Explores W.B. Yeats and Ezra Pound's relationship as played out against the backdrop of Mussolini's Italy in the 1920s and 1930s and shows how Yeats, Pound, and others in their Italian network developed a late modernist style aimed at effecting world change.
Ezra Pound was an influential propagandist for British, Italian and ultimately German fascist movements. Using long-neglected manuscripts and cutting-edge approaches to fascism as a 'political religion', Feldman argues that Pound's case offers a revealing case study of a modernist author turned propagator of the 'fascist faith'.
‘An extraordinary book of real passionate research’ Edmund de Waal In 1945, Ezra Pound was due to stand trial for treason for his broadcasts in Fascist Italy during the Second World War. But before the trial could take place Pound was pronounced insane. Escaping a potential death sentence he was shipped off to St Elizabeths Hospital near Washington, DC, where he was held for over a decade. At the hospital, Pound was at his most contradictory and most controversial: a genius writer – ‘The most important living poet in the English language’ according to T. S. Eliot – but also a traitor and now, seemingly, a madman. But he remained a magnetic figure. Eliot, Elizabeth Bishop, Robert Lowell and John Berryman all went to visit him at what was perhaps the world’s most unorthodox literary salon: convened by a fascist and held in a lunatic asylum. Told through the eyes of his illustrious visitors, The Bughouse captures the essence of Pound – the artistic flair, the profound human flaws – whilst telling the grand story of politics and art in the twentieth century.
Essays on recent developments in Pound scholarship and research, including newly available primary sources and methodological advances in cognate fields.
The long-awaited second volume of A. David Moody's critically acclaimed three-part biography of Ezra Pound weaves together the illuminating story of his life, his achievements as a poet and a composer, and his one-man crusade for economic justice. The years 1921-1939 were the most productive of Pound's career. In 1920s Paris, he was among the leading figures of the avant-garde and, in that ambience, he composed an opera, made original contributions to the theory of harmony, and wrote the first thirty cantos of his great epic. Moody explores this creativity in fascinating detail, examining the environment that allowed for some of Pound's greatest work. This period also brought Pound's politics firmly into view and Moody is able to shed new light on his sympathy for Mussolini's Fascism, his invoking Confucian China as a model of responsible government, and his abiding commitment to the democratic values of the American Constitution. Pound is revealed as a great poet and a flawed idealist caught up in the turmoil of his darkening time and struggling, sometimes blindly and in error and self-contradiction, to be a force for enlightenment.