Ezra Pound

No m s de seis meses despu s de la publicaci n de Personae Pound hab a preparado otro volumen de poes a bajo el auspicio de Elkin Mathews Vigo Street Londres bajo el t tulo de Exultations (1909).De los veintisiete poemas de Exultations sin embargo m s de diez fueron repeticiones de A Lume Spento y A Quinzaine For This Yule- Esta edici n hasta ahora in dita en toda su extensi n en lengua espa ola fue preparada por el poeta y critico literario Juan Arabia.

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. We have represented this book in the same form as it was first published. Hence any marks seen are left intentionally to preserve its true nature.

Written during the Italian winter of 1930, The Blue Spill is an unfinished detective novel written by Ezra Pound – the leading figure of modernist poetry in the 20th century – and his long-time companion Olga Rudge. Published for the first time in this authoritative critical edition, the novel reflects both Rudge’s and Pound’s voracious reading of popular fiction as it echoes and parodies such writers as Agatha Christie, Dorothy L. Sayers and P.G. Wodehouse.Based on the original manuscripts of the novel, this critical edition includes annotation and textual commentary throughout. The book also includes critical essays exploring the contexts of the work, from the dynamics of artistic collaboration to the growing popularity of detective fiction at the beginning of the 20th century. Taken together, this unique publication sheds new light on the relationship between the literary avant-garde and popular culture in the modernist period.

"[...] 20 vuotta unelmaa/ ja pilvet Pisan tienoilla/ ovat yhtä kauniita kuin missä tahansa Italiassa/ sanoi nuori Mozart: jos otatte prisen/ tai seuraten Poncea ("Ponthe"/ lähteelle Floridassa/ de Leon alla fuente florida/ tai Ankhises, joka tarttui hänen ilmakupeisiinsa/ ja veti hänet luokseen/ [...]" PISAN CANTOT (The Pisan Cantos, 1948) on outo kulttuurihistoriallinen muistomerkki. Se vaikuttaa modernistien etujoukkoon tuolloin neljä vuosikymmentä lasketun ja Italian fasistihallinnon palveluksessa 20 vuotta intomielisesti toimineen tekijänsä poliittiselta omaelämäkerralta ja samalla ynnäykseltä hänen kieli- ja kirjallisuuskäsityksistään. Teos sai tuoreeltaan Yhdysvaltain kongressin kirjaston runouspalkinnon, mutta kirvoitti myös tylyä arvostelua mahdottomine näkökulmineen ja mahtipontisine otteineen.Tutkijoista esimerkiksi Andrew DuBois'n ja Frank Lentricchian sanoin se on "seka-aineksinen sekasortoisuuteen saakka". Muiden muassa John Longenbach taas painottaa teoksen toista astetta tai ulottuvuutta: rytmisten, kieliopillisten ja retoristen rakenteiden välillisyyttä tai niiden katoamisen ja ilmaantumisen vuorottelua. Teos on tarjonnut vastaanottajilleen loputtomasti tutkittavaa.Kiistelty varjoklassikko ilmestyy nyt ensimmäistä kertaa suomeksi. Siihen sisältyvät kääntäjän runsaat huomautukset ja perehtyneet jälkisanat.

Certain of the poems in Lustra have offended admirers of the verse of the Personae period. When a poet alters or develops, many of his admirers are sure to drop off. Any poet, if he is to survive as a writer beyond his twenty-fifth year, must alter; he must seek new literary influences; he will have different emotions to express. This is disconcerting to that public which likes a poet to spin his whole work out of the feelings of his youth; which likes to be able to open a new volume of his poems with the assurance that they will be able to approach it exactly as they approached the preceding. They do not like that constant readjustment which the following of Mr. Pound's work demands. Thus has Lustra been a disappointment to some; though it manifests no falling off in technique, and no impoverishment of feeling. Some of the poems (including several of the Contemporanea) are a more direct statement of views than Pound's verse had ever given before. T.S. Eliot "Ezra Pound: His Metric and Poetry

This collection of literature attempts to compile many of the classic works that have stood the test of time and offer them at a reduced, affordable price, in an attractive volume so that everyone can enjoy them.

This critical edition of Ezra Pound's Elektra marks the most significant appearance in twenty years of a "new" work by the controversial poet. Composed in the early months of 1949, while Pound was under indictment for treason and hospitalized by court order in Washington, D.C., this hitherto unpublished version of Sophocles' play documents a critical stage in the poet's writing career: with his subsequent rendition of Sophocles' Trachiniae and his ongoing translations from the Chinese classics, it signaled his return to sustained composition and his eventual decision to resume his life work, the Cantos. The success of Carey Perloff's Classic Stage Company debut of Pound's play in 1987 has already demonstrated the interest of the theatrical community in the work, and this presentation of the text, with critical apparatus, is a major event in Pound studies. The edition serves as a kind of practical workshop in translation, particularly in its exposition of Pound's discussions with his collaborator, Rudd Fleming. Richard Reid demonstrates in his introduction that Pound's choice of the Elektra was of crucial significance.In the play Sophocles confronts many of our most deeply held cultural assumptions: those concerning the family, the community, the claims of religion and justice, and language itself. As anyone familiar with the works of Pound will readily recognize, these issues are central in his own writings. The Elektra clarifies the formal, thematic, and psychological dilemmas seen in his work following the achievements recorded in the Pisan Cantos. This play and Pound's version of the Trachiniae can lead to a reassessment of his entire oeuvre in the context of this century's history. It will be essential reading for admirers of Pound's poetry, for students of the art of translation, and for directors and actors interested in performing the drama of ancient Athens on the modern stage. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions.The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This critical edition of Ezra Pound's Elektra marks the most significant appearance in twenty years of a "new" work by the controversial poet. Composed in the early months of 1949, while Pound was under indictment for treason and hospitalized by court order in Washington, D.C., this hitherto unpublished version of Sophocles' play documents a critical stage in the poet's writing career: with his subsequent rendition of Sophocles' Trachiniae and his ongoing translations from the Chinese classics, it signaled his return to sustained composition and his eventual decision to resume his life work, the Cantos. The success of Carey Perloff's Classic Stage Company debut of Pound's play in 1987 has already demonstrated the interest of the theatrical community in the work, and this presentation of the text, with critical apparatus, is a major event in Pound studies. The edition serves as a kind of practical workshop in translation, particularly in its exposition of Pound's discussions with his collaborator, Rudd Fleming. Richard Reid demonstrates in his introduction that Pound's choice of the Elektra was of crucial significance.In the play Sophocles confronts many of our most deeply held cultural assumptions: those concerning the family, the community, the claims of religion and justice, and language itself. As anyone familiar with the works of Pound will readily recognize, these issues are central in his own writings. The Elektra clarifies the formal, thematic, and psychological dilemmas seen in his work following the achievements recorded in the Pisan Cantos. This play and Pound's version of the Trachiniae can lead to a reassessment of his entire oeuvre in the context of this century's history. It will be essential reading for admirers of Pound's poetry, for students of the art of translation, and for directors and actors interested in performing the drama of ancient Athens on the modern stage. Originally published in 1989. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions.The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Almost every individual, family, nation, indeed most of the world, is today in thrall to the money lenders. Opposing the Money Lenders examines our parasitic financial system and the means by which it might be replaced.

Cuenta Noel Stock que a principios de 1916 entreg Pound la mecanograf a de Lustra a Elkin Mathews, quien, al parecer, la envi al impresor sin haberla le do adecuadamente. En mayo recibi Pound una carta de Yeats diciendo que tanto Mathews como Clowes, al haber le do los poemas en las pruebas de imprenta, hab an quedado horrorizados. Yeats estaba de acuerdo con ellos respecto de los poetas violentos, aunque no respecto de los indecentes. Pensaba que se deb a permitir que un hombre fuera tan indecente como gustara. Siguiendo las anotaciones de Richard Sieburth, existieron dos primeras ediciones de Lustra en Londres editadas por Elkin Mathews en 1916: ambas con modificaciones, y poemas censurados por el mismo editor (poemas como Salutation the Second, The Temperaments, The Lake Isle; entre otros). Hacia 1917, sin embargo, apareci una edici n privada en Nueva York, editada por Alfred A. Knopf (Ezra POUND, Lustra of Ezra Pound, with earlier poems, New York, A. A. Knopf, 1917), con todos los poemas publicados en su versi n original, con excepci n del poema The Temperaments que fue excluido.Esta edici n y traducci n est basada en esta ltima versi n de Knopf de 1917, con la inclusi n de The Temperaments, junto a los poemas censurados y exlu dos de las ediciones anteriores.

This book has a brief biography of the author Ezra Pound and 27 selected poems as Exultations.

Opposing the Money Lenders is a collection of writings from some of the most determined fighters against usury and the Central Banking system during the 20th Century. Those included are Arthur Nelson Field, John A. Lee, John Hargrave, Ezra Pound, Father Charles Coughlin, and Gottfried Feder, who fought and inspired mass movements that struggled to liberate their nations from the forces of what one - Gottfried Feder - aptly called "Mammonism." The subject of the supply of our money, and who controls it, is the greatest social issue that confronts humanity today. It is the "Hidden Hand" behind history. Without dealing with the problems of banking and usury, without a people having control over its own means of credit and exchange, there can be no genuine nationhood, and no real freedom, whether personal or national. Almost every individual, family, nation, indeed most of the world, is in thrall to the money lenders. Despite advances in mechanisation and technology, people are working longer hours, and are more enslaved to the economic treadmill than were their ancestors in Medieval times. At the same time, despite mass education, people today understand the economic and financial system far less than their parents and grandparents. Opposing the Money Lenders examines our parasitic financial system and the means by which it might be replaced.

First published in 1915, Cathay, Ezra Pound's early monumental work, originally contained fourteen translations from the Chinese and a translation of the Anglo-Saxon poem "The Seafarer." Over time, these poems have been widely read and loved as both translations and original poetry. In 1916, Cathay was reprinted in the book Lustra without "The Seafarer" and with four more Chinese poems. Cathay is greatly indebted to the notes of a Harvard-trained scholar Ernest Fenollosa. "In Fenollosa's Chinese poetry materials," Pound scholar Zhaoming Qian writes, "Pound discovered a new model that at once mirrored and challenged his developing poetics." Edited by Qian, this centennial edition reproduces for the first time the text of the original publication plus the poems from Lustra and transcripts of all the relevant Fenollosa notes and Chinese texts. Also included is a new foreword by Ezra Pound's daughter Mary de Rachewiltz, providing an appreciation and fascinating background material on this pivotal work of Pound's oeuvre.