Ezra Pound

Culture: The Intellectual Autobiography Of A Poet is a book written by the renowned American poet Ezra Pound, in which he reflects on his life and artistic development. The book is essentially an intellectual autobiography, in which Pound discusses his early influences, his education, and his experiences as a writer and thinker. Pound was a major figure in the modernist movement of the early 20th century, and his poetry was known for its experimentation with form and language. In Culture, he discusses his ideas about literature, art, and culture, and reflects on the role of the artist in society. The book is divided into four parts, each of which focuses on a different aspect of Pound's life and work. The first part deals with Pound's childhood and early education, and his early influences as a writer. The second part discusses his time as a student at the University of Pennsylvania, and his early attempts at writing poetry. The third part focuses on his experiences in London and Paris, where he became involved with the modernist movement and met other writers and artists. The final part of the book is perhaps the most significant, as it deals with Pound's ideas about culture and the role of the artist in society. Here, he discusses his theories about the importance of tradition and the need for artists to engage with the world around them. He also reflects on his own work as a poet, and the ways in which his ideas about culture have influenced his writing. Overall, Culture: The Intellectual Autobiography Of A Poet is a fascinating and insightful book that provides a unique perspective on the life and work of one of the most important poets of the 20th century. It is a must-read for anyone interested in modernist literature, or in the role of the artist in society. This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

Gadfly: December, 1959 is a book written by the renowned American poet and critic, Ezra Pound. The book is a collection of essays, letters, and poems that were written by Pound during his confinement at St. Elizabeths Hospital in Washington, D. C. Pound was incarcerated at the hospital for over a decade due to his controversial political views and alleged support for fascism during World War II. The book offers a unique insight into Pound's thoughts and ideas during this period of confinement. The essays and letters cover a wide range of topics, including politics, economics, literature, and philosophy. Pound's writing is characterized by his trademark wit, erudition, and provocative style. The book also includes a selection of Pound's poems, which are considered some of the most innovative and influential works of modernist poetry. Pound's poetry is known for its complex imagery, unconventional syntax, and use of literary allusions and references. Overall, Gadfly: December, 1959 is a fascinating and thought-provoking book that offers a glimpse into the mind of one of the most important and controversial figures in modern literature. Contains The First Appearance Of Ezra Pound's Ars Vivendi, And Contributions By Austen Warren, Jean Helion, Guy Davenport, Olivier Bernier And Others. This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

The Chinese Written Character As A Medium For Poetry is a book written by Ernest Fenollosa. It is an in-depth exploration of the Chinese language and its written characters, with a specific focus on their use in poetry. The book delves into the history and evolution of the Chinese language, as well as the unique characteristics of its written characters. Fenollosa argues that the Chinese written character is a particularly effective medium for poetry, as it allows for a level of precision and nuance that is not possible with other languages. He provides numerous examples of Chinese poetry and analyzes the ways in which the written characters contribute to their beauty and meaning. The book is considered a seminal work in the field of Chinese language and literature, and has been influential in shaping Western understanding and appreciation of Chinese culture. This scarce antiquarian book is a facsimile reprint of the old original and may contain some imperfections such as library marks and notations. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions, that are true to their original work.

First published in 1919 by Ezra Pound, Ernest Fenollosa's essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound's understanding—it is fair to say, his appropriation—of the text. Fenollosa's manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North America and East Asia. Pound's editing of the essay obscured two important features, here restored to view: Fenollosa's encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This book is the definitive critical edition of Fenollosa's important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound's deletions, insertions, and alterations to Fenollosa's sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa's ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition. This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.

This newly revised and greatly expanded edition of Ezra Pound's Selected Poems is intended to articulate Pound for the twenty-first century. Gone are manyof the "stale creampuffs" (as Pound called them) of the 1949 edition. Instead, new emphasis has been laid on the interpenetration of original compositionand translation within Pound's career. New features of this edition include thecomplete "Homage to Sextus Propertius" in its original lineation, early translations from Cavalcanti, Heine, and the troubadours, as well as late translationsof Sophocles, and the Confucian Odes. As a lifelong expatriate, Pound parceled out his work to a variety of journalsin England, America, France, and Italy. This new edition takes account of thiscomplex publishing history by giving the poems in the chronological order oftheir original magazine publication. We can observe Pound as he first emergesonto the literary scene in the pages of Ford Madox Ford's English Review andHarriet Monroe's Chicago-based Poetry, and then as an agent provocateur forthe avant-garde Little Review, Blast, and The Dial. Unlike all previous selections, this volume provides annotation to all theearly poems as well as a running commentary on the later Cantos -- indispensable to any reader wanting to follow Pound on his epic odyssey through ancientChina, medieval Provence, the Italian Renaissance, the early American Republic, and the darkness of the twentieth century. The editor, Richard Sieburth, provides a chronology of Pound's life, a new preface, and an informative afterword, "Selecting Pound." Also included in the appendix are T. S. Eliot's and JohnBerryman's original introductions to Pound's Selected Poems.

This important work, first published in 1934, is a concise statement of Pound'saesthetic theory. It is a primer for the reader who wants to maintain an active, critical mind and become increasingly sensitive to the beauty and inspiration ofthe world's best literature. With characteristic vigor and iconoclasm, Pound illustrates his precepts with exhibits meticulously chosen from the classics, andthe concluding "Treatise on Meter" provides an illuminating essay for anyoneaspiring to read and write poetry. ABC of Reading displays Pound's great ability to open new avenues in literature for our time.

First published in 1919 by Ezra Pound, Ernest Fenollosa's essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound's understanding—it is fair to say, his appropriation—of the text. Fenollosa's manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North America and East Asia. Pound's editing of the essay obscured two important features, here restored to view: Fenollosa's encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This book is the definitive critical edition of Fenollosa's important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound's deletions, insertions, and alterations to Fenollosa's sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa's ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition. This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.

Ezra Pound has been called a "poetic visionary" and the "catalyst of the American modernist movement." All of his work collected runs well over 1,000 pages. Here is a new collection of the best of the best of the poetic work of the young Pound, filled with creative energy, verbal virtuosity, and clear-sighted vision. His continuing goal was to "make it new," and so he did. This volume includes some of Pound's most powerful and most memorable poems from Personae, Exultations, Ripostes, Cathay, Lustra, and Hugh Selwyn Mauberley, along with several other Pound collections. It also includes some poems that have not been previously collected.