Clemson University Press: The Ezra Pound Center for Literature Book Series – serie

This project offers readings of selected individual Cantos from The Cantos of Ezra Pound provided by renowned Poundians. It is designed to be useful for those new to Pound’s epic modernist poem, with each “reading” providing a clear, detailed explanation of Pound’s often complicated poetics and fields of reference. The project will form the most complete resource on The Cantos since Carroll F. Terrell’s A Companion to the Cantos of Ezra Pound, adding developed prose readings to the source-hunting of Terrell’s project. As well as guiding the new reader, however, these essays also offer individual and often original approaches to the poetry in question, providing a wealth of critical material for those already familiar with The Cantos and pursuing the works of Pound in more depth. The variety in approaches and reading methods displayed here offers numerous strategies for readers of Pound and for readers of modernism in general.This is the third volume of three, and describes 21 Cantos in 20 essays, focusing on work published between 1956 and 1969. The first volume addresses work published between 1917 and 1934 while the second looks at Cantos published between 1937 and 1948.

The Ezra Pound Studies Biennial claims a place as the flagship journal entirely devoted to Pound’s work at a time when Pound studies represents one of the most active fields in modernist scholarship. Elaborating on the life, work, and international reception of one of the prime movers of the modernist revolution in the arts and letters, this inaugural volume joins an ever-increasing number of studies examining Pound’s letters, prose, poetry, translations, companions and international reception, and taking the form among other things of critical essays and editions, digital projects, and monographs. Building on this work, the current volume features twelve high-caliber contributions written by a diverse group of established and emerging Pound scholars. Their subjects include the genesis of Pound’s Pisan Cantos, the poet’s political and economic preoccupations, his association with modernist women writers, his fascination with typography and with the Italian Renaissance, and his translations of Noh plays and French poetry.

Award for the Best Collection of Essays on Culture in English Language in its 2024 by by AEDEAN (The Spanish Association of Anglo-American Studies)This collection offers for the first time criticism, biographical essays, analysis, translation studies, and reminiscences of Ezra Pound’s extensive interaction with Spain and Spanish culture, from his earliest visits to Spain in 1902 and 1906 and his study of significant Spanish writers to the dedication of the first monument erected anywhere to Pound in the small Spanish village of Medinaceli in 1973. Divided into two sections, Part One: “ON EZRA POUND AND THE SPANISH WORLD” includes a general introduction on Pound’s lifelong involvement with Spain, together with chapters on Pound’s study of classical Spanish literature, the Spanish dimension in The Cantos, Pound’s contemporary Spanish connections, and his legacy in contemporary Spanish letters. Part Two: “EZRA POUND AND THE SPANISH WORLD: A READER,” then gathers for the first time Pound’s own writings (postcards, letters, and essays) concerning Spain and Spanish writers, as well as his correspondence with Spanish poets Miguel de Unamuno and Juan Ramón Jiménez and with José Vázquez Amaral, the first Spanish translator of The Cantos in its entirety. The volume includes reminiscences by Spanish Novísimos poets, Antonio Colinas and Jaime Siles, written explicitly for this collection. Besides providing a thorough exploration into Pound’s engagement with Spain, this volume pays homage to Pound’s considerable influence on Spanish culture.

Published in 1938, Guide to Kulchur encapsulates Ezra Pound’s chief concerns: his cultural, historiographic, philosophical, and epistemological theories; his aesthetics and poetics; and his economic and political thought. In its fifty-eight chapters and postscript, it constitutes an interdisciplinary and transhistorical cultural anthropology that exemplifies his slogan for the renovation of ancient wisdom for current use—“ Make It New.” Though wildly encyclopedic, allusive and recursive, Guide to Kulchur is inescapable in any serious study of Pound. A Companion to Ezra Pound’s Guide to Kulchur addresses the formidable interpretive challenges his most far-reaching prose tract presents to the reader. Providing page-by-page glosses on key terms and passages in Guide, the Companion also situates Pound’s allusions and references in relation to other texts in his vast body of work, especially The Cantos. Striking a balance between rigorous scholarly standards and readerly accessibility, the bookis designed to meet the needs of the specialist while keeping the critical apparatus unobtrusive so as also to appeal to students and the general public. A long-needed resource, A Companion to Ezra Pound’s Guide to Kulchur makes a lasting contribution to thestudy of one of the most influential and controversial literary figures of the twentieth century.

The project as a whole represents a landmark publication for modernist studies, bringing together, in a ground-breaking format, a number of critical readings of The Cantos by the world’s leading Pound and modernist scholars. In each chapter a contributor approaches either a single Canto or a defined small group of Cantos in isolation, providing a clear, informative, and interpretive ‘reading’ that includes an up-to-date assessment of sources and an idea of recent critical approaches to the work. Most importantly, each essay offers guidance to those wishing to understand the works while contributing to the creation of a new manner of reading The Cantos as a remarkably diverse but coherent work. This first volume illuminates the gestation of the Cantos-technique and includes essays on the most important Cantos and groups of Cantos from the Ur-Cantos (early, discarded versions of the beginning of Pound’s poem), A Draft of XVI Cantos (1924),A Draft of the Cantos 17–27 (1928), and Eleven New Cantos XXXI–XLI, also known as “Jefferson—Nuevo Mundo,” (1934).

Ezra Pound lived in Italy spanning six decades (1920s to 1970s) and composed here most of his ambitious American and international epic, The Cantos. He largely employed Italian materials: landscapes, artworks, politics, history, people. Bacigalupo’s study approaches Pound’s poetry through its principal physical and cultural background proposing a new and rewarding reading of The Cantos as an account of things seen and noted with a poet’s eye for the striking detail and telling phrase. We visit with Pound his favorite cities and landscapes (Rome, Venice, Rapallo) and encounter some of his foremost Italian peers, associates and translators. Bacigalupo offers readings of important and neglected writings by Pound and shows how he created an autobiographical myth out of his multifarious experience. We get to see the poet at work and are provided with new essential keys to a nuanced understanding of Pound’s lively, tantalizing and contradictory poetic world. This is the first time that so much material concerning a central aspect of Pound’s life and writing has been gathered in one volume.

This volume gathers fifteen essays that offer new interpretations on Pound’s poetics, as well as new perspectives on his critical reception globally. It includes authors from nine different countries and covers Pound’s work from his beginnings as a young poet in Philadelphia in the first decade of the century through his most productive years as a poet, critic, and translator to the first critical treatments of his work in the 1940s and 50s, and on to translations of The Cantos spanning the last fifty years. Although, in our own era, such terms as “cross-cultural thinking,” “globalism,” “transnationalism,” and “internationalism” remain fluid and can often stir controversy in literary studies, especially in discussion of the impact of modernism, the place of Ezra Pound as a prominent modernist figure worldwide has remained unquestioned throughout the last century.

In 1938, American poet Ezra Pound published Guide to Kulchur, a book so radically different from his earlier writing that readers might not have believed that it was written by the same firebrand aesthetician who had advocated in 1913 that poets go in fear of abstractions. But Guide to Kulchur was only the latest example of a new kind of prose that Pound had been writing—fiercely invested in politics and the mobilization of cultural heritage to its service. Pound’s new modernism came as a direct effect of his investment in fascism. Since the last monographic treatment of Pound’s fascism, scholars of literature, history, art history, urban design, and music have uncovered important aspects of the fascist regime’s use of culture to foment Italian national identity. These studies reveal the cultural, mythical, rhetorical, and intellectual aspects of that regime—more than enough new knowledge to require a reappraisal of perhaps the most famous, certainly the most notorious, American in Italy in that era, and perhaps the entire twentieth century. Unlike previous discussions of Pound’s adoption of Italian fascism, which focus mostly on his political and economic interests, this book reveals the importance of the cultural projects of Mussolini’s fascist regime. By bringing Italian primary sources and new approaches to the cultural project of Mussolini’s regime to bear on Pound’s prose work (including unpublished material from the Pound Papers and untranslated periodical contributions), Paul shows how Pound’s modernism changed as a result of involvement in Italian politics and culture. At the same time, it uses the familiar figure of Pound to provide an entry for scholars of Anglo-American modernism into the diverse and complex realm of Italian modernism.A Winner of the 2016 Ezra Pound Society Book Award.

Published in 1938, Guide to Kulchur encapsulates Ezra Pound’s chief concerns: his cultural, historiographic, philosophical, and epistemological theories; his aesthetics and poetics; and his economic and political thought. In its fifty-eight chapters and postscript, it constitutes an interdisciplinary and transhistorical cultural anthropology that exemplifies his slogan for the renovation of ancient wisdom for current use—“ Make It New.” Though wildly encyclopedic, allusive and recursive, Guide to Kulchur is inescapable in any serious study of Pound. A Companion to Ezra Pound’s Guide to Kulchur addresses the formidable interpretive challenges his most far-reaching prose tract presents to the reader. Providing page-by-page glosses on key terms and passages in Guide, the Companion also situates Pound’s allusions and references in relation to other texts in his vast body of work, especially The Cantos. Striking a balance between rigorous scholarly standards and readerly accessibility, the bookis designed to meet the needs of the specialist while keeping the critical apparatus unobtrusive so as also to appeal to students and the general public. A long-needed resource, A Companion to Ezra Pound’s Guide to Kulchur makes a lasting contribution to thestudy of one of the most influential and controversial literary figures of the twentieth century.

The project as a whole represents a landmark publication for modernist studies, bringing together, in a ground-breaking format, a number of critical readings of The Cantos by the world’s leading Pound and modernist scholars. In each chapter a contributor approaches either a single Canto or a defined small group of Cantos in isolation, providing a clear, informative, and interpretive ‘reading’ that includes an up-to-date assessment of sources and an idea of recent critical approaches to the work. Most importantly, each essay offers guidance to those wishing to understand the works while contributing to the creation of a new manner of reading The Cantos as a remarkably diverse but coherent work. This first volume illuminates the gestation of the Cantos-technique and includes essays on the most important Cantos and groups of Cantos from the Ur-Cantos (early, discarded versions of the beginning of Pound’s poem), A Draft of XVI Cantos (1924),A Draft of the Cantos 17–27 (1928), and Eleven New Cantos XXXI–XLI, also known as “Jefferson—Nuevo Mundo,” (1934).

Ezra Pound lived in Italy spanning six decades (1920s to 1970s) and composed here most of his ambitious American and international epic, The Cantos. He largely employed Italian materials: landscapes, artworks, politics, history, people. Bacigalupo’s study approaches Pound’s poetry through its principal physical and cultural background proposing a new and rewarding reading of The Cantos as an account of things seen and noted with a poet’s eye for the striking detail and telling phrase. We visit with Pound his favorite cities and landscapes (Rome, Venice, Rapallo) and encounter some of his foremost Italian peers, associates and translators. Bacigalupo offers readings of important and neglected writings by Pound and shows how he created an autobiographical myth out of his multifarious experience. We get to see the poet at work and are provided with new essential keys to a nuanced understanding of Pound’s lively, tantalizing and contradictory poetic world. This is the first time that so much material concerning a central aspect of Pound’s life and writing has been gathered in one volume.

The three volumes of Readings in the Cantos bring together, in a ground-breaking format, a number of critical readings by world-renowned scholars of the central modernist long poem, The Cantos of Ezra Pound. Each contributor approaches either a single Canto or a defined small group of Cantos in isolation, providing a clear, informative, and interpretive reading that includes an up-to-date assessment of sources and an idea of recent critical approaches. Together the contributors offer a remarkably diverse reading of The Cantos that at the same time demonstrates the coherence of Pound's text.