... view while arguing for a revisionary history of modernism based on continuities and extensions of decadent (that is, late, darkly Romantic) attitudes in modernism’s early years, through 1922. He deals extensively with the work of Ezra Pound and T. S. Eliot during those years, but also first with the...

...Frances Dickey Ezra Pound and the Visual Culture of Modernism , by Beasley Rebecca , Cambridge : Cambridge University Press , 2007 . 221 pages. Copyright © Hofstra University 2008 Ezra Pound and the Ideology of Art Ezra Pound and the Visual Culture of Modernism by Rebecca...

...Jason M. Coats Copyright © Hofstra University 2009 w “Part of the War Waste”: Pound, Imagism, and Rhetorical Excess Jason M. Coats In Jefferson and/or Mussolini (1935), Pound asserts that “London stank of decay back before 1914 and I have recorded the feel of it in a poem here...

...Leon Surette Ezra Pound: Poet. A Portrait of the Man and His Work. Volume 1: The Young Genius 1885–1920 , by Moody A. David , Oxford : The Clarendon Press , 2007 . 507 pages. Copyright © Hofstra University 2009 Saving Appearances: Another Ezra Pound Biography Ezra Pound: Poet...

...Michael Coyle The Modern Portrait Poem: From Dante Gabriel Rossetti to Ezra Pound , by Dickey Frances , University of Virginia Press , 2012 . 260 pages. Copyright © Hofstra University 2013 Review Reviews The Modern Portrait Poem: From Dante Gabriel Rossetti to Ezra Pound...

...Fiona Green This article focuses on the poems Marianne Moore wrote during and between visits to Virginia in the mid-1930s that were published in The Pangolin and Other Verse (1936). Prompted by an exchange of letters between Moore and Ezra Pound in 1935, the essay considers relationships between...

...Angus Fletcher Copyright © Hofstra University 2002 m Ezra Pound’s Egypt and the Origin of the Cantos Angus Fletcher A t the origin of the Cantos lies a puzzle that no one has ever attempt­ ed to solve: Ezra Pound’s sudden loss of interest in Egypt. Egypt pos­...

...Catherine E. Paul Copyright © Hofstra University 2005 41 Italian Fascist Exhibitions and Ezra Pound’s Move to the Imperial Catherine E. Paul In or about May 1936, Ezra Pound’s method for teaching neophytes about culture changed. During the 1930s, he had become increasingly...

...Steven Yao Ezra Pound and African-American Modernism , edited by Coyle Michael , Orono, Maine : National Poetry Foundation , 2001 . 272 pages. Copyright © Hofstra University 2004 Steven Yao reason to come into being. It has been a great pleasure for us, in the brief time...

...Lucas Klein Chinese Dreams: Pound, Brecht, Tel Quel , by Hayot Eric , Ann Arbor : University of Michigan Press , 2004 . 220 pages. Copyright © Hofstra University 2006 Translating the Dreamers of China Chinese Dreams: Pound, Brecht, Tel Quel by Eric Hayot Ann Arbor...

... sublimity. Such a conviction, as Zhaoming Qian suggests in his new book, influenced the American poets Ezra Pound, Marianne Moore, and Wallace Stevens, not only inspir­ ing their creative practices but also constituting the key to an important aspect of American literary modernism that Qian calls...

... Williams Nearly ten years ago, in the introduction to his seminal study Chinese Dreams: Pound, Brecht, Tel Quel, Eric Hayot noted—with some skepti- cism—the ongoing, institutional success of East/West comparativism in literary studies. “Pound and China” had become its own cottage industry, Hayot...

... writer? Or does such writing, as the examples of such modernists as Louis-Ferdinand Ce­ line, Ezra Pound, T. S. Eliot, and Wyndham Lewis would suggest, especially lend itself to culturally or politically retrograde projects? The political implications of any particular specimen of modernist or...

... provocative new manifesto appearing in the American literary journal the Forum . Titled “The Spectric School of Poetry” and authored by Knish and Morgan, the essay opened by attacking Ezra Pound and Wyndham Lewis’s recent Vorticist departure in no uncertain terms: “The Vorticist School of poetry died an...

..., in their modernist collusion. Ultimately, their competitive pilfering serves to illuminate one of modernism’s gen­ eral anxieties, reflected in Pound’s claim that “there is nothing that’s quite your own” (“Portrait” 58 § Marsden’s status in literary modernism remains ambiguous. While her...

... begins with a chapter devoted to the modernist poets whose work shapes postwar poetry’s handling of economic matters. Ezra Pound and W. H. Auden respond to the catastrophes of the early and mid-twentieth century by developing two different models. The former creates a “humanist writing-as...

...] Pound’s conviction that new forms were needed for the new times, did not include the con- temporary world in her Imagist poetry. She did not observe the superficialities of social life, as Pound did, or, with few excep- tions, take up urban themes, as Eliot did. The environment...

... body, her work necessarily differs from, even opposes, the work of male modernist contemporaries like Ezra Pound and Wyndham Lewis.15 Further, as Friedman suggests, H.D.’s turn to gynopoetics in the late 1910s is read as a pacifist move, concomitant with her resistance to violence...

... the life of Fyodor Dostoevsky, who faced the firing squad for supposedly joining an underground organization, then had his sentence commuted to hard labor in a Siberian prison camp. Or, from across the political divide, there is Coetzee’s interest in the case of Ezra Pound, in- carcerated first...

... the poet with the term paideuma for the concept of cultural morphology. But they also underscore Pound’s deep interest in African culture and his active, if spotty, engage­ ment with African-Americans. Particularly interesting here are the brief comments that Pound offers to Hughes...