The Cantos of Ezra Pound
by Ezra Pound
New Directions, 1996
896 pages / $25.95 buy from Amazon
1. In the Middle Ages, as a practice of divination, as a method of drawing lots and to soothsay, to learn what might be the wrath to come, to draw out a linear progression from a dark mass of chaos, those with access to Virgil’s Aeneid might practice Sortes Vergilianae. The instructions were simple: fetch a copy of the epic poem, let the weary spine fall where it may, and whatever passage the eye lighted on the reader interpreted as indicative of prophecy.
2. My copy of The Cantos of Ezra Pound is a fresh New Directions paperback with the spine still intact. Regardless, it looks ominous. The backdrop black with serifed white letters stamped down on the cover. At twelve years old and knowing nothing of Ezra Pound, I picked the book up because it looked Biblical and heavy, like תֹהוּ וָבֹהוּ, the waters of Genesis 1:2.
3. The Cantos present chaos before the Spirit of God levitates over the deep. Although Pound principally brings forward “light” as his favorite element of spirituality and mysticism, darkness pervades the poem. It’s universally acknowledged that the work turns on an axis based more on Inferno than Paradiso.
4. Interviewed by Donald Hall in The Paris Review, who spent three days with Pound in Italy during the early 1960s, a restless and writer’s block-inflicted Pound comments, “It is difficult to write a paradiso when all the superficial indications are that you ought to write an apocalypse. It is obviously much easier to find inhabitants for an inferno.”
5. After publishing Thrones de los Cantares, the penultimate section of the Cantos, Pound admits, “Okay, I am stuck.” One imagines him gazing out the window, sunlight revealing a Roman street where, if you dig far enough, discoveries of pagan rites abound. He continues, pulling at his beard, “The question is, am I dead.”
6. The aforementioned Hebrew typically translates as “without form and void” (KJV). It can also mean “utter confusion,” a feeling most readers share when tackling the Cantos. Pound’s classic outline for his epic poem, from a letter to his father (who was appropriately, I kid you not, named Homer), begins, “Live man goes down into world of Dead.”
7. Pound, like his hero Odysseus, descended into Hell and still lived to see daylight. Kept outdoors for many weeks near Pisa, Pound was a caged panther, captive of the US military in 1943. During this time or immediately afterwards, he promptly went insane, dubbed mentally unfit to stand trial, housed in the “bughouse” of St. Elizabeths Hospital for thirteen years. As the story goes.
8. To draw lots, to soothsay out of an inferno, is simply not done. It reminds one of the Faust legend, or Robert Johnson’s railroad deal with the devil. Like a Oujia board for literary nerds (or, more properly, “bibliophiles”), a variety of sortes tempt many.
9. But The Cantos beckon. Suck a poor poet into their orbit. They are sirens. Robert Frost mentions, in a 1960 interview with the Paris Review, how Ezra Pound practiced jujitsu on him in a restaurant. “So I stood up, gave him my hand. He grabbed my wrist, tipped over backwards and threw me over his head.” Like its writer, the poem practices a similar sort of action on the reader.
July 29th, 2014 / 12:00 pm
From ABC of Reading
by Ezra Pound
‘Great literature is simply language charged with meaning to the utmost possible degree.’
Dichten = condensare.
I begin with poetry because it is the most concentrated form of verbal expression. Basil Bunting, fumbling about with a German-Italian dictionary, found that this idea of poetry as concentration is as old almost as the German language. ‘Dichten’ is the German verb corresponding to the noun ‘Dichtung’ meaning poetry, and the lexicographer has rendered it by the Italian verb meaning ‘to condense’. READ MORE >
I needed a new bookshelf. before breaking down and ordering one from Staples.com ($49.99 for a wooden 5-shelf) I decided to try the thrift store next door to my apartment. They have a ton of bookshelves, apparently NONE of which are for sale. Probably this is because they’re covered in books which ARE for sale. I didn’t need any books. In fact, books are why I was having this whole shelf-problem in the first place. But then, there, sitting on top of a pile (and btw, if you’re just going to pile the books anyway, why not sell me the shelf? piles work even better on floors than on shelves) I spotted Confucius to Cummings: An Anthology of Poetry edited by Ezra Pound and Marcella Spann. Mine for one hot crumpled dollar bill. No tax. From the back cover: “It is a statement by example of the ‘Pound critical canon’ and, as such, a short course in the history of world poetry…” It will have pride of place on my new bookshelf, which Staples will be delivering sometime tomorrow, along with the pink plastic pencil case ($.50) I ordered to tip the total price over the $50 line and therefore earn free shipping.
“The man of understanding can no more sit quiet and resigned while his country lets its literature decay, and lets good writing meet with contempt, than a good doctor could sit quiet and contented while some ignorant child was infecting itself with tuberculosis under the impression that it was merely eating jam tarts.”
—ABC of Reading
[PS- hat tip to my man, Michael Signorelli, who emailed me the quote just now. Do you have any idea how rad it is to have an editor who sends letters that begin: “Have you been reading Pound today? I started up on ABC of Reading again…” ? Well, allow me to give you an idea: it is very, very rad.]
On this site, in a recent post which garnered 200+ comments, someone quoted Ezra Pound; the source, Pound’s instructional text A B C of Reading.
In the book’s introduction Pound writes, “For those who might like to learn. The book is not addressed to those who have arrived at full knowledge of the subject without knowing the facts.” He goes on to describe A B C as a text-book ” ‘for pleasure as well as profit’ by those no longer in school; by those who have not been to school; or by those who in their college days suffered those things which most of my own generation suffered.”
Obviously Pound had HTML’s audience in mind.
After the jump is a passage that hasn’t aged a day since its 1934 publication.