Jan 4, 2010
From the beginning, Ezra Pound’s problem was to re-create what he found meaningful in the past and yet sound new to his contemporaries. He solved the problem partially in Hugh Selwyn Mauberley (1920), completely in The Cantos (1948). That he did solve it is attested by the enormous influence of his poetry and criticism on the poetic idiom, an influence felt even by those who find it difficult to understand his works. The solution to what was essentially a problem of form meant, inevitably, any number of false starts that the later Pound...
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