Posts Tagged ‘Ezra Pound’
June 16, 2015 | by Dan Piepenbring
A letter from Ezra Pound to James Joyce, March 1918. Pound, then an editor for the New York magazine The Little Review, had arranged to serialize Joyce’s Ulysses; he feared its more scatological parts would result in confiscation from the government. The Egoist, a British magazine also running the novel in installments, had failed to find a printer willing to accept it.
The Little Review had already been suppressed once, in November 1917, for a piece by Wyndham Lewis; Judge Augustus Hand had banned it, citing a subsection of the U. S. Penal Code that likened prurient literature to information about contraceptives. “I confess to having been a bad citizen,” Pound had rebutted in print, “to just the extent of having been ignorant that at any moment my works might be classed in the law’s eye with the inventions of the late Dr. Condom.”
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February 25, 2015 | by Dan Piepenbring
- In a 1914 publicity stunt—back when poets were free to partake of the great PR machine—Ezra Pound, W. B. Yeats, and four others gathered at a luncheon to eat a peacock. “The papers were alerted, and news of the meal spread far and wide, from the London Times to the Boston Evening Transcript.”
- Karl Ove Knausgaard, your humble correspondent, is traveling across America for The New York Times Magazine: “The editor proposed that I travel to Newfoundland and visit the place where the Vikings had settled, then rent a car and drive south, into the U.S. and westward to Minnesota, where a large majority of Norwegian-American immigrants had settled, and then write about it. ‘A tongue-in-cheek Tocqueville,’ as he put it.”
- Beethoven, Brahms, Mahler, Wagner: the Romantic legacy of these composers lives on … in first-person shooters. “The grandiloquent sounds of the nineteenth century are still alive in the new millennium … but only when someone is getting bludgeoned, bloodied, blown-up, or decimated with automatic weapons … Even heavy metal isn’t heavy enough for most composers seeking to juice up their combat scenes. We need something with a little more sturm und drang.
- Starting to write a book is hard. Then there’s the whole middle part—also difficult. And finally there’s the end, which is no cakewalk, either. Can we learn anything from the last sentences in famous novels? “For writers, the last sentences aren’t about reader responsibility at all—it’s a once-in-a-lifetime chance to stop worrying about what comes next, because nothing does. No more keeping the reader interested, no more wariness over giving the game away. This is the game.”
- On rereading Eileen Simpson’s Poets in Their Youth, a 1982 memoir of her turbulent marriage to John Berryman: “For a long time I could not shake the belief that these poets, all of them dead before their time from madness, self-neglect or suicide, paid a noble price for their pursuit of truth and beauty … I don’t think that anymore. Now, it’s Simpson herself who seems to be the hero … Simpson, who became a psychotherapist and went on to publish several books, writes with an almost uncanny clemency and a kind of cerulean objectivity. Where there might have been bitterness there is, instead, compassion.”
October 14, 2014 | by Dan Piepenbring
For E. E. Cummings’s birthday: a letter he wrote to Ezra Pound in October 1941, larded with gossip, political commentary, neologisms, and mordant pseudonyms. (Look out for Archibald MacLeish and William Carlos Williams, among others.) Pound and Cummings first met in Paris in 1921; this letter and others from the expansive Pound-Cummings correspondence appeared in our Fall 1966 issue, with Cummings’s “often eccentric punctuation and his verbal byplay intact.”
October 8, 1941
whole, round, and heartiest greetings from the princess & me to our favorite Ikey-Kikey, Wandering Jew, Quo Vadis,Oppressed Minority Of one, Misunderstood Master, Mister Lonelyheart, and Man Without A Country
re whose latest queeries
East Maxman has gone off on a c-nd-m in a pamphlet arguing everybody should support Wussia, for the nonce. “Time” (a loose) mag says Don Josh Bathos of London England told P.E.N. innulluxuls that for the nonce writers shouldn’t be writing. Each collective choisi(pastparticiple,you recall,of choisir)without exception and—may I add—very naturally desires for the nonce nothing but Adolph’s Absolute Annihilation, Coûte Que Coûte (SIC). A man who once became worshipped of one thousand million pibbul by not falling into the ocean while simultaneously peeping through a periscope and sucking drugstore sandwiches is excoriated for,for the nonce,freedom of speech. Perfectly versus the macarchibald maclapdog macleash—one(1)poet,John Peale Bishop, hold a nonce of a USGov’t job;vide ye newe Rockyfeller-sponsored ultrarumpus to boost SA infrarelations. Paragraph and your excoed Billy The Medico made a far from noncelike W.C. of himself(per a puddle of a periodical called “Decision”)relating how his poor pal E.P. = talented etc but ignorant ass who etc can’t play the etc piano etc… over which tour d’argent the wily Scotch duckfuggur Peter Munro Jack 5 Charles Street NYCity waxed so wroth he hurled at me into New Hampshire a nutn if not incandescing wire beginning “stab a man in the back but do it three years too late”:’twould hence appear you’ve still some friends, uncle Ezra, whether vi piace or non
now to descend to the surface;or, concerning oldfashioned i: every whatsoever bully(e.g. all honourless & lazy punks twerps thugs slobs politicos parlourpimps murderers and other reformers continues impressing me as a trifle more isn’t than least can less and the later it’s Itler the sooner hit’s Ess. Tune: The Gutters Of Chicago
“make haste” spake the Lord of New Dealings
“neutrality’s hard on my feelings”
—they returned from the bank
with the furter in frank:
& the walls,& the floors,&the ceilings)
As my father wrote me when I disgraced Orne—forsan et haec. And the censor let those six words through
hardy is as hardy does
March 26, 2014 | by Dan Piepenbring
Robert Frost was born on this day in 1874.
Among other things, what [Ezra] Pound did was show me bohemia.
Was there much bohemia to see at that time?
More than I had ever seen. I’d never had any. He’d take me to restaurants and things. Showed me jujitsu in a restaurant. Threw me over his head.
Did he do that?
Wasn’t ready for him at all. I was just as strong as he was. He said, “I’ll show you, I’ll show you. Stand up.” So I stood up, gave him my hand. He grabbed my wrist, tipped over backwards and threw me over his head.
How did you like that?
Oh, it was all right.
—Robert Frost, the Art of Poetry No. 2, 1960
June 14, 2013 | by Alexander Nazaryan
It is best to dispense at once with the salacious stuff of Charlie Newman’s life: he was a drunk, a bastard, and a boor. His marriages did not last. His books did not bring fame. When not poisoning his liver or relations with both family and fellow writers, he taught college, smoked a pipe, and trained dogs.
Only the very last of these facts is relevant when reading In Partial Disgrace, a fantastically odd posthumous novel for those who like their beauty strange, their plots unruly, their ideas ambitious. It has been patched together by his nephew Ben Ryder Howe—a former editor at The Paris Review–and released this spring by Dalkey Archive Press. The book is set in a fictional European land called Cannonia, its history based on that of Hungary but its name quite clearly derived from the Latin for dog, canis. The main character, Felix Aufidius Pzalmanazar, is a dog breeder, and there are roughly 0.7 references to the canine species on each page of this gorgeous mess of a novel, which is what Pale Fire (a novel Newman adored) might have read like if given a heavy-handed edit by Cesar “The Dog Whisperer” Millan. Read More »
February 26, 2013 | by Rhoda Feng
The Grolier Poetry Book Shop in Cambridge, Massachusetts, is both a misnomer and an anomaly. It has long dedicated itself to the task of promoting the reading and writing of poetry and has, for eighty-five years, served as a niche for poets the world over. While its reputation has bloomed over the years, thanks largely to word-of-mouth praise, it has never fared well financially, partly due to competition from larger stores and the Internet, partly because poetry has never been popular with the masses, and partly because its founder seems to have done everything in his power to ensure that his store not be turned into a business.
Located on Plympton Street in Harvard Square, the Grolier occupies just 404 square feet of space and is dwarfed by the neighboring Harvard Book Store. A white square sign with meticulous black lettering juts out near the top of the store entrance. The font size decreases from top to bottom, much like on an eye exam chart, and one can just make out, at the very top, a finely done illustration of three cats (or is it the same cat?) dozing, grooming, and turning their backs on the viewer.
Upon ascending a small flight of steps, one is greeted by the sight of an abundance of colorful spines—approximately fifteen thousand—neatly arranged against nearly every flat surface of the shop. These volumes are neatly balkanized into several categories, including anthologies, used, African-American, early English, Irish, Russian, Chinese, Iranian, Indian, Latin, classical Greek, Japanese, Korean, East European, Spanish, and Catalan.
Above the towering shelves are approximately seventy black and white photos (many courtesy of the photographer Elsa Dorfman) of poets and other members of the literati for whom the Grolier has served as a meeting place for well over half a century. Among the Grolier’s most illustrious visitors, most of whom are smiling or gazing sagely and serenely ahead in the photos, are T. S. Eliot, Robert Lowell, Elizabeth Bishop, e. e. cummings, Marianne Moore, James Tate, Donald Hall, and Helen Vendler.
Off to one side at the front of the store sits a lean shelf of chapbooks and a donation jar; a small note says that the chapbooks have been generously donated by the author and that monetary contributions to the shop would be greatly appreciated. Directly across this bookcase is the cash register, propped up on a desk and flanked by sundry items, including bookmarks, promotional literature, pamphlets, business cards, and commemorative pens. On the wall right adjacent to the register hangs a certificate from Boston Magazine honoring the Grolier as the best poetry store of 1994. Read More »