Ezra Pound

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Finalist, Pegasus Award for Poetry Criticism Ezra Pound's Cathay (1915) is a masterpiece both of modernism and of world literature. The muscular precision of images that mark Pound's translations helped establish a modern style for American literature, at the same time creating a thirst for classical Chinese poetry in English. Pound's dynamic free-verse translations in a modern idiom formed the basis for T. S. Eliot's famous claim that Pound was the "inventor of Chinese poetry for our time." Yet Pound achieved this feat without knowing any Chinese, relying instead on word-for-word "cribs" left by the Orientalist Ernest Fenollosa, whose notebooks reveal a remarkable story of sustained cultural exchange. This fully annotated critical edition focuses on Pound's astonishing translations without forgetting that the original Chinese poems are masterpieces in their own right. On the one hand, the presentation of all that went into the final Cathay makes it possible for the first time to appreciate the magnitude and the nuances of Pound's poetic art. At the same time, by bringing the final text together with the Chinese and Old English poems it claims to translate, as well as the manuscript traces of Pound's Japanese and American interlocutors, the volume also recovers practices of poetic circulation, resituating a Modernist classic as a work of world literature. The Pound text and its intertexts are presented with care, clarity, and visual elegance. By providing the first accurate and unabridged transcriptions of Fenollosa's notebooks, along with carefully edited Chinese texts, the volume makes it possible to trace the movements of poetic ideas and poetic expression as they veer toward and away from Pound's creations. In supplying the full Fenollosa texts, the volume overturns decades of scholarship that has mystified Pound's translation process as a kind of "clairvoyance," displaying instead the impressive amount of sinological learning preserved in Fenollosa's hard-to-read notebooks and by detailing every deviation from the probable sense of the originals. The edition also supplies exhaustive historical, critical, and textual notes, clarifying points that have sometimes lent obscurity to Pound's poems and making the process of translation visible even for readers with no knowledge of Chinese. Cathay: A Critical Edition includes the original fourteen Chinese translations as well as Pound's unique version of "The Seafarer," which is fully annotated alongside its Anglo-Saxon source. Also included are Pound's fifteen additional Chinese translations from Lustra and other contemporary publications, his essay "Chinese Poetry" (1919), a substantial textual Introduction, and original essays by Christopher Bush and Haun Saussy on international modernism, the mediation of Japan, and translation. The meticulous treatment and analysis of the texts for this landmark edition will forever change how readers view Pound's "Chinese" poems. In addition to discoveries that permanently alter the scholarly record and force us to revise a number of critical commonplaces, the critical apparatus allows readers to make fresh discoveries by making available the specific networks through which poetic expression moved among hands, languages, and media. Ultimately, this edition not only enables us more fully to appreciate a canonical work of Modernism but also resituates the art of Pound's translations by recovering the historical circulations that went into the making of a multiply authored and intrinsically hybrid masterpiece.

No m s de seis meses despu s de la publicaci n de Personae Pound hab a preparado otro volumen de poes a bajo el auspicio de Elkin Mathews Vigo Street Londres bajo el t tulo de Exultations (1909). De los veintisiete poemas de Exultations sin embargo m s de diez fueron repeticiones de A Lume Spento y A Quinzaine For This Yule- Esta edici n hasta ahora in dita en toda su extensi n en lengua espa ola fue preparada por el poeta y critico literario Juan Arabia.

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. We have represented this book in the same form as it was first published. Hence any marks seen are left intentionally to preserve its true nature.

Written during the Italian winter of 1930, The Blue Spill is an unfinished detective novel written by Ezra Pound – the leading figure of modernist poetry in the 20th century – and his long-time companion Olga Rudge. Published for the first time in this authoritative critical edition, the novel reflects both Rudge’s and Pound’s voracious reading of popular fiction as it echoes and parodies such writers as Agatha Christie, Dorothy L. Sayers and P. G. Wodehouse. Based on the original manuscripts of the novel, this critical edition includes annotation and textual commentary throughout. The book also includes critical essays exploring the contexts of the work, from the dynamics of artistic collaboration to the growing popularity of detective fiction at the beginning of the 20th century. Taken together, this unique publication sheds new light on the relationship between the literary avant-garde and popular culture in the modernist period.

"[...] 20 vuotta unelmaa/ ja pilvet Pisan tienoilla/ ovat yhtä kauniita kuin missä tahansa Italiassa/ sanoi nuori Mozart: jos otatte prisen/ tai seuraten Poncea ("Ponthe"/ lähteelle Floridassa/ de Leon alla fuente florida/ tai Ankhises, joka tarttui hänen ilmakupeisiinsa/ ja veti hänet luokseen/ [...]" PISAN CANTOT (The Pisan Cantos, 1948) on outo kulttuurihistoriallinen muistomerkki. Se vaikuttaa modernistien etujoukkoon tuolloin neljä vuosikymmentä lasketun ja Italian fasistihallinnon palveluksessa 20 vuotta intomielisesti toimineen tekijänsä poliittiselta omaelämäkerralta ja samalla ynnäykseltä hänen kieli- ja kirjallisuuskäsityksistään. Teos sai tuoreeltaan Yhdysvaltain kongressin kirjaston runouspalkinnon, mutta kirvoitti myös tylyä arvostelua mahdottomine näkökulmineen ja mahtipontisine otteineen. Tutkijoista esimerkiksi Andrew DuBois'n ja Frank Lentricchian sanoin se on "seka-aineksinen sekasortoisuuteen saakka". Muiden muassa John Longenbach taas painottaa teoksen toista astetta tai ulottuvuutta: rytmisten, kieliopillisten ja retoristen rakenteiden välillisyyttä tai niiden katoamisen ja ilmaantumisen vuorottelua. Teos on tarjonnut vastaanottajilleen loputtomasti tutkittavaa. Kiistelty varjoklassikko ilmestyy nyt ensimmäistä kertaa suomeksi. Siihen sisältyvät kääntäjän runsaat huomautukset ja perehtyneet jälkisanat.

Certain of the poems in Lustra have offended admirers of the verse of the Personae period. When a poet alters or develops, many of his admirers are sure to drop off. Any poet, if he is to survive as a writer beyond his twenty-fifth year, must alter; he must seek new literary influences; he will have different emotions to express. This is disconcerting to that public which likes a poet to spin his whole work out of the feelings of his youth; which likes to be able to open a new volume of his poems with the assurance that they will be able to approach it exactly as they approached the preceding. They do not like that constant readjustment which the following of Mr. Pound's work demands. Thus has Lustra been a disappointment to some; though it manifests no falling off in technique, and no impoverishment of feeling. Some of the poems (including several of the Contemporanea) are a more direct statement of views than Pound's verse had ever given before. T. S. Eliot "Ezra Pound: His Metric and Poetry

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

This critical edition of Ezra Pound's Elektra marks the most significant appearance in twenty years of a "new" work by the controversial poet. Composed in the early months of 1949, while Pound was under indictment for treason and hospitalized by court order in Washington, D. C., this hitherto unpublished version of Sophocles' play documents a critical stage in the poet's writing career: with his subsequent rendition of Sophocles' Trachiniae and his ongoing translations from the Chinese classics, it signaled his return to sustained composition and his eventual decision to resume his life work, the Cantos. The success of Carey Perloff's Classic Stage Company debut of Pound's play in 1987 has already demonstrated the interest of the theatrical community in the work, and this presentation of the text, with critical apparatus, is a major event in Pound studies. The edition serves as a kind of practical workshop in translation, particularly in its exposition of Pound's discussions with his collaborator, Rudd Fleming. Richard Reid demonstrates in his introduction that Pound's choice of the Elektra was of crucial significance. In the play Sophocles confronts many of our most deeply held cultural assumptions: those concerning the family, the community, the claims of religion and justice, and language itself. As anyone familiar with the works of Pound will readily recognize, these issues are central in his own writings. The Elektra clarifies the formal, thematic, and psychological dilemmas seen in his work following the achievements recorded in the Pisan Cantos. This play and Pound's version of the Trachiniae can lead to a reassessment of his entire oeuvre in the context of this century's history. It will be essential reading for admirers of Pound's poetry, for students of the art of translation, and for directors and actors interested in performing the drama of ancient Athens on the modern stage. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This critical edition of Ezra Pound's Elektra marks the most significant appearance in twenty years of a "new" work by the controversial poet. Composed in the early months of 1949, while Pound was under indictment for treason and hospitalized by court order in Washington, D. C., this hitherto unpublished version of Sophocles' play documents a critical stage in the poet's writing career: with his subsequent rendition of Sophocles' Trachiniae and his ongoing translations from the Chinese classics, it signaled his return to sustained composition and his eventual decision to resume his life work, the Cantos. The success of Carey Perloff's Classic Stage Company debut of Pound's play in 1987 has already demonstrated the interest of the theatrical community in the work, and this presentation of the text, with critical apparatus, is a major event in Pound studies. The edition serves as a kind of practical workshop in translation, particularly in its exposition of Pound's discussions with his collaborator, Rudd Fleming. Richard Reid demonstrates in his introduction that Pound's choice of the Elektra was of crucial significance. In the play Sophocles confronts many of our most deeply held cultural assumptions: those concerning the family, the community, the claims of religion and justice, and language itself. As anyone familiar with the works of Pound will readily recognize, these issues are central in his own writings. The Elektra clarifies the formal, thematic, and psychological dilemmas seen in his work following the achievements recorded in the Pisan Cantos. This play and Pound's version of the Trachiniae can lead to a reassessment of his entire oeuvre in the context of this century's history. It will be essential reading for admirers of Pound's poetry, for students of the art of translation, and for directors and actors interested in performing the drama of ancient Athens on the modern stage. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Almost every individual, family, nation, indeed most of the world, is today in thrall to the money lenders. Opposing the Money Lenders examines our parasitic financial system and the means by which it might be replaced.

Cuenta Noel Stock que a principios de 1916 entreg Pound la mecanograf a de Lustra a Elkin Mathews, quien, al parecer, la envi al impresor sin haberla le do adecuadamente. En mayo recibi Pound una carta de Yeats diciendo que tanto Mathews como Clowes, al haber le do los poemas en las pruebas de imprenta, hab an quedado horrorizados. Yeats estaba de acuerdo con ellos respecto de los poetas violentos, aunque no respecto de los indecentes. Pensaba que se deb a permitir que un hombre fuera tan indecente como gustara. Siguiendo las anotaciones de Richard Sieburth, existieron dos primeras ediciones de Lustra en Londres editadas por Elkin Mathews en 1916: ambas con modificaciones, y poemas censurados por el mismo editor (poemas como Salutation the Second, The Temperaments, The Lake Isle; entre otros). Hacia 1917, sin embargo, apareci una edici n privada en Nueva York, editada por Alfred A. Knopf (Ezra POUND, Lustra of Ezra Pound, with earlier poems, New York, A. A. Knopf, 1917), con todos los poemas publicados en su versi n original, con excepci n del poema The Temperaments que fue excluido. Esta edici n y traducci n est basada en esta ltima versi n de Knopf de 1917, con la inclusi n de The Temperaments, junto a los poemas censurados y exlu dos de las ediciones anteriores.