|Ezra Pound and Modernism||The Late Cantos of Ezra Pound|
|XXX Cantos (English-Italian edition)||The River of Time|
Baumann, Walter and William Pratt, eds.
Ezra Pound and Modernism. The Irish Factor.
Brighton: Edward Everett Root Publishers, 2017.
“Modern literature remains challenging to readers after a century as the dominant form of expression, but it is as worthy as ever of intelligent assimilation as successive Pound conferences have proved, none more convincingly than the 25th Ezra Pound International Conference in Dublin in 2013, from which this volume of papers was selected." David Pierce.
Preface; Seamus Heaney: Welcome Address.
I. ASPECTS OF MODERNISM:
William Pratt. Defining Modernism: Technique Plus Critique
Alice Bailey Cheylan. Amy Lowell’s European Experiment
Desmond Egan. The Modernists, Pound and Hopkins
II. ON TRANSLATION:
Heinz Ickstadt and Manfred Pfister. Eva Hesse and the Adventures of The Cantos in German
Giovanna Epifania. Dante’s Afterlife and the Question of Translation: Pound, Binyon, Heaney
Peter Liebregts. “With the sun in a golden cup”: Pound and Stesichorus in Canto 23
Giuliana Ferreccio. Pound, Benjamin, and the Language of Names
John Gery. Paradise, Compassion, and Jen in Canto 93
III. IRISH DIMENSIONS:
Walter Baumann. “I ask you, had Synge an audience in his life-time?”: Ezra Pound and J. M. Synge
Anne Conover. The Pounds and the Yeatses: An Irish-American Friendship and Its Influence on Modern Poetry
Catherine Paul. Reading Yeats Reading Pound
Massimo Bacigalupo. “Iseult who was the great love”: Ezra Pound, Iseult Gonne, and Francis Stuart
Ira Nadel. Pound & the Artichoke, Beckett & the Whistle
IV. THE FINE ARTS:
Caterina Ricciardi. Botticelli’s Mystical Nativity and the Isle of Capri in W. B. Yeats’s A Vision
Jonathan C. Creasy. “Let’s to Music”: Florence Farr, Arnold Dolmetsch and Pound’s Musical Poetics
Jo Brantley Berryman. Ezra Pound, Aubrey Beardsley, and The Yellow Book
Notes on Contributors
Michael Kindellan. The Late Cantos of Ezra Pound.
London: Bloomsbury, 2017.
Drawing extensively on archival research, The Late Cantos of Ezra Pound critically explores the textual history of Pound's late verse, namely Section: Rock-Drill (1955) and Thrones (1959). Examining unpublished letters, draft manuscripts and other prepublication material, this book addresses the composition, revision and dissemination of these difficult texts in order to shed new light on their significance to Pound's wider project, his methods and techniques, and the structures of authority--literary and political-that govern the meaning of his poetry. Illustrated by reproductions of archival documents, The Late Cantos of Ezra Pound is an innovative new study of one of the most important poets of the 20th century.
1. Introduction: “The Text is Somewhat Exigeant”: the Lateness of Pound's Late Cantos
2. “I Have Always Loathed Reading”: the Trouble with Philology
3. “To Copy and Amplify”: Totalitarian Scholarship in Section: Rock-Drill
4. “No, That Is Not Textual”: the Immaterial Language of Thrones
5. “A Butcher's Block for Biographers”: On Pound's Quiddity
6. Conclusion: “Ego, Scriptor Cantilenae”: Authority Reconsidered
Appendices and Figures
“This is a very valuable book, a real contribution to Pound studies covering an epoch of his work that still remains relatively unexplored: - and , Cantos 85-109… Kindellan proposes to read these poem “quasi-archaeologically”—“looking into their stages of development, from first inception to final published version(s) and to extrapolate therefrom new understandings about the processes and procedures that governed Pound's writing”… In a striking phrase (one of many throughout the book) he writes, “Pound's texts are unstable not because he was unsure about his meanings; they were unstable because he sure.” To read Pound properly, he concludes, “we have to allow his misconceptions to unfold according to the logic of their errancy” (46); that is, we have to accept them—it's pointless to contest them… I could go on about the many virtues of . The book is written in a lively way and I predict it will become essential for all of us working on - and
Massimo Bacigalupo, ed. The 2nd revised edition of his Italian
translation of Ezra Pound’s A Draft of XXX Cantos.
Parma: Ugo Guanda, 2017.
Ian Probstein. THE RIVER OF TIME.
Time-Space, History, and Language in Avant-Garde, Modernist, and Contemporary Russian and Anglo-American Poetry.
Brighton Mass.: Academic Studies Press, 2017.
This book explores the changing perception of time and space in avant-garde, modernist, and contemporary poetry. The author characterizes the works of modern Russian, French, and Anglo-American poets based on their attitudes towards reality, time, space, and history revealed in their poetics. The author compares the work of major Russian innovative poets Osip Mandelstam, Velimir Khlebnikov, Vladimir Mayakovsky, and Joseph Brodsky with that of W. B. Yeats, T. S. Eliot, Ezra Pound, and, in spite of the postmodernist “estrangement” of reality, the author proves that similar traces can be found in the work of contemporary American poets John Ashbery and Charles Bernstein. Both affinities and drastic differences are revealed in the poets’ attitudes towards time-space, reality, and history.
Introduction. Forms of Time-Space (Chronotope) in Poetry
Part One. Beyond Barriers: Avant-Gardе and Futurism
1. Forms of Chronotope in Avant-Garde Poetry
2. “The King of Time” and “The Slave of Time”: Velimir Khlebnikov and Vladimir Mayakovsky
Part Two. Chronotopes of Reality and History in the Poetry of Osip Mandelstam, W. B. Yeats, and Ezra Pound
1. Nature and “The Artifice of Eternity”: The Relation to Nature and Reality for Yeats, Pound, and Mandelstam
2. “Sailing to Byzantium”—“Sailing after Knowledge”: Byzantium as a Symbol of Cultural Heritage in Mandelstam, Yeats, and Pound
3. Fear and Awe: Osip Mandelstam’s “The Slate Ode”
Part Three. T. S. Eliot: “Liberation from the Future as Well as the Past”
1. The Waste Land as a Human Drama Revealed by Eliot’s Dialogic Imagination
2. “Liberation from the Future as well as the Past”: Time-Space and History in Four Quartets
Part Four. Joseph Brodsky: “The River of Time” or “What Gets Left of a Man”
Part Five. John Ashbery: “Time Is an Emulsion”
Part Six. Charles Bernstein: “Of Time and the Line”