Dogged one:
Ez made poor choices and chose the wrong friends, conceded.
That does not negate his contribution to twentieth century poetics, nor his strivings to keep other writers, like James Joyce, T.S. Eliot, Ford Maddox Ford, and visual artists like Henri Gaudier-Brzeska and others alive and producing their art. More could be added to this list, without whom modernism would be the poorer by light years. Margaret Anderson and Jane Heap profited greatly from his editorship and tutelage.
Read Pound's careful and brilliant marginalia in the original manuscript of "The Waste Land" to gauge EP's contribution to this key work of modernist literature.
This publication ( the original WL ms.) appeared when I was in graduate school. After reading the whole book and its copious notes many times, one emerges with the impression that "The Waste Land" gained so much through Pound's contribution that it could almost be called a collaboration between EP and Eliot.
Here's an interesting page, with comments on both the de-provincialization of American poetry, and in "Imagism and After", a more exact appraisal of Pound's relationship to imagism:
http://encarta.msn.com/encyclopedia_761 ... y.html#p48
The links here, including those to Eliot and his works, make claifying reading for the casual student of Pound.
Pound abandoned and rejected imagism after Amy Lowell began to dominate the style. Pound then categorized it as "Amy-gism."
The best indictment of Pound I know is William H. Gass's essay on Old Ez. In "Finding A Form." I wrote to WHG and told him so, and included a few questions and comments. Gass wrote back very graciously ( typically for him). Read Gass's essay if you haven't. He doesn't give the "old caged traitor" an easy ride.
http://www.amazon.com/exec/obidos/ASIN/ ... 26-3481608
In his essay, Gass, while pointing out Pound's anti-semitism and other cranky, wrong and fascist meanderings, also points to Pound's clear contributions to modern art.
You will not see me defending Ezra Pound, but to sweep away his life of labor in the cause of rebuilding a vision of art among twentieth century readers and writers on the basis of comments by his calumniators instead of reading Pound thoroughly ( and I am speaking of hundreds and thousands of pages) and then judging him, is not entirely fair.
Read Hugh Kenner's careful ( and hefty) study of Pound and then deny Pound could parse his way through anything.
No, Pound is not a philosopher.
No, he is not a humanist with his heart and head in the right place.
I shall not argue for Pound any further ( if I ever did).
My view is that I take what I need from writers and ignore the rest, often including their politics and day-to-day beastliness.
William Faulkner was a beast of a drunk, ditto his buddy Sherwood Anderson. Ditto Scott Fitzgerald. All great writers I wouldn't have wanted to meet in person.
Anti-Semitism, like any form of bigotry, is nauseating.
Benjamin Franklin, another great American writer, felt " . . .perhaps rum in excess will prove the appointed means to exterminate the Indian and make way for the cultivators and their plows . . ."
Edgar Allan Poe was in favor of of much of the racism and slavery that prevailed in his time. Herbert Von Karajan joined the Nazi Party, as did the great visual artist, Emil Nolde, joining the Danish Nazis in 1933. This list could be greatly lengthened, of course. Heidegger has been fought over by the academic heavyweights in "The New York Review of Books" since I started reading that magazine regularly in 1976.
"The ABC of Reading" and "The Chinese Written Character as a Medium for Poetry" (by Pound's friend and colleague the Sinologist Ernest Fenollosa, shaped and edited by Pound), in addition to containing an occasional nut political comment, are important books.
There are others, but I weary of this. I'm no longer doing it for a living.
I admire your arguments ( at times), e-dog.
I just don't enjoy being in the middle of them.
By the way, I was referring to Pound's famous comment on "curiosity" in literature and history, not to his politics or view of "Nosy Rosenfeld" or his praise for "Muss."
All those comments and the cracked mind behind them are, of course, disgusting.
Peace,
Zlatko