Ezra met their freshman year of college and stayed friends the remainder of their lives. Ezra's first love was the poetess H.D.. There are stories of fireside chats with W.B. Yeats, arguments with T.S. Eliot, in impromptu boxing match with Hemingway in Pound's tiny Paris apartment, and checks sent to James Joyce so he could eat while writing Ulysses. All spell-binding (you are constantly feeling that you're reading a work of fiction - all these great people could not have been so intimately connected, your brain screams).
However, the true worth of this book is it's focus on Pound's inability to cope with the nature of his own beliefs. His dogmatic view that poetry was important and, dammit!, you should pay attention; his belief that one must break through injustice using any means necessary; his embrace of ancient forms and the, now useless, ideas carried by them: each of these are examined, revealing a man unwilling to bend who is eventually broken, not by outside forces, but by himself.
Admittedly, no everyone is up for 300 pages on Ezra Pound. But if you're in the mood for an interesting life, conveyed by a biographer who knows how to balance information and story, this is one you should grab.
Most of the information I had on Pound was, I now realize, sensationalized - his artistic fervor, his madness, treason charges, etc.. And ... he certainly was all those things. He was a bit insane, he was violently passionate about poetry and he did have charges of treason brought against him. However, that is the flattest analysis of a life I believe I've ever heard.
Through these pages the literate of the modernist era are all major players. William Carlos Williams and Ezra met their freshman year of college and stayed friends the remainder of their lives. Ezra's first love was the poetess H.D.. There are stories of fireside chats with W.B. Yeats, arguments with T.S. Eliot, in impromptu boxing match with Hemingway in Pound's tiny Paris apartment, and checks sent to James Joyce so he could eat while writing Ulysses. All spell-binding (you are constantly feeling that you're reading a work of fiction - all these great people could not have been so intimately connected, your brain screams).
However, the true worth of this book is it's focus on Pound's inability to cope with the nature of his own beliefs. His dogmatic view that poetry was important and, dammit!, you should pay attention; his belief that one must break through injustice using any means necessary; his embrace of ancient forms and the, now useless, ideas carried by them: each of these are examined, revealing a man unwilling to bend who is eventually broken, not by outside forces, but by himself.
Admittedly, no everyone is up for 300 pages on Ezra Pound. But if you're in the mood for an interesting life, conveyed by a biographer who knows how to balance information and story, this is one you should grab.
March 23, 2013
It is astounding the number of people that Pound knew and influenced. Even many of those disgusted by his political views and his treasonous radio broadcasts during the war felt his importance. Tytell is no psychologist but I did wish I could have understood better exactly how Pound became the ranting fascist he sometimes was. I personally believe he was mentally ill but can see how it was a difficult case to decide. I also wished that Tytell had discussed the poetry a bit more--I've often complained of literary biographies that went to far over the other way, so I know it is a hard thing to balance.
Overall an interesting look both at Pound and his "circle(s)".
Overall an interesting look both at Pound and his "circle(s)".
November 13, 2021
Amazing book. Told almost like a tragedy, seeing a man rise to power only to be destroyed by his own hatred and hubris. Is this a good way to tell the story? Do we see Pound in too positive a light? Or is that the natural case with any biography, or any narrative indeed: we (attempt to) sympathize with the protagonist. Regardless, an eye-opening investigation into a genius, wretched man
March 25, 2024
ازرا پاوند -شاعر جنجالی با سرنوشتی عجیب که هنرش بسمت توتالیتاریسم لغزیده بود
پاوند که در محافل ادبی به عنوان محرک اصلی شروع حرکت مدرنیسم و شاعری فرهیخته با اشعاری بسیار دشوار و تاثیر گذار بر سایرین شناخته شده بود، ناگهان به عنوان یک فاشیست دیوانه شهرت یافت. حقیقت این است که: در 1925 پاوند به قصد سکونت در راپالو به ایتالیا رفت. همان جا بود که مجذوب موسولینی شد. او موسولینی را صورت تناسخ یافتهٔ بارونهای فئودال قرن پانزده ایتالیا میدید که با شمشیر و گرز حکم میراندند، هنر را حمایت میکردند و شهرهای توسکان و اومبرین-زادگاه رنسانس-را بنا مینهادند. ایتالیا دوبار اروپا را متمدن کرده بود، اول بار در دوران سزار آگوستوس و بار دوم با حکومت خاندان مدیسی و بورژیا.
مطالعه بیشتر
https://www.1pezeshk.com/archives/202...
پاوند که در محافل ادبی به عنوان محرک اصلی شروع حرکت مدرنیسم و شاعری فرهیخته با اشعاری بسیار دشوار و تاثیر گذار بر سایرین شناخته شده بود، ناگهان به عنوان یک فاشیست دیوانه شهرت یافت. حقیقت این است که: در 1925 پاوند به قصد سکونت در راپالو به ایتالیا رفت. همان جا بود که مجذوب موسولینی شد. او موسولینی را صورت تناسخ یافتهٔ بارونهای فئودال قرن پانزده ایتالیا میدید که با شمشیر و گرز حکم میراندند، هنر را حمایت میکردند و شهرهای توسکان و اومبرین-زادگاه رنسانس-را بنا مینهادند. ایتالیا دوبار اروپا را متمدن کرده بود، اول بار در دوران سزار آگوستوس و بار دوم با حکومت خاندان مدیسی و بورژیا.
مطالعه بیشتر
https://www.1pezeshk.com/archives/202...
January 13, 2022
I don’t know how to rate this book as I knew nothing about Pound before I read it. On the one hand I found it fascinating. The author drew from many sources so at times it seemed like a patchwork quilt. He doesn’t go into great detail about Pound’s works, but for me that was a blessing. I was more interested in the people that he interacted with during his life. That list is long and very impressive and that’s what I enjoyed the most.
Want to read
March 25, 2024Read pg 249-258. Feb 2010.
HB w old man Pound on cover.
1987 hb Anchor Press Doubleday.qqq
HB w old man Pound on cover.
1987 hb Anchor Press Doubleday.qqq
Read
April 16, 2025Kanye before Kanye was Kanye…but somehow even messier.
“I have tried to write Paradise
Do not move
Let the wind speak
that is paradise.
Let the Gods forgive what I
have made
Let those I love try to forgive
what I have made.”
“I have tried to write Paradise
Do not move
Let the wind speak
that is paradise.
Let the Gods forgive what I
have made
Let those I love try to forgive
what I have made.”
April 7, 2009
“Ezra Pound with two companions,” says the photo caption. The companions are both women. If I’m not mistaken, they are Jane Heap and Mina Loy, neither exactly obscure and neither an insignificant figure in modernist poetry. . . but it was 1987. Eighties Pound worship will always baffle those of us who lived through it, as baby-boomer academics and junior faculty struggled to restore their dethroned idol to the fountainhead. (His fascism was an illicit kick, a walk on the wild side, with the moral benefit of exposing secret fascisms everywhere, you know, “revealing the fascist structure of the modernist enterprise” or “at least addressing the real world while Stevens wrote about purple spats.”) It was the Eighties, and Pound was a manly corrective to Stevens’s dandyism, just as in the 20s and 30s he was a manly corrective to Gertrude Stein and Jane Heap and Mina Loy, and just as he’d started out in the 1900s styling himself as a manly corrective to Oscar Wilde and the Decadents. Give poetry a gender crisis and Pound fans will not be slow to provide the manly corrective, though we Stevens/Stein/Loy fans will be there to laugh at it. . . but “two companions,” honestly.
Best part: when Shaw writes, “I take care of the pence, and let the Pounds take care of themselves," “The quip stung Pound, who since childhood detested puns on his name. When the Tribune journalist Wambly Bald shared a Paris cab with Pound and remarked that they had in common surnames that were easily punned upon, Pound glared and demanded he leave the cab.” Pound is right on this basic point of etiquette--but then he’s the guy who wrote “The Serious Artist."
PS I had to give this 2 extra stars for the following quote from Ernest Hemingway, April 1933, to Mr. Pound: "Since when are you an economist, pal? The last I knew you were a fuckin' bassoon player."
Best part: when Shaw writes, “I take care of the pence, and let the Pounds take care of themselves," “The quip stung Pound, who since childhood detested puns on his name. When the Tribune journalist Wambly Bald shared a Paris cab with Pound and remarked that they had in common surnames that were easily punned upon, Pound glared and demanded he leave the cab.” Pound is right on this basic point of etiquette--but then he’s the guy who wrote “The Serious Artist."
PS I had to give this 2 extra stars for the following quote from Ernest Hemingway, April 1933, to Mr. Pound: "Since when are you an economist, pal? The last I knew you were a fuckin' bassoon player."
June 13, 2014
I chose this biography for its brevity and availability on Kindle, aware from comparative reviews that it was more than a simple "life of" and less than the other heavy tomes available. I found it lively and opinionated but well grounded, with an excellent colection of quotes from The Man himself and those who knew him to feel comfortable with the author's well supported conclusions. A very good introduction to an incredibly complicated figure. Well done and recommended.
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December 30, 2007From Idaho to Philly, to London, to Paris, from Italy to Pisa, to insane asylum and back again to Italy, Mr. Tytell covers all of this author's uproarious, mysterious and controversial life. Tom
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January 26, 2009I am taking this book back to the library. The introduction and first chapter did plenty enough for me in chronicling Pound's life events. Next time I will get Pound's poetry instead.
June 3, 2011
The author demonstrates Pound's own aesthetic in the writing of this thorough and detailed biography.
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