, London, by Alvin Langdon Coburn]] Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an American expatriate poet and critic, and a major figure in the early modernist movement in poetry. He became known for his role in developing Imagism, which, in reaction to the Victorian and Georgian poets, favored tight language, unadorned imagery, and a strong correspondence between the verbal and musical qualities of the verse and the mood it expressed. His best-known works include Ripostes (1912), Hugh Selwyn Mauberley (1920), and his unfinished 120-section epic, The Cantos, which consumed his middle and late career, and was published between 1917 and 1969.

Working in London in the early 20th century as foreign editor of several American literary magazines, Pound helped to discover and shape the work of contemporaries such as T. S. Eliot, James Joyce, Robert Frost, and Ernest Hemingway. It was Pound who was responsible for the publication in 1915 of Eliot's "The Love Song of J. Alfred Prufrock", and for the serialization from 1918 of Joyce's Ulysses. Hemingway wrote in 1925: "He defends [his friends] when they are attacked, he gets them into magazines and out of jail. He loans them money. ... He writes articles about them. He introduces them to wealthy women. He gets publishers to take their books. He sits up all night with them when they claim to be dying ... he advances them hospital expenses and dissuades them from suicide."

Outraged by the loss of life during the First World War, he lost faith in England, blaming usury and international capitalism for the war. He moved to Italy in 1924 where throughout the 1930s and 1940s, to his friends' dismay, he embraced Benito Mussolini's fascism, expressed support for Adolf Hitler, and wrote for publications owned by the British fascist Oswald Mosley. The Italian government paid him during the Second World War to make hundreds of radio broadcasts criticizing the United States, Franklin D. Roosevelt, and in particular Jews, broadcasts that were monitored by the U.S. government, as a result of which he was arrested for treason by American forces in Italy in 1945. He spent months in detention in a U.S. military camp in Pisa, including 25 days in a six-by-six-foot outdoor steel cage that he said triggered a mental breakdown: "when the raft broke and the waters went over me." Deemed unfit to stand trial, a decision disputed for decades after his death, he was incarcerated in St. Elizabeths psychiatric hospital in Washington, D.C., for over 12 years.

While in custody in Italy he had begun work on sections of The Cantos that became known as The Pisan Cantos (1948), for which he was awarded the Bollingen Prize in 1949 by the Library of Congress. The honor triggered enormous controversy, mostly because of his antisemitism, and in part because it raised literary questions about whether a supposedly mad poet who held such contentious views could produce work of any value. He was released from St. Elizabeths in 1958, thanks to a protracted campaign by his fellow writers, and returned to live in Italy until his death. His political views ensure that his work remains controversial; in 1933 Time magazine called him "a cat that walks by himself, tenaciously unhousebroken and very unsafe for children." Hemingway nevertheless wrote, "The best of Pound's writing—and it is in the Cantos—will last as long as there is any literature."

Early life (1885–1908)

Background

, Pound's grandfather, in the late 1880s]] Pound was born in Hailey, Idaho Territory, the only child of Homer Loomis Pound (1858–1942) and Isabel Weston (1860–1948). Both parents' ancestors had emigrated from England in the 17th century. On his father's side, John Pound, a Quaker, sailed from England around 1650. His grandfather, Thaddeus Coleman Pound (1832–1914), was a retired Republican Congressmen for north-west Wisconsin who had made and lost a fortune in the lumber business. His son Homer, Pound's father, had worked for Thaddeus until Thaddeus secured him an appointment as Register of the Government Land Office in Hailey.

On his mother's side, William Wadsworth (1594–1675), a Puritan, had left England for Boston on the Lion in 1632. The Wadsworths married into the Westons of New York, and Harding Weston and Mary Parker produced Isabel Weston, Pound's mother. Homer followed them, and in 1889 Homer took a job as an assayer at the Philadelphia Mint. The family moved to 417 Walnut Street in Jenkintown, Pennsylvania, then in July 1893 bought a six-bedroom house at 166 Fernbrook Avenue in the town of Wyncote, Pennsylvania.

at the University of Pennsylvania]] He met Hilda Doolittle at university. She was the daughter of the professor of astronomy, and later became known as the poet H.D. Doolittle wrote that she felt her life was irrevocably intertwined with Pound's; she followed him to Europe in 1908, leaving her family, friends, and country for little benefit to herself, and became involved with Pound in developing the "Imagisme" movement in London. He asked her to marry him in the summer of 1907, though her father refused permission, and wrote several poems for her between 1905 and 1907, 25 of which he hand-bound and called "Hilda's Book". He was seeing two other women at the same time—Viola Baxter and Mary Moore—later dedicating a book of poetry, Personae (1909), to the latter. He asked Mary to marry him that summer too, but she turned him down.

His parents and Frances Weston took him on another three-month European tour in 1902, after which he transferred to Hamilton College in Clinton, New York—possibly because of poor grades—where he studied the Provençal dialect with William Pierce Shephard, and Old English with Joseph D. Ibbotson. David Moody writes that it was at Hamilton with Shephard that he read Dante, and out of the discussions emerged the idea for a long poem in three parts—dealing with emotion, instruction, and contemplation—which planted the seed for The Cantos. He graduated with a BPhil in 1905, then studied Romance languages under Hugo A. Rennert at the University of Pennsylvania, obtaining his MA in the spring of 1906. He registered as a PhD student to write a thesis on the jesters in Lope de Vega's plays, and was awarded a Harrison fellowship with a travel grant of $500, which he used to visit Europe again. He spent three weeks in Madrid in various libraries, including one in the royal palace; he was actually standing outside the palace during the attempted assassination on 31 May 1906 by anarchists of King Alfonso, and left the country for fear he would be identified with them. He moved on to Paris, spending two weeks in lectures at the Sorbonne, followed by a week in London. He returned to the U.S. in July, and his first essay, Raphaelite Latin, was published in Book News Monthly in September. At the university he apparently annoyed Felix Schelling, the head of English, with silly remarks during lectures—which included insisting that George Bernard Shaw was better than Shakespeare, and taking out an enormous tin watch and winding it with slow precision—and his fellowship was not renewed at the end of the year.

Teaching

In the fall of 1907 he took a job as a teacher of Romance languages at Wabash College in Crawfordsville, Indiana, a conservative town that he called the sixth circle of hell, with an equally conservative college from which he was dismissed after deliberately provoking the college authorities. Smoking was forbidden, so he would smoke cigarillos in his office down the corridor from the President's. He annoyed his landlords by entertaining friends, including women, and was forced to move from one house after "[t]wo stewdents found me sharing my meagre repast with a lady gent impersonator in my privut apartments," as he told a friend. He was eventually caught in flagrante, although the details remain unclear and he denied any wrongdoing. The incident involved a stranded chorus girl to whom he offered tea and his bed for the night when she was caught in a snowstorm; when she was discovered the next morning by the landladies, Misses Ida and Belle Hall, his insistence that he had slept on the floor was met with disbelief, and he was asked to leave the college. He was glad to be free of the place. It was the only job he ever had, living for the rest of his life on money from his father, his wife's allowance from her parents, gifts from patrons, his royalties and—for several controversial years—fees from Mussolini's government for the broadcasts that saw him arrested for treason.

London (1908–20)

Introduction to literary scene

(1948).]] He returned to Europe in February 1908, arriving by cattle boat in Gibraltar in April with $80 in his pocket. He sent poems to Harper's Magazine and began writing fiction that he hoped he could sell, and by the summer was in Venice, living over a bakery near the San Vio bridge. In July he self-published his first book of poetry, the 72-page A Lume Spento (With Tapers Spent), which sold 100 copies at six cents each. The London Evening Standard called it "wild and haunting stuff, absolutely poetic, original, imaginative." The title was from the third canto of Dante's Purgatorio, alluding to both the excommunicate Manfred's death, and to that of his friend, the Philadelphia artist William Brooke Smith, who died of consumption in his 20s.

In August he moved to London, where he ended up staying almost continuously for 12 years. He wanted to meet W.B. Yeats, the greatest living poet in Pound's view, and they became close friends, although Yeats was older by 28 years. He had sent Yeats a copy of A Lume Spento, and Yeats had replied that he found it charming. Pound told William Carlos Williams, a friend from university: "London, deah old Lundon, is the place for poesy." Arriving in the city with ₤3 (today ₤}}), he rented a room at 8 Duchess Street in the West End, then at 48 Langham Street, near Great Titchfield Street, just a penny bus-ride from the British Museum. The house (see right) sat across an alley from the Yorkshire Grey pub, which made an appearance decades later in the Pisan Cantos, "concerning the landlady's doings / with a lodger unnamed / az waz near Gt Titchfield St. next door to the pub".

He persuaded the bookseller Elkin Mathews—publisher of Yeats's Wind Among the Reeds and the Book of the Rhymer's Club—to display A Lume Spento, and by October 1908 he was being discussed around town. In December he published a second collection, A Quinzaine for This Yule, and after the death of a lecturer at the Regent Street Polytechnic he managed to acquire a position lecturing in the evenings from January to February 1909 on "The Development of Literature in Southern Europe". He would spend his mornings in the British Museum Reading Room, followed by lunch at the Vienna Café on Oxford Street. Ford Madox Ford described him, apparently tongue-in-cheek, as "approach[ing] with the step of a dancer, making passes with a cane at an imaginary opponent. He would wear trousers made of green billiard cloth, a pink coat, a blue shirt, a tie hand-painted by a Japanese friend, an immense sombrero, a flaming beard cut to a point, and a single, large blue earring."

Meeting Dorothy Shakespear, Personae

in February 1909, and they were married in April 1914.]] He met the novelist Olivia Shakespear—Yeats's former lover and the subject of his The Lover Mourns for the Loss of Love—at a literary salon in February 1909, and was introduced to Dorothy, Olivia's daughter, who became his wife in 1914. Through Olivia Shakespear he was introduced to Yeats, the artist Henri Gaudier-Brzeska, Wyndham Lewis, and the rest of London's literary circle. Another patron was the American heiress Margaret Lanier Cravens (1881–1912), who after knowing him a short time offered him a large annual sum to allow him to focus on his work. Cravens killed herself in 1912, probably because the pianist Walter Rummel, long the object of her affection, married someone else, but possibly also because she learned of Pound's engagement to Dorothy.

In June 1909 another collection, Personae, was published by Mathews, his first publication to have any commercial success. It was reviewed by The Daily Telegraph and the Times Literary Supplement among others; they said it was full of passion and magic. Rupert Brooke gave a negative review in The Cambridge Review, complaining that Pound had fallen under the influence of Walt Whitman by writing in "unmetrical sprawling lengths." In September another 27 poems appeared as Exultations, dedicated to Carlos Tracey Chester who had published his essay in Book News Monthly in 1906. Around the same time he moved into new rooms at Church Walk, off Kensington High Street, where he lived most of the time until 1914. His first book of literary criticism, The Spirit of Romance, was published in 1910, based on his lectures at the polytechnic; others included Instigations (1920), Indiscretions (1923), "How to Read" (1931), The ABC of Reading (1934), Make It New (1934), Polite Essays (1937), and Guide to Kulchur (1938). His essays on America were written during this period, and were complied as Patria Mia, published in 1950. He loved New York but no longer felt at home there. Immigrants from Eastern and Southern Europe had arrived, and he felt the city was threatened by commercialism and vulgarity. He suffered jaundice but nevertheless persuaded his parents to finance his passage back to Europe. It was nearly 30 years before he visited the United States again. On 22 February 1911 he sailed from New York on the R.M.S. Mauretania, arriving in Southampton six days later. After a few days in London, he visited Paris again, where he worked on a new collection of poetry, Canzoni (1911), panned by the Westminster Gazette as a "medley of pretension". When he returned to London in August 1911, A.R. Orage, editor of the socialist journal The New Age, hired him to write a weekly column, giving him a steadier income.

Imagism

Hilda Doolittle arrived in London from Philadelphia in May 1911 with the poet Frances Gregg and Gregg's mother; when they returned in September she decided to stay on. Pound introduced her to his friends, including the poet Richard Aldington, whom she fell in love with and married in 1913. Before then, the three of them lived in Church Walk—Pound at no. 10, Doolittle at no. 6, and Aldington at no. 8—and worked daily in the British Museum Reading Room. At the museum he also met regularly with the curator and poet Laurence Binyon, who introduced him to the East Asian artistic and literary concepts that would become so vital to the imagery and technique of his later poetry. The museum's visitors' books show that Pound was often to be found during 1912 and 1913 in the Print Room examining Japanese Nishiki-e inscribed with traditional Japanese Waka verse, a genre of poetry whose radical economy and strict conventions undoubtedly contributed to Imagist techniques of composition. Pound was at that time working on the poems that became Ripostes (1912), trying to move away from his earlier work, which he wrote later had reduced Ford Madox Ford in 1911 to rolling on the floor laughing at Pound's stilted language. He realized with his translation work that the problem lay not in his knowledge of the other languages, but in his use of English:

What obfuscated me was not the Italian but the crust of dead English, the sediment present in my own available vocabulary ... You can't go round this sort of thing. It takes six or eight years to get educated in one's art, and another ten to get rid of that education.

Neither can anyone learn English, one can only learn a series of Englishes. Rossetti made his own language. I hadn't in 1910 made a language, I don't mean a language to use, but even a language to think in.

He understood that to change the structure of your language is to change the way you think and see the world. While living at Church Walk in 1912, Pound, Aldington, and Doolittle started working on ideas about language that became the Imagism movement. The aim was clarity: a fight against abstraction, romanticism, rhetoric, inversion of word order, and over-use of adjectives. Pound later said they agreed in the spring or early summer of 1912 on three principles:

1. Direct treatment of the "thing" whether subjective or objective.
2. To use absolutely no word that does not contribute to the presentation.
3. As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.

Superfluous words, particularly adjectives, were to be avoided, as were expressions like "dim lands of peace," which he said dulled the image by mixing the abstract with the concrete. He wrote that the natural object was always the "adequate symbol." Poets should "go in fear of abstractions," and should not re-tell in mediocre verse what has already been told in good prose. It reads in its entirety:

Ripostes, translation work

's unpublished notes, which led to Cathay (1915).]] It was in Ripostes, submitted to Swift & Co in February 1912 and published by them that October, that Pound moved toward more minimalist language, though Knapp writes that it is an uncertain volume, published when Pound had only begun his move toward Imagism; his first use of the word "Imagiste" was in Ripostes. Michael Alexander writes that the poems show a greater concentration of meaning and economy of rhythm than his earlier work. The collection includes five poems by the British poet T.E. Hulme, killed in Flanders in 1917 during the First World War to Pound's great distress. It also includes his translation of the eighth-century Old English poem "The Seafarer", not a literal translation, but a personal interpretation intended for readers with no Old English, a poem in its own right. It upset scholars, as did his other translations from Latin, Italian, French, and Chinese, either because of errors or because he lacked familiarity with the cultural context. Alexander writes that in some circles his translations made him more unpopular than the treason charge, and the reaction to The Seafarer was a rehearsal for the response to Homage to Sextus Propertius in 1919. His translation from the Italian of Sonnets and ballate of Guido Cavalcanti was also published in 1912.

Of great importance too was his work on the papers of Ernest Fenollosa (1853–1908), an American professor who had taught in Japan, and who had started translations of Japanese poetry and Noh plays, with which Pound became fascinated. Pound used Fenollosa's work as a starting point for what he called the ideogrammic method. Fenollosa had studied Chinese poetry under a Japanese scholar, and in 1913 his widow, Mary McNeil Fenollosa, decided to give his unpublished notes to Pound after seeing his work; she said she was looking for someone who cared about the poetry, rather than the philology. Pound knew no Chinese himself, and was working from the posthumous notes of an American who had studied Chinese under a Japanese teacher. Nevertheless, Michael Alexander writes that there are competent judges of Chinese and English poetry who see Pound's work as the best translations of Chinese to English poetry ever made, though scholars have complained that it contains many mistakes, even more than The Seafarer. The result, the collection Cathay (1915), is in Alexander's view the most attractive volume of Pound's work. Wai-lim Yip of the Chinese University of Hong Kong writes: "One can easily excommunicate Pound from the Forbidden City of Chinese studies, but it seems clear that in his dealings with Cathay, even when he is given only the barest details, he is able to get into the central concerns of the original author by what we may perhaps call a kind of clairvoyance."

Marriage, BLAST

He was hired in August 1912 by Harriet Monroe as a regular contributor to Poetry, and started submitting poems by himself, James Joyce, Robert Frost, D. H. Lawrence, Yeats, H.D., and Aldington, as well as collecting material for a 64-page anthology, Des Imagistes (1914), which included Joyce's "I Hear an Army Charging Upon the Land." The Imagist movement began to attract attention from critics. In November 1913 Yeats took Pound to stay with him in rooms he rented in Stone Cottage in Coleman's Hatch, Sussex, to act as his secretary—Yeats's eyesight was failing—and they stayed there for 10 weeks, reading and writing, walking in the woods, and fencing for exercise. It was the first of three winters they spent there together, including one with Dorothy after she and Pound were married on 20 April 1914.

The marriage proceeded despite initial opposition from her parents, who were concerned about Pound's lack of income. He had only his earnings from literary magazines, particularly Poetry, The New Freewoman, and The Egoist, and was probably earning considerably less than £300 a year. Dorothy's income was £50 of her own and £150 from her family. Her parents eventually consented, perhaps out of fear that she was getting older and no other suitor was in sight. Pound's concession to marry in church helped. Afterwards he and Dorothy moved into a large—famously triangular—room with no bathroom at 5 Holland Place Chambers, near Church Walk, with the newly wed Hilda and Richard Aldington living next door.

Pound began writing for Wyndham Lewis's literary magazine BLAST; only two issues ever appeared, the first in June 1914 and the second a year later. An advertisement in The Egoist said it would discuss "Cubism, Futurism, Imagisme and all Vital Forms of Modern Art." Pound took the opportunity to extend the definition of Imagisme to art, naming it Vorticism: "The image is a radiant node or cluster; it is ... a VORTEX, from which, and through which, and into which, ideas are constantly rushing." When in reaction to the magazine, Lascelles Abercrombie called for the rejection of Imagism and a return to the traditionalism of William Wordsworth, Pound challenged him to a duel on the basis that, "Stupidity carried beyond a certain point becomes a public menace." Abercrombie suggested as their choice of weapon unsold copies of their own books. The publication of BLAST was celebrated at a dinner attended by New England poet Amy Lowell, who came to London to meet the Imagists, but Hilda and Richard were already moving away from Pound's understanding of the movement, as he moved closer to Wyndham Lewis's ideas. When Lowell agreed to finance an anthology of Imagist poets, Pound's work was not included. He began to call Imagisme "Amygism," and in July 1914 declared it dead, asking only that the term be preserved, although Lowell eventually Anglicized it.

First World War, disillusionment

showed T. S. Eliot's Prufrock to practically every editor in England; it was Pound who recognized it as a work of genius. "[Eliot] has actually trained himself AND modernized himself ON HIS OWN," Pound wrote to Monroe in October 1914. "The rest of the promising young have done one or the other but never both. Most of the swine have done neither."

After the publication in 1915 of Cathay, Pound began to speak of working on his long poem. He told a friend in August: "It is a huge, I was going to say, gamble, but shan't," and in September told another that it was a "cryselephantine poem of immeasurable length which will occupy me for the next four decades unless it becomes a bore." About a year later, he had the form of the first three attempts at Canto I, published in Poetry in January 1917. He was now a regular contributor to three literary magazines. From 1917 he wrote music reviews for The New Age under the pen name William Atheling, and weekly pieces for The Little Review and The Egoist. The volume of writing exhausted him, and he began to believe he was wasting his time with prose.

In 1919 he collected and published his essays for The Little Review into a volume called Instigations, and published "Homage to Sextus Propertius" in Poetry. "Homage" is not a strict translation; Moody describes it as "the refraction of an ancient poet through a modern intelligence". Harriet Monroe, editor of Poetry, published a letter from a professor of Latin, W.G. Hale, saying that Pound was "incredibly ignorant" of the language, and alluded to "about three-score errors" in Homage. Harriet did not publish Pound's response, which began "Cat-piss and porcupines!!" and continued, "The thing is no more a translation that my 'Altaforte' is a translation, or than Fitzgerald's Omar is a translation ..." But she interpreted his silence after that as his resignation as foreign editor.

Hugh Selwyn Mauberley

Hugh Selwyn Mauberley—about a poet whose life, like Pound's, has become sterile and meaningless—was published in June 1920, marking his farewell to London. He was disgusted by the lives lost during the war and could not reconcile himself with it. Stephen Adams writes that, just as T. S. Eliot denied he was Prufrock, so Pound denied he was Mauberley, but the poem—made up of 18 short poems—is nevertheless read as autobiographical. It begins with a satirical analysis of the London literary scene, then turns to social criticism and economics, and an attack on the causes of the war, the word "usury" appearing in his work for the first time. The critic F.R. Leavis saw it as Pound's major achievement.

The war had shattered his belief in modern western civilization. He saw the Vorticist movement as finished and doubted his own future as a poet. He had only the New Age to write for, with other magazines ignoring his submissions or not reviewing his work. Toward the end of 1920 he and Dorothy decided their time in London was over, and resolved to move to Paris. A. R. Orage wrote in the January 1921 issue of The New Age:

Mr. Pound has shaken the dust of London from his feet with not too emphatic a gesture of disgust, but, at least, without gratitude to this country .... Mr. Pound has been an exhilarating influence for culture in England ... however, Mr. Pound ... has made more enemies than friends. Much of the Press has been deliberately closed by cabal to him; his books have for some time been ignored or written down; and he himself has been compelled to live on much less than would support a navvy.

Paris (1921–24)

in 1922.]] The Pounds settled in Paris in January 1921 in an inexpensive apartment at 70 bis, rue Notre Dame des Cham. He became friendly with Marcel Duchamp, Tristan Tzara, Fernand Léger and others of the Dada and Surrealist movements, as well as Basil Bunting, Ernest Hemingway, and his wife Hadley. He spent most of his time building furniture for his apartment and bookshelves for the bookstore Shakespeare and Company, and in 1921 his Poems 1918–1921 was published. In 1922 Eliot sent him the manuscript of "The Waste Land", then arrived in Paris to edit it with Pound, who blue-inked it with comments like "make up yr. mind ..." and "georgian." Eliot wrote of it: "I should like to think that the manuscript, with the suppressed passages, had disappeared irrecoverably; yet, on the other hand, I should wish the blue pencilling on it to be preserved as irrefutable evidence of Pound's critical genius."

Hemingway turned to Pound, who had gained a reputation as "an unofficial minister of culture who acted as mid-wife for new literary talent", to blue-ink his short stories. Although 14 years younger than Pound, the two forged a relationship of mutual respect and friendship, living on the same street for a time, and touring Italy together in 1923; as Hemingway biographer Jeffrey Meyers writes, "They liked each other personally, shared the same aesthetic aims, and admired eachother's work", with Hemingway assuming the status of pupil to Pound's teaching. Pound introduced Hemingway to Lewis, Ford, and Joyce, while Hemingway in turn tried to teach Pound to box, but as he told Sherwood Anderson, "[Ezra] habitually leads with his chin and has the general grace of a crayfish of crawfish".

Pound was 36 when he met the American violinist Olga Rudge in Paris in the fall of 1922, beginning a love affair that lasted 50 years. John Tytell writes that Pound had always felt there was a link between his creativity and his ability to seduce women, something Dorothy had turned a blind eye to over the years. He complained shortly after arriving in Paris that he had been there for three months without having managed to find a mistress. He was introduced to Olga, then 26, at a musical salon hosted by American heiress Natalie Barney in her home at 20 rue Jacob, near the Boulevard Saint-Germain. The two moved in different social circles: she was the daughter of a wealthy Youngstown, Ohio steel family, living in her mother's Parisian apartment on the Right Bank, socializing with aristocrats, while his friends were mostly impoverished writers of the Left Bank. They spent the following summer in the south of France, where he worked with George Antheil to apply the concept of Vorticism to music, and managed to write two operas, including Le Testament de Villon. He also wrote pieces for solo violin, which Olga performed.

Italy (1924–45)

Birth of the children

in 1924. "Italy is my place for starting things," he said. and it published works by Pound, Hemingway, and Gertrude Stein, as well as extracts from Joyce's Finnegans Wake, before the money ran out in 1925. Pound wrote music reviews for it that were later collected into Antheil and the Treatise on Harmony. They were unhappy in Paris. Dorothy was complaining about the winters, and Pound's health was poor. At a dinner someone had randomly tried to stab him, and it underlined that their time in France was over. They decided to move to a quieter place, and chose Rapallo, Italy, a town with a population of 15,000. "Italy is my place for starting things," he told a friend. Olga Rudge followed them there, carrying Pound's child. She apparently had no interest in raising a child, but Tytell writes that she felt having one would keep her connected to him. She gave birth to a daughter, Mary, on 9 July 1925 in Bressanone, and the baby was handed over to a German-speaking peasant woman whose own child had died, and who agreed to raise Mary (later de Rachewiltz) for 200 lire a month. He continued to work on Fenollosa's manuscripts, and in 1928 won the Dial poetry award for his translation of Confucius's poem Ta Hio. That year Homer and Isabel visited him in Rapallo. They had not seen him since 1914, and by then Homer had retired so they decided to move to Rapallo themselves, taking a small house, Villa Raggio, on a hill above the town.

The Cantos

The bulk of Pound's work on The Cantos began after his move to Italy. Like all the other great epics, it is the story of good and evil, a descent into hell and progress to paradise. Its hundreds of characters fall into three groups: those who enjoy hell and stay there; those who experience a metamorphosis and want to leave; and a few who lead the rest to paradiso terrestre. He began work on it in 1915, but there were several false starts and he abandoned most of his earlier drafts, beginning again in 1922. The subject matter ranges from Odysseus, Troy, Dionysus, Malatesta, Confucius, and Napoleon, to Jefferson and Mussolini, Chinese history, Pisa, and usury, relying on memories, diaries, jokes, hymns, anecdotes, ideogrammic translation, and up to 15 different languages. Allen Tate, who supported Pound for the Bollingen Prize for the sections of The Cantos known as the Pisan Cantos, writes that the poem is not about anything, and has no beginning, middle, or end. He argues that Pound was incapable of sustained thought and was "at the mercy of random flights of 'angelic insight,' Icarian self-indulgences of prejudices."

The first three cantos—now known as the ur-Cantos—appeared in Poetry in June–August 1917. The Malatesta Cantos (Cantos VIII, IX, X, and XI of a Long Poem) appeared in The Criterion in July 1923, and two further cantos were published in the transatlantic review in January 1924. Pound published 90 copies in Paris in 1925 A Draft of XVI. Cantos of Ezra Pound for the Beginning of a Poem of some Length now first made into a Book. It was followed by A Draft of XXX Cantos (1930), Eleven New Cantos XXI–XLI (1934), The Fifth Decade of Cantos (1937), Cantos LII–LXXI (1940), The Pisan Cantos (1948), written while in custody in Pisa, and Seventy Cantos (1950). followed by Drafts and Fragments: Cantos CX-CXVII (1968). He presented a series of lectures on economics, and made contact with politicians in the United States about education, interstate commerce and international affairs. Although Hemingway advised against it, on 30 January 1933 Pound met Mussolini himself. Olga Rudge had played for Mussolini and had told him about Pound; Pound had already sent him a copy of Cantos XXX. During the meeting he tried to present Mussolini with a digest of his economic ideas, but Tytell writes that Mussolini brushed them aside, though he called the Cantos "divertente" (entertaining). The meeting was recorded in Canto 41: "'Ma questo' / said the boss, 'è divertente.'". Pound told Douglas that he had "never met anyone who seemed to GET my ideas so quickly as the boss."

A number of Pound's books were published in the 1930s, including ABC of Economics (1933), ABC of Reading (1934), Social Credit: An Impact (1935), Jefferson and/or Mussolini (1936), and A Guide to Kulchur (1938). In 1936 James Laughlin—who had visited him in Rapallo in 1933 as a 20-year-old student—set up New Directions Publishing, and acted as Pound's agent, finding publications to accept his work and writing reviews.

When Dorothy's mother died in October 1938 in London, Dorothy asked Pound to organize the funeral, where he met their 12-year-old son Omar for the first time in eight years. He visited T. S. Eliot and Wyndham Lewis, who produced a now-famous portrait of Pound reclining. In April 1939 he sailed for New York, believing he could stop America from involvement in the Second World War, happy to answer reporters' questions about Mussolini while he lounged on the deck of the ship in a tweed jacket. He traveled to Washington, D.C. where he met senators and congressmen. Mary said he did it out of a sense of responsibility, rather than megalomania; he was offered no encouragement, and left depressed and frustrated. He received an honorary doctorate from Hamilton College on 12 June, and a week later returned to Italy. He began writing antisemitic material for Italian newspapers, including one entitled "The Jews, Disease Incarnate." He wrote to James Laughlin that Roosevelt represented Jewry, and signed the letter "Heil Hitler." He started writing for Action, a newspaper owned by the British fascist, Sir Oswald Mosley, arguing that the Third Reich was the "natural civilizer of Russia." After war broke out in September 1939, he began a furious letter-writing campaign to the politicians he had petitioned six months earlier, arguing that the war was the result of an international banking conspiracy, and that the United States should keep out of it.

Radio broadcasts

Tytell writes that by the 1940s no American or English poet had been so active politically since William Blake. Pound had written over a thousand letters a year during the previous decade, and had presented his ideas in hundreds of articles, as well as in The Cantos. According to Tytell, Pound's fear was an economic structure that depended on the armaments industry, where the profit motive alone would govern war and peace. He started reading George Santayana, and The Law of Civilization and Decay by Brooks Adams, finding confirmation of the danger of the capitalist and usurer becoming dominant. He continued to write about the danger of Jewry wherever he could. He wrote in The Japan Times that "Democracy is now currently defined in Europe as a 'country run by Jews,'" and told Oswald Mosley's newspaper the English were a slave race governed by the Rothschilds since Waterloo.

Arrest for treason

A few weeks later he returned south via Milan to Olga and Dorothy. They had been living in Isabel's apartment, but it was small so they decided to move in with Olga at Sant' Ambrogio. His daughter Mary, then 19, was sent to Gais in Switzerland, leaving Pound, as she wrote, "pent up with two women who loved him, whom he loved, and who coldly hated each other." He was in Rome when the Allies landed in Sicily in July 1943. Pound borrowed a pair of hiking boots and a knapsack and left the city, having finally decided to tell Mary about his wife and son. He traveled 450 miles north, spending a night in an air raid shelter in Bologna, and taking a train part of the way to Verona. She almost failed to recognize him when he arrived, he was so dirty and tired. He told her everything about his other family; she later said she felt more pity than anger.

He returned to Rapallo, where on 2 May 1945, four days after Mussolini was shot, armed partisans arrived at the house while Pound was there alone. He stuffed a copy of Confucius and a Chinese dictionary in his pocket, and was taken to their HQ in Chiavari, although he was released shortly afterwards. He and Olga gave themselves up to an American military post in the nearby town of Lavagna. It was decided that Pound should be transported to U.S. Counter Intelligence Corps headquarters in Genoa, where he was interrogated by Frank L. Amprin, the FBI agent assigned by J. Edgar Hoover to gather evidence following the 1943 indictment. Pound asked permission to send a cable to President Truman to offer to help negotiate peace with Japan. He also asked to deliver a final broadcast from a script called "Ashes of Europe Calling," in which he recommended peace with Japan, American management of Italy, the establishment of a Jewish state in Palestine, and leniency toward Germany. His requests were denied and the script forwarded to Hoover.

On 8 May, the day Germany surrendered, he told a reporter from the Philadelphia Record who had managed to get into the compound for an interview that Hitler was "a Jeanne d'Arc, a saint," and that Mussolini was an "imperfect character who lost his head." On 24 May he was transferred to the United States Army Disciplinary Training Center north of Pisa, used to house military personnel awaiting court martial. The temporary commander placed him in one of the camp's "death cells"—a series of six-by-six-foot outdoor steel cages lit up all night by floodlights. He was left for three weeks in isolation in the heat, denied exercise, eyes inflamed by dust, no bed, no belt, no shoelaces, and no communication with the guards, except for the chaplain. After two and a half weeks he began to break down under the strain. Richard Sieburth writes that he recorded it in Canto 80, where Odysseus is saved from drowning by Leucothea: "hast'ou swum in a sea of air strip / through an aeon of nothingness, / when the raft broke and the waters went over me." Medical staff moved him out of the cage the following week. On June 14 and 15 he was examined by psychiatrists, one of whom found symptoms of a mental breakdown, and he was transferred to his own officer's tent and allowed reading material. He began to write, and drafted what became known as The Pisan Cantos; On 25 November he was arraigned in Washington D.C. on charges of treason. The charges included broadcasting for the enemy, attempting to persuade American citizens to undermine government support of the war, and strengthening morale in Italy against the United States. He was admitted to St. Elizabeths Hospital, where in June 1946 Dorothy was declared his legal guardian. He was held for a time in the hospital's prison ward, Howard's Hall, known as the "hell-hole," a building without windows in a room with a thick steel door and nine peepholes, which allowed the psychiatrists to observe him while they tried to agree on a diagnosis. Visitors were allowed only for 15 minutes at a time, while other patients wandered around outside the room screaming and frothing at the mouth, according to T. S. Eliot.— requested his release at a bail hearing in January 1947. The hospital's superintendent, Winfred Overholser, agreed instead to move him to the more pleasant surroundings of Chestnut Ward, close to Overholser's private quarters, which is where he spent the next 12 years.

Tytell argues that Pound was in his element in Chestnut Ward. He was at last provided for, and was allowed to read, write, and receive visitors, including Dorothy for several hours a day. He took over a small alcove with wicker chairs just outside his room, and turned it into his private living room, where he entertained his friends and important literary figures. He began work on his translation of Sophocles's Women of Trachis and Electra, and continued work on The Cantos. It reached the point where he refused to discuss any attempt to have him released. Olga Rudge visited him twice, once in 1952 and again in 1955, and was unable to convince him to be more assertive about his release. She wrote to a friend: "E.P. has ... bats in the belfry but it strikes me that he has fewer not more than before his incarceration."

The Pisan Cantos, Bollingen Prize

, suggesting Pound may have begun it while in the steel cage]] His publisher, James Laughlin, had Cantos 74–84 ready for publication in 1946 under the title The Pisan Cantos, and even gave Pound an advance copy, but he had held it back, waiting for an appropriate time to publish. Tytell writes that in June 1948 a group of Pound's friends—Eliot, Cummings, W. H. Auden, Allen Tate, and Joseph Cornell—met Laughlin to discuss how to have him released. According to the poet Archibald MacLeish, the men conceived a plan to have Pound awarded the first Bollingen Prize, a new national poetry award just announced by the Library of Congress, with $1,000 prize money donated by the Mellon family. The awards committee consisted of 15 fellows of the Library of Congress, including several of Pound's supporters, such as Eliot, Tate, Conrad Aiken, Amy Lowell, Katherine Anne Porter, and Theodore Spencer. The idea was that the Justice Department would be placed in an untenable position if Pound won a major award and was not released. Laughlin published The Pisan Cantos on 30 July 1948, and the following year the prize went to Pound. There were two dissenting voices, Katherine Garrison Chapin, the wife of Francis Biddle, the Attorney General who had indicted Pound for treason, and Karl Shapiro, who said that he could not vote for an antisemite because he was Jewish himself. Pound's response to the news of the award was, "No comment from the bughouse."

There was uproar. The Pittsburgh Post-Gazette quoted critics who said "poetry [cannot] convert words into maggots that eat at human dignity and still be good poetry." Robert Hillyer, a Pulitzer Prize winner and president of the Poetry Society of America, attacked the committee in The Saturday Review of Literature, telling journalists that he "never saw anything to admire in Pound, not one line." Congressman Jacob K. Javits demanded an investigation into the awards committee, and as a result it was the last time the prize was administered by the Library of Congress. Even more damaging was his friendship with a far-right activist and member of the Ku Klux Klan, John Kasper. Kasper had come to admire Pound during some literature classes at university, and after he wrote to Pound in 1950 the two became friends. Kasper opened a bookstore in Greenwich Village in 1953 called "Make it New," reflecting his commitment to Pound's ideas; it specialized in far-right material, including Nazi literature, and Pound's poetry and translations were displayed in the window. Kasper and another follower of Pound's, David Horton, set up a publishing imprint, Square Dollar Series, which Pound used as a vehicle for his tracts about economic reform. Kasper was eventually jailed for the 1957 bombing of the Hattie Cotton School in Nashville, targeted because a black girl had registered as a student. Wilhelm writes that there were a lot of perfectly respectable people visiting Pound too, such as the classicist J.P. Sullivan and the writer Guy Davenport, but it was the association with Mullins and Kasper that stood out,

Eliot's friends continued to try to secure his release.

In 1957 several publications began campaigning for his release. Le Figaro published an appeal entitled "The Lunatic at St Elizabeths." The New Republic, Esquire and The Nation followed suit; The Nation argued that Pound was a sick and vicious old man, but that he had rights too. In 1958 MacLeish hired Thurman Arnold, a prestigious lawyer who ended up charging no fee, to file a motion to dismiss the 1945 indictment. Overholser, the hospital's superintendent, supported the application with an affidavit saying Pound was permanently and incurably insane, and that confinement served no therapeutic purpose. The motion was heard on 18 April by the same judge who had committed him to St Elizabeths. The Department of Justice did not oppose the motion, and Pound was free. |width = 30% |align = right }} Pound arrived in Naples in July, where he was photographed giving a fascist salute by the waiting press. When asked by the press when he had been released from the mental hospital, he replied "I never was. When I left the hospital I was still in America, and all America is an insane asylum."

By December 1959 he had fallen into a depression, insisting his work was worthless and The Cantos were botched. In a 1960 interview given in Rome to Donald Hall for Paris Review, he said: "You—find me—in fragments." Hall wrote that he seemed in an "abject despair, accidie, meaninglessness, abulia, waste." He paced up and down during the three days it took to complete the interview, never finishing a sentence, bursting with energy one minute, then suddenly sagging, and at one point seemed about to collapse. Hall said it was clear that he "doubted the value of everything he had done in his life." Those close to him thought he was suffering from dementia, and in the summer of 1960 Mary placed him in a clinic near Merano when his weight dropped. He picked up again, but by the spring of 1961 he had a urinary infection. Dorothy felt unable to look after him, so he went that summer to live with Olga in Rapallo, then Venice; Dorothy mostly stayed in London after that with Omar. He attended a neo-Fascist May Day parade in 1962, but his health continued to decline. The next year he told an interviewer, Grazia Levi, "I spoil everything I touch. I have always blundered. ... All my life I believed I knew nothing, yes, knew nothing. And so words became devoid of meaning." William Carlos Williams died in 1963, followed two years later by T. S. Eliot. Pound attended Eliot's funeral in London and traveled to Dublin to visit Yeats's widow. Allen Ginsberg visited him in Rapallo in October 1967. He described his work to Ginsberg as: "A mess ... my writing, stupidity and ignorance all the way through," and in the Pensione Cici restaurant in Venice, he told Ginsberg, Peter Russell, and Michael Reck: "... but my worst mistake was the stupid suburban anti-Semitic prejudice, all along that spoiled everything ... I found after seventy years that I was not a lunatic but a moron ... I should have been able to do better ..." He traveled to New York two years later for the opening of an exhibition that featured his blue-inked version of Eliot's The Waste Land, and received a standing ovation at Hamilton College when he accompanied Laughlin who was receiving an honorary doctorate. Shortly before his death in 1972 it was proposed he be awarded the Emerson-Thoreau Medal of the American Academy of Arts and Sciences, but after a storm of protest the academy's council opposed it by 13 to 9. The sociologist Daniel Bell, who was on the committee, argued that it was important to distinguish between those who explore hate and those who approve it. Two weeks before his 87th birthday he read for a gathering of friends at a café: "re USURY / I was out of focus, taking a symptom for a cause. / The cause is AVARICE."

On his birthday he was too weak to leave his bedroom at his home on the Piazza San Marco, and the following night he was admitted to the Civil Hospital of Venice, where he died in his sleep of an intestinal blockage on 1 November, aged 87, with Olga at his side. Dorothy was unable to travel to the funeral. Four gondoliers dressed in black rowed the body to the island cemetery, Isola di San Michele, where he was buried near Diaghilev and Stravinsky. Dorothy died in England the following year. Olga died in 1996 and was buried next to Pound. |width = 22% |align = right }} Opinion varies about the nature of Pound's writing style. Critics generally agree that he was a strong lyricist, particularly in his early work. Scholars such as Ira Nadel see evidence of modernism in his poetry before he began the Cantos, His style drew on literature from a variety of disciplines. Nadel writes that he wanted his poetry to represent an "objective presentation of material which he believed could stand on its own," without use of symbolism or romanticism. The Chinese writing system most closely met his ideals. He used Chinese ideograms to represent "the thing in pictures," and from Noh theater learned that plot could be replaced by a single image.

Nadel argues that imagism was to change Pound's poetry. He explains, "Imagism evolved as a reaction against abstraction ... replacing Victorian generalities with the clarity in Japanes haiku and ancient Greek lyrics."

Translations

In his Fenellosa translations, unlike previous American translators of Chinese poetry, who tended to work with strict metrical and stanzaic patterns, Pound created free verse translations. Whether the poems are valuable as translations continues to be a source of controversy. Pound scholar Ming Xie explains that the use of language in Pound's translation of the Old English poem "The Seafarer" is deliberate, avoiding merely "trying to assimilate the original into contemporary language". After his work with The Seafarer, it was in the Japanese Noh plays that he found an answer to his search for anti-naturalist minimalism which occurred just prior to his initial work with Fenellosa's papers, leading to the translation of 14 Chinese poems in Cathay, published in 1915. Neither Pound nor Fenollosa spoke or read Chinese proficiently, and Pound has been criticized for omitting or adding sections to his poems which have no basis in the original texts, though critics argue that the fidelity of Cathay to the original Chinese is beside the point. Hugh Kenner, in a chapter "The Invention of China" from The Pound Era, contends that Cathay should be read primarily as a work about World War I, not as an attempt at accurately translating ancient Eastern poems. The real achievement of the book, Kenner argues, is in how it combines meditations on violence and friendship with an effort to "rethink the nature of an English poem". These ostensible translations of ancient Eastern texts, Kenner argues, are actually experiments in English poetics and compelling elegies for a warring West.

Michael Alexander writes that, as a translator, Pound was a pioneer with a great gift of language and an incisive intelligence. He helped popularize major poets such as Guido Cavalcanti and Du Fu and brought Provençal and Chinese poetry to English-speaking audiences. He revived interest in the Confucian classics and introduced the west to classical Japanese poetry and drama. He translated and championed Greek, Latin and Anglo-Saxon classics, and helped keep them alive at a time when classical education was in decline, and poets no longer considered translations central to their craft.

Legacy

His own work apart, he was responsible for advancing the careers of some of the best-known modernist writers of the early 20th century. In addition to Eliot, Joyce, Lewis, Frost, Williams, and Hemingway, he befriended and helped Marianne Moore, Louis Zukofsky, Jacob Epstein, Basil Bunting, E.E. Cummings, Margaret Anderson, George Oppen, and Charles Olson. Hugh Witemeyer argues that the Imagist movement was the most important in 20th-century English language poetry because hardly any prominent poet of Pound's generation and the two generations after him was untouched by it. As early as 1917 Carl Sandburg wrote in Poetry: "All talk on modern poetry, by people who know, ends with dragging in Ezra Pound somewhere. He may be named only to be cursed as wanton and mocker, poseur, trifler and vagrant. Or he may be classed as filling a niche today like that of Keats in a preceding epoch. The point is, he will be mentioned."

Beyond this, his legacy is mixed. Hugh Kenner wrote in 1951 that there was no great contemporary writer less read than Pound, though he added that there was also no one who could appeal through "sheer beauty of language" to people who would rather read poets than talk about them. The British poet Philip Larkin criticized him, "for being literary, which to me is the foundation of his feebleness, thinking that poetry is made out of poetry and not out of being alive." His antisemitism became central to an evaluation of his poetry, including whether it was read at all. Wendy Stallard Flory argues that the best approach to The Cantos—separating the poetry from the antisemitism—is perceived as apologetic. Her view is that the establishment of Pound as "National Monster" and "designated fascist intellectual" made him a stand-in for the silent majority in Germany, occupied France and Belgium, as well as Britain and the United States who, she argues, made the Holocaust possible by aiding or standing quietly by. The outrage after the treason charge was so deep that the imagined method of his execution dominated the discussion. Arthur Miller considered him worse than Hitler: "In his wildest moments of human vilification Hitler never approached our Ezra ...he knew all America's weaknesses and he played them as expertly as Goebbels ever did". The response went so far as to denounce all modernists as fascists, and it was only in the 1980s that critics began a re-evaluation. The critic Macha Rosenthal wrote that it was "as if all the beautiful vitality and all the brilliant rottenness of our heritage in its luxuriant vitality were both at once made manifest" in Ezra Pound.

Works

;Books published in his lifetime

1908 A Lume Spento. Privately printed by A. Antonini, Venice, (poems).

1908 A Quinzaine for This Yule. Pollock, London; and Elkin Mathews, London, (poems).

1909 Personae. Elkin Mathews, London, (poems).

1909 Exultations. Elkin Mathews, London, (poems).

1910 The Spirit of Romance. Dent, London, (prose).

1910 Provenca. Small, Maynard, Boston, (poems).

1911 Canzoni. Elkin Mathews, London, (poems)

1912 The Sonnets and Ballate of Guido Cavalcanti Small, Maynard, Boston, (cheaper edition destroyed by fire, Swift & Co, London; translations)

1912 Ripostes. S. Swift, London, (poems; first announcement of Imagism)

1915 Cathay. Elkin Mathews, (poems; translations)

1916 Gaudier-Brzeska. A Memoir. John Lane, London, (prose).

1916 Certain Noble Plays of Japan: From the Manuscripts of Ernest Fenollosa, chosen and finished by Ezra Pound, with an introduction by William Butler Yeats.

1916 Ernest Fenollosa, Ezra Pound: "Noh", or, Accomplishment: A Study of the Classical Stage of Japan. Macmillan, London,

1916 Lustra. Elkin Mathews, London, (poems).

1917 Twelve Dialogues of Fontenelle, (translations)

1917 Lustra Knopf, New York. (poems). With a version of the first Three Cantos (Poetry, vol. 10, nos. 3, June 1917, 4, July 1917, 5, August 1917).

1918: Pavannes and Divisions. Knopf, New York. prose

1918 Quia Pauper Amavi. Egoist Press, London. poems

1919 The Fourth Canto. Ovid Press, London

1920 Hugh Selwyn Mauberley. Ovid Press, London.

1920 Umbra. Elkin Mathews, London, (poems and translations)

1920 Instigations of Ezra Pound: Together with an Essay on the Chinese Written Character as a Medium for Poetry, by Ernest Fenollosa. Boni & Liveright, (prose).

1921 Poems, 1918–1921. Boni & Liveright, New York

1922 Remy de Gourmount: The Natural Philosophy of Love. Boni & Liveright, New York, (translation)

1923 Indiscretions, or, Und Revue des deux mondes. Three Mountains Press, Paris.

1924 Antheil and the Treatise on Harmony. Paris, (essays). As: William Atheling.

1925 A Draft of XVI Cantos. Three Mountains Press, Paris. The first collection of The Cantos.

1926 Personae: The Collected Poems of Ezra Pound. Boni & Liveright, New York

1928 A Draft of the Cantos 17–27. John Rodker, London.

1928 Selected Poems, edited and with an introduction by T. S. Eliot. Faber & Gwyer, London

1928 Confucius: Ta Hio: The Great Learning, newly rendered into the American language. University of Washington Bookstore (Glenn Hughes), (translation)

1930 A Draft of XXX Cantos. Nancy Cunard's Hours Press, Paris.

1930 Imaginary Letters. Black Sun Press, Paris. Eight essays from the Little Review, 1917–18.

1931 How to Read. Harmsworth, (essays)

1933 ABC of Economics. Faber, London, (essays)

1934 Eleven New Cantos: XXXI-XLI. Farrer & Rinehart, New York, (poems)

1934 Homage to Sextus Propertius. Faber, London (poems)

1934 ABC of Reading. Yale University Press, (essays)

1935 Alfred Venison's Poems: Social Credit Themes by the Poet of Titchfield Street. Stanley Nott, Pmphlets on the New Economics, No. 9'', London, (essays)

1935 Jefferson and/or Mussolini. Stanley Nott, London, Liveright, 1936 (essays)

1935 Make It New. London, (essays)

1935 Social Credit. An Impact. London, (essays). Repr.: Peter Russell, Money Pamphlets by Pound, no. 5, London 1951.

1936 Ernest Fenollosa: The Chinese Written Character as a Medium for Poetry. Stanley Nott, London 1936. An Ars Poetica With Foreword and Notes by Ezra Pound.

1937 The Fifth Decade of Cantos. Farrer & Rinehart, New York, poems

1937 Polite Essays. Faber, London, (essays)

1937 Confucius: Digest of the Analects, edited and published by Giovanni Scheiwiller, (translations)

1938 Culture. New Directions. New edition: Guide to Kulchur, New Directions, 1952

1939 What Is Money For?. Greater Britain Publications, (essays). Money Pamphlets by Pound, no. 3, Peter Russell, London

1940 Cantos LXII-LXXI. New Directions, New York, (John Adams Cantos 62–71).

1942 Carta da Visita di Ezra Pound. Edizioni di lettere d'oggi. Rome. English translation, by John Drummond: A Visiting Card, Money Pamphlets by Pound, no. 4, Peter Russell, London 1952, (essays).

1944 L'America, Roosevelt e le cause della guerra presente. Casa editrice della edizioni popolari, Venice. English translation, by John Drummond: America, Roosevelt and the Causes of the Present War, Money Pamphlets by Pound, no. 6, Peter Russell, London 1951

1944 Introduzione alla Natura Economica degli S.U.A.. Casa editrice della edizioni popolari. Venice. English translation An Introduction to the Economic Nature of the United States, by Carmine Amore. Repr.: Peter Russell, Money Pamphlets by Pound, London 1950 (essay)

1944 Orientamini. Casa editrice dalla edizioni popolari. Venice (prose)

1944 Oro et lavoro: alla memoria di Aurelio Baisi. Moderna, Rapallo. English translation: Gold and Work, Money Pamphlets by Pound, no. 2, Peter Russell, London 1952 (essays)

1948 If This Be Treason. Siena: privately printed for Olga Rudge by Tip Nuova (original drafts of six of Pound's Rome radio broadcasts)

1948 The Pisan Cantos. New Directions, (Cantos 74–84)

1948 The Cantos of Ezra Pound (includes The Pisan Contos). New Directions, poems

1949 Elektra (started in 1949, first performed 1987), a play by Ezra Pound and Rudd Fleming

1948 The Pisan Cantos. New Directions, New York.

1950 Seventy Cantos. Faber, London.

1950 Patria Mia. R. F. Seymour, Chicago [Reworked New Age articles, 1912, '13 (Orage)

1951 Confucius: The Great Digest; The Unwobbling Pivot. New Directions (translation)

1951 Confucius: Analects (John) Kaspar & (David) Horton, Square $ Series, New York, (translation)

1953 Hugh Kenner (ed.): The Translations of Ezra Pound, New Directions, (translations)

1954 The Classic Anthology Defined by Confucius. Harvard University Press (translations)

1954 Lavoro ed Usura. All'insegna del pesce d'oro. Milan (essays)

1955 Section: Rock-Drill, 85–95 de los Cantares. All'insegna del pesce d'oro, Milan, (poems)

1956 Sophocles: The Women of Trachis. A Version by Ezra Pound. Neville Spearman, London, (translation)

1957 Brancusi. Milan (essay)

1959 Thrones: 96–109 de los Cantares. New Directions, (poems)

1960 Noel Stock (ed.): Impact: Essays on Ignorance and the Decline of American Civilization. Henri Regnery, Chicago

1968 Drafts and Fragments: Cantos CX-CXVII. New Directions, (poems)

;Selected posthumous publications

1975 William Levy (ed.): Certain Radio Speeches of Ezra Pound. Cold Turkey Press, Rotterdam

1976 Collected Early Poems of Ezra Pound. New Directions.

1977 R. Murray Schafer (ed.): Ezra Pound and Music: The Complete Criticism. New Directions, (essays).

1978 Leonard W. Doob (ed.): 'Ezra Pound Speaking': Radio Speeches of World War II. Greenwood Press (speeches)

1980 Harriet Zinnes (ed.): Ezra Pound and the Visual Arts. New Directions (essays)

1991 Charlotte Ward (ed.): Pound's Translations of Arnaut Daniel. Garland, New York 1991 (translations)

1992 Richard Sieburth (ed.): A Walking Tour of Southern France: Ezra Pound Among the Troubadours. New Directions, New York.

1996 Maria Luisa Ardizzone (ed.): Machine Art and Other Writings: The Lost Thought of the Italian Years. Duke University Press. (essays)

1997 Jack Ross: Ezra Pound' s Fascist Cantos (72 & 73) together with Rimbaud's 'Poets at Seven Years Old' . Perdrix Press, Auckland (the two Salo Cantos were first published in the newspaper: Marina Repubblicanain early 1945; re-published in 1973 in an edition of 25; in Cantos editions (untranslated in Italian) since 1986.

2002 Massimo Bacigalupo (ed.): Canti postumi. Mondadori, Milan, (Cantos)

2002 Margaret Fisher, Ezra Pound's Radio Operas: The BBC Experiments 1931-1933 (MIT Press) with the complete radio script by Pound for the 1931 broadcast of Le Testament.

2003 First edition of Cavalcanti, three-act opera (1931–1932). Robert Hughes and Margaret Fisher: Calvacanti: A Perspective on The Music of Ezra Pound (engraved music score of complete opera, Second Evening Art Publishing ISBN 978-0-9728859-0-4). A compact disk Ego Scriptor Cantilenae: The Music of Ezra Pound was published in 2003 by Other Minds; OM 1005-2, (music; 2 operas).

2005 First edition of the unfinished third opera, Collis O Heliconii (c. 1933): The Recovery of Ezra Pound's Third Opera Collis O Heliconii, Settings of Poems by Catullus and Sappho, Margaret Fisher (ed.),(engraved music scores of two unfinished arias and musical interludes, Second Evening Art Publishing ISBN 978-0-9728859-3-5).

; Userfriendly editions

2003 Richard Sieburth (ed.): Ezra Pound, Poems and Translations. Library of America. ISBN 978-1-93108241-9.

2004 First edition, Complete Violin Works of Ezra Pound, Robert Hughes, ed. (engraved music scores, Second Evening Art Publishing ISBN 978-0-9728859-2-8).

2008 First editions of the 1926 and 1933 versions of Ezra Pound's opera Le Testament. Margaret Fisher and Robert Hughes (eds.), (engraved music scores, Second Evening Art Publishing ISBN 978-0-9728859-4-2).

projected, 2011: First edition of the 1923 Le Testament de Villon. Facsimile of the 1923 holograph music score edited by George Antheil, with audio CD of the complete opera. Robert Hughes and Margaret Fisher (eds.), (Second Evening Art Publishing ISBN 978-0-9728859-8-0).

Notes

References

Adams, Stephen J. "Hugh Selwyn Mauberley" in Demetres P. Tryphonopoulos and Stephen Adams (eds.). The Ezra Pound Encyclopedia. Greenwood Publishing Group, 2005.

Aiken, Conrad. "Ezra Pound: 1914" in Stock, Noel (ed.). Ezra Pound: Perspectives. Henry Regnery Company, 1965.

Albright, Daniel. "Early Cantos: I–XLI" in Ira B. Nadel (ed.). The Cambridge Companion to Ezra Pound. Cambridge University Press, 1999. ISBN 0-521-64920-X

Alexander, Michael. "Ezra Pound as Translator," in Translation and Literature. Edinburgh University Press, 1997, volume 6, issue 1.

Alexander, Michael. The Poetic Achievement of Ezra Pound. University of California Press, 1979. ISBN 0-520-03739-1

Alldritt, Keith. Modernism in the Second World War: The Later Poetry of Ezra Pound, T. S. Eliot, Basil Bunting and Hugh MacDiarmid ISBN 0-8204-0865-4

Arrowsmith, Rupert Richard. Modernism and the Museum: Asian, African, and Pacific Art and the London Avant-Garde. Oxford University Press, 2011. ISBN 978-0-19-959369-9

Badenhausen, Richard. "T.S. Eliot and the Art of Collaboration". Cambridge University Press, 2004.

Bloom, Harold (ed.). T.S. Eliot's The Waste Land. Chelsea House, 1986.

Barnhisel, Greg. "James Laughlin, New Directions, and the Remaking of Ezra Pound". University of Massachusetts Press, 2005.

Bornstein, George. "Ezra Pound Among the Poets''. University of Chicago Press, 1985.

Bornstein, George. "Ezra Pound and the Making of Modernism" in Ira B. Nadel (ed.). The Cambridge Companion to Ezra Pound, Cambridge University Press, 1999.

Bruccoli, Matthew and Baughman, Judith. "Hemingway and the Mechanism of Fame''. University of South Carolina Press, 2006.

Brown, Mark. "Enthusiasts mark centenary of modern poetry", The Guardian, 25 March 2009.

Bush, Ronald. The Genesis of Ezra Pound's Cantos. Princeton University Press, 1976.

Bush, Ronald. "Late Cantos LXXII–CXVII", in Ira B. Nadel (ed.). The Cambridge Companion to Ezra Pound. Cambridge University Press, 1999.

Campbell, James. "Home from home", The Guardian, 17 May 2008.

Carpenter, Humphrey. A Serious Character: The Life of Ezra Pound. Houghton Mifflin, 1988. ISBN 0-395-41678-7

Carpenter, Humphrey. Geniuses Together: American Writers in Paris in the 1920s. Houghton Mifflin, 1988. ISBN 0-395-46416-1

Carson, Anne Conover. Olga Rudge and Ezra Pound. Yale University Press, 2001. ISBN 0-300-08703-9

Cockram, Patricia. "Pound, Isabel Weston", in Demetres P. Tryphonopoulos and Stephen Adams (eds.). The Ezra Pound Encyclopedia. Greenwood Publishing Group, 2005.

Dennis, Helen May. "Pound, Women and Gender", in Ira B. Nadel. The Cambridge Companion to Ezra Pound. Cambridge University Press, 1999.

Dennis, Helen May. Ezra Pound and Poetic Influence. 17th International Ezra Pound Conference, Castle Brunnenburg, Tirolo di Merano, Volume 1997, Rodopi, 2000.

Doob, Leonard W. Ezra Pound Speaking: Radio Speeches of World War II. Greenwood Press, 1978. ISBN 0-313-20057-2

Doolittle, Hilda. End to Torment, New Directions Publishing, 1979.

Elek, Jon. "Personae", The Literary Encyclopedia, 8 April 2004, accessed 16 October 2010.

Elek, Jon. "Canzoni", The Literary Encyclopedia, 8 March 2005, accessed 16 October 2010.

Eliot, T. S. Ezra Pound: His Metric and his Poetry. Alfred A. Knopf, 1917.

Flory, Wendy Stallard. "Pound and Antisemitism", in Ira B. Nadel. The Cambridge Companion to Ezra Pound. Cambridge University Press, 1999.

Gill, Jonathan. "Ezra Pound Speaking: Radio Speeches on World War II" in Demetres P. Tryphonopoulos and Stephen Adams (eds.). The Ezra Pound Encyclopedia. Greenwood Publishing Group, 2005.

Hall, Donald. "Ezra Pound, The Art of Poetry No. 5", The Paris Review, No. 28, Summer-Fall 1962.

Hall, Donald. Their Ancient Glittering Eyes: Remembering Poets and More Poets. Houghton Mifflin, 1992.

Hammer, Langdon. "Lecture on Ezra Pound", Yale University, accessed 12 October 2010.

Haller, Evelyn. "Mosley, Sir Oswald", in Demetres P. Tryphonopoulos and Stephen Adams (eds.). The Ezra Pound Encyclopedia. Greenwood Publishing Group, 2005.

Ingham, Michael. "Pound and Music", in Ira B. Nadel. The Cambridge Companion to Ezra Pound. Cambridge University Press, 1999.

Kelly, Lionel. "Pound, Ezra Loomis," Oxford Dictionary of National Biography, Oxford University Press, 2004.

Kenner, Hugh. The Poetry of Ezra Pound, University of Nebraska Press, 1983; first published 1951.

Kenner, Hugh. The Pound Era, University of California Press, 1971. ISBN 978-0-520-02427-4

Kimpel, Ben D. and Eaves, T.C. Duncan. "More on Pound's Prison Experience", American Literature, Duke University Press, 1981, volume 53, issue 1.

Knapp, James F. Ezra Pound. Twayne Publishers, 1979.

Leavis, F.R. New Bearings in English Poetry. Chatto & Windus, 1932.

Levy, Alan. Ezra Pound: The Voice of Silence. The Permanent Press, 1983.

Longenbach, James. "The Odd Couple: Pound and Yeats Together", The New York Times, 10 January 1988.

Mertens, Richard. "Letter by letter", University of Chicago Magazine, August 2001, Volume 93, Number 6, accessed 16 October 2010.

Michael, Robert. "Antisemitism in America" in Stephen Harlan Norwood and Eunice G. Pollack. Encyclopedia of American Jewish history, Volume 1. ABC-CLIO, 2008.

Mitgang, Herbert. "Researchers dispute Ezra Pound's 'insanity'", The New York Times, 31 October 1981.

McGuire, William. Poetry's Catbird Seat. Library of Congress, 1988.

Montgomery, Paul L. "Ezra Pound: A Man of Contradictions", The New York Times, 2 November 1972.

Moody, David A. Ezra Pound, Poet: The Young Genius 1885–1920. Oxford University Press, 2007. ISBN 978-0-19-921557-7

Nicholls, Peter. "Beyond the Cantos:Ezra Pound and recent American poetry" in Ira B. Nadel. The Cambridge Companion to Ezra Pound. Cambridge University Press, 1999.

Orage, A.R. "Readers and Writers", in Eric Homberger. Ezra Pound. Routledge, 1997; first published in New Age, 13 January 1921.

Parini, Jay. The Columbia Anthology of American Poetry.Columbia University Press, 1995. ISBN 0-231-08122-7

Pound, Ezra. Personæ. New Directions Publishing, 1926.

Pound, Ezra. The Spirit of Romance. New Directions Publishing, 1910.

Pound, Omar S. and Spoo, Robert E. Ezra Pound and Margaret Cravens: A Tragic Friendship, 1910–1912. Duke University Press, 1988.

Preda, Roxana. "Economics: Usury" in Demetres P. Tryphonopoulos and Stephen Adams (eds.). The Ezra Pound Encyclopedia. Greenwood Publishing Group, 2005.

Read, Herbert. "Ezra Pound," in Noel Stock (ed.). Ezra Pound Perspectives. Henry Regnery Company, 1965.

Redman, Tim. ''Ezra Pound and Italian Fascism", Cambridge University Press, 1991. ISBN 0-521-37305-0

Reynolds, Michael S. Hemingway: The Final Years. W. W. Norton & Company, 2000.

Rosenthal, Macha. "A Primer of Ezra Pound''. Macmillan, 1960.

Sieburth, Richard (ed.) The Pisan Cantos. New Directions, 2003. ISBN 0-8112-1558-X

Sieburth, Richard (ed.). Poems and Translation. The Library of America, 1999. ISBN 1-931082-41-3

Stock, Noel. The LIfe of Ezra Pound. Pantheon Books, 1970. ISBN 0-86547-075-8

Surrette, Leon. Pound in Purgatory: From Economic Radicalism to Anti-Semitism. The University of Illinois, 1999.

Tate, Allen. "Ezra Pound and the Bollingen Prize," in Noel Stock (ed.). Ezra Pound Perspectives. Henry Regnery Company, 1965.

Terrell, Carroll F. A Companion to The Cantos of Ezra Pound. University of California Press, 1980.

The New York Times. "Julien Cornell, 83, The Defense Lawyer In Ezra Pound Case", The New York Times, 7 December 1994.

Time magazine. "Books: Unpegged Pound", 20 March 1933.

Torrey, Edwin Fuller. The Roots of Treason and the Secrets of St Elizabeths, McGraw-Hill, 1984.

Tytell, John. Ezra Pound: The Solitary Volcano. Doubleday, 1987.

Venuti, Lawrence. The Translation Studies Reader, Routledge, 2004.

Whittemore, Reed. William Carlos Williams: Poet from New Jersey. Houghton Mifflin Company, 1975. ISBN 0-395-20735-5

Wilhelm, J. J. The American Roots of Ezra Pound. New York: Garland Publishing, 1985. ISBN 0-8240-7500-5

Wilhelm, James J. Ezra Pound: The Tragic Years 1925–1972. The University of Pennsylvania State Press, 1994. ISBN 0-271-01082-7

Wilhelm, James J. Ezra Pound in London and Paris, 1908–1925. The University of Pennsylvania State Press, 2008. ISBN 978-0-271-02798-2

Wilson, Peter. "Exultations", The Literary Encyclopedia, 20 April 2004, accessed 16 October 2010.

Wilson, Peter. "Ripostes of Ezra Pound", The Literary Encyclopedia, 7 September 2004, accessed 16 October 2010.

Witemeyer, Hugh. "Early Poetry 1908–1920" in Ira B. Nadel. The Cambridge Companion to Ezra Pound. Cambridge University Press, 1999.

Zinnes, Harriet (ed.). Ezra Pound and the Visual Arts. New Directions Publishing, 1980.

Further reading

Ezra Pound papers, Beinecke Rare Book and Manuscript Library, Yale University, accessed 12 October 2010.

Ezra Pound collection, University of Victoria, accessed 12 October 2010.

Frequently requested records: Ezra Pound, United States Department of Justice, accessed 14 October 2010.

Archival search, The National Archives, accessed 14 October 2010.

"Ezra Pound in his Time and Beyond", University of Delaware Library, accessed 19 October 2010.

Ackroyd, Peter. Ezra Pound and his World. Thames and Hudson, 1980.

Bonfante, Jordan. "An Aging Genius in Exile", Life magazine, 27 March 1964.

Boyle, Kay. "Pound in Rapallo", The New York Review of Books, 7 May 1987.

Cookson, William. A Guide to the Cantos of Ezra Pound. Anvil, 1985.

O'Connor, William Van. Ezra Pound. University of Minnesota Press, 1963.

Orwell, George. "The Question of the Pound Award", in Orwell, Sonia and Angus, Ian. George Orwell: In Front of Your Nose. David R. Godine Publisher, 2000.

Redman, Tim. "Pound's politics and economics", in Ira B. Nadel. The Cambridge Companion to Ezra Pound. Cambridge University Press, 1999. ISBN 0-521-64920-X

Sullivan, John Patrick. Ezra Pound and Sextus Propertius: A Study in Creative Translation. University of Texas Press, 1964.

Sullivan, John Patrick (ed.) Ezra Pound: A Critical Anthology. Penguin, 1970.

Surette, Leon. The Birth of Modernism: Ezra Pound, T.S. Eliot, W.B. Yeats, and the Occult. McGill-Queen's Press, 1994.

Walters, Colin. "Old Ez and his Faithful Violinist", The Washington Times, 4 November 2001.

Witemeyer, Hugh. Pound/Williams: Selected letters of Ezra Pound and William Carlos Williams, New Directions Publishing, 1996. ISBN 0-8112-1301-3

Xie, Ming. "Pound as Translator," in Nadel, Ira B. The Cambridge Companion to Ezra Pound. Cambridge University Press, 1999. ISBN 0-521-64920-X

;Audio/video

Hammer, Langdon. Lecture on Ezra Pound, Yale University, accessed 12 October 2010.

Ezra Pound recordings, University of Pennsylvania, accessed 12 October 2010.

"The Four Steps", recording of Pound discussing bureaucracy, BBC Home Service, 21 June 1958, accessed 19 October 2010.

Pound reading Canto XLV, with Usura, courtesy of YouTube, accessed 19 October 2010.

Category:1885 births Category:1972 deaths Category:American composers Category:American expatriates in France Category:American expatriates in Italy Category:American fascists Category:American pamphlet writers Category:American poets Category:American Social Crediters Category:American translators Category:Burials at Isola di San Michele Category:American people of English descent Category:Chinese–English translators Category:Hamilton College alumni Category:Imagists Category:Italian poets Category:Modernism Category:Opera composers Category:People from Blaine County, Idaho Category:Propagandists Category:Translators to English Category:T. S. Eliot Category:University of Pennsylvania alumni Category:Vorticists Category:Wabash College Category:Writers from Idaho Category:Writers from Philadelphia, Pennsylvania

Name	Eustace Mullins
Birthdate	October 30, 1923
Birthplace	Roanoke, Virginia, USA
Deathdate	February 02, 2010
Deathplace	Hockley, Texas
Occupation	Writer

Eustace Clarence Mullins, Jr. (March 9, 1923 – February 2, 2010) was a populist American political writer, artist, and biographer. Along with Nesta Webster, he is generally regarded as one of the most influential authors in the genre of conspiracism.

Biography

Eustace Clarence Mullins, Jr. was born in Roanoke, Virginia, the third child of Eustace Clarence Mullins (1899–1961) and his wife Jane Katherine Muse (1897–1971). His father was a salesman in a retail clothing store.

Eustace Mullins was educated at Washington and Lee University, New York University, the University of North Dakota and the Institute of Contemporary Arts (Washington, D.C.)

In December 1942, at Charlottesville, Virginia he enlisted in the military as a Warrant Officer. He was also a veteran of the United States Air Force, with thirty-eight months active service during World War II.

Mullins frequently visited poet Ezra Pound during his period of incarceration in St. Elizabeths Hospital for the Mentally Ill in Washington, D.C. between 1946 and 1959. Mullins opined that Pound was being held as a political prisoner on the behest of President Franklin D. Roosevelt.

Mullins was a researcher at the Library of Congress in 1950 and cooperated with Senator Joseph McCarthy in trying discover who financed the Communist Party. He later stated that he believed McCarthy had "started to turn the tide against world communism". Shortly after his first book came out in 1952, he was discharged by the Library of Congress.

In the 1950s, Mullins wrote for Conde McGinley’s newspaper Common Sense, which promoted the second edition of his book on the Federal Reserve, entitled The Federal Reserve Conspiracy (1954). Around this time, he also wrote for Lyrl Clark Van Hyning's Chicago-based newsletter, Women's Voice. In 1995, he was writing for Criminal Politics. Around the end of his life, he would write for Willis Carto's magazine Barnes Review.

Writings

In Mullins on the Federal Reserve (1952), updated in 1983 as Secrets of the Federal Reserve, Mullins argued that there was a conspiracy among Paul Warburg, Edward Mandell House, Woodrow Wilson, J.P. Morgan, Benjamin Strong, Otto Kahn, the Rockefeller family, the Rothschild family, and other European and American bankers which resulted in the founding of the U.S. Federal Reserve System. He argued that the Federal Reserve Act of 1913 defies Article 1, Section 8, Paragraph 5 of the United States Constitution by creating a "central bank of issue" for the United States. Mullins goes on to claim that World War I, the Agricultural Depression of 1920, the Great Depression of 1929, and Adolf Hitler's rise to power were brought about by international banking interests in order to profit from conflict and economic instability. Mullins also cited Thomas Jefferson's staunch opposition to the establishment of a central bank in the United States.

In the 1983 edition of his book, he argued that Kuhn, Loeb & Co. and the House of Morgan were fronts for the Rothschilds. He also alleged that the Rothschilds were world monopolists. He furthermore claimed that most of the stock of member banks that owned stock in the Federal Reserve was owned by City of London bankers, since they owned much of the stock of the member banks. He attempted to trace stock ownership, as it changed hands via mergers and acquisitions, from the inception of the Federal Reserve in 1913 to the early 1980s.

In the last chapter of the book, he noted various Congressional investigations, and criticized the immense degree of power that these few banks who owned majority shares in the Federal Reserve possessed. He also criticized the Bilderberg Group, attacking it as an international consortium produced by the Rockefeller-Rothschild alliance. In an appendix to the book, he delved further into the City of London, and criticized the Tavistock Institute of Human Relations, which he claimed helps to conduct psychological warfare on the citizens of Britain and the United States.

A central theme of Mullins' book is that the Federal Reserve allows bankers to monetize debt, creating it out of nothing by book entry, and thus they have enormous leverage over everyone else. Near the end of the book, he said of the Federal Reserve:

Eustace Mullins dedicated Secrets of the Federal Reserve to George Stimpson and Ezra Pound.

The following is a quote from the book's introduction by Ezra Pound: "Here are the simple facts of the great betrayal. Wilson and House knew that they were doing something momentous. One cannot fathom men's motives and this pair probably believed in what they were up to. What they did not believe in was representative government. They believed in government by an uncontrolled oligarchy whose acts would only become apparent after an interval so long that the electorate would be forever incapable of doing anything efficient to remedy depredations."

His work on the Federal Reserve was held in high esteem by many individuals who had views that were radically different from Mullins on other matters. In the introduction to the hard copy of Secrets of the Federal Reserve, Mullins included facsimile reprints of the praise of prominent individuals who appreciated his previous work on the Fed. Among these were:

Congressman Wright Patman, who said, "your book is among the few books I have on my desk, Mr. Mullins, that I often refer to. It is a very fine book and has been very useful to me."

Senator Robert Taft, Jr. of Ohio, who said, "your book has been and I am sure will continue to be very useful to me. However, I would appreciate your not using my name in connection with it until appropriate legislation can be prepared to remedy some of the abuses of the Federal Reserve System."

Col. Robert R. McCormick, who said, "I am very grateful that your book called to my attention those long-ignored Congressional Hearings on the 1929 stock-market crash."

On pp. 521–523 of his The Lost Science of Money, the monetary historian Stephen Zarlenga said the following about Mullins' work:

Mullins wrote a follow up to his work on the Federal Reserve in 1985, in a book called The World Order: A Study in the Hegemony of Parasitism, updated in 1992 as The World Order: Our Secret Rulers. He argued that the Federal Reserve and other central banks were tools of a "Rothschild World system", centered in the City of London, which extended its power through organizations like the Royal Institute of International Affairs, various foundations, corporate conglomerates, intelligence agencies, etc. He proposed that Nations were not really governing powers, but rather, that the world was parasitically controlled by this interlock of banks, foundations, and corporations, which acted as a unified force, tending towards World monopoly. He furthermore proposed that this oligarchical apparatus was controlled by corrupt, dynastic families that had accumulated their wealth through trade in gold, slaves, and drugs. He claimed that as this consortium furthered its monopolistic ambitions, it would seek the establishment of a World Culture, eradicate nationalism, impoverish everyone except themselves, and progressively turn the world into a police state. He wrote on what he believed was the reasoning behind these oligarchical families:

In 1985, Mullins also wrote A Writ for Matyrs, in which he reproduced a large portion of his FBI file, which included a 1959 memo to J. Edgar Hoover from Alex Rosen, which suggested having Mullins forcibly committed for his political views. On this memo is a scribbled note from Hoover, saying the Mullins case was “top priority” and that FBI agents should “see that some action is taken.” It also produced facsimiles of his correspondence with the German and American governments regarding the burning of the German translation of his study of the Federal Reserve.

In 1988, Mullins wrote Murder by Injection, where he argued that much of the United States was controlled by the Rockefellers, and that the "medical monopoly" exercised a pernicious influence on American life, intentionally making people sick and deliberately introducing poisons, rather than healing people.

In 1989, Mullins wrote The Rape of Justice, where he argued that the United States legal system was fundamentally corrupt.

Antisemitism

Mullins was very good friends with individual Jews like Benjamin Freedman, for whom he worked in the 1950s and whom he called a "great Jewish scholar" in his autobiography A Writ for Martyrs, as well as Myron Fagan, who promoted his Federal Reserve book, and Gary Allen, who thought very highly of his work. However, many of his writings show a preoccupation with the idea that in general the Jews of the world are in a state of war with Christianity and Western civilization, and that Communism, Zionism, and International finance were Jewish tools to subjugate Gentile populations. He also believed that in general the interaction between Jews and gentiles was parasitic. He believed that Gentiles like the Rockefellers were also parasitic, but that ultimately the World Order was controlled by Jews and that the end goal of this Jewish oligarchy is "World Zionism." He said of the ruling class:

He believed that the French Revolution and the Congress of Vienna were key events in which Jews, via conspiratorial mechanations, overpowered Gentile governments. He wrote in The Curse of Canaan

In The World Order: A Study in the Hegemony of Parasitism, Mullins said:

He believed that other key moments in the establishment of Jewish power were the creation of the Federal Reserve, the Bolshevik Revolution, and the establishment of the state of Israel.

Like Pound, he had sympathy for Fascism, because of its apparent anti-Usury and anti-Communist measures, though he later withdrew that sympathy, as he came to believe that without the Nazis, Zionism would never have been a powerful force, and that the Nazis were puppets of Jewish bankers, specifically Max Warburg, who he claimed financed them to build up the Nazi war machine, as well as the leaders of the J. Henry Schroeder Bank, who were facilitated by the Dulles brothers, and that Nazi opposition to these bankers, insofar as it went beyond rhetoric, occurred only well after they had ascended to power. In his book Secrets of the Federal Reserve, he also claimed that World War One was contrived and managed by a triumvirate consisting of Paul Warburg, Bernard Baruch, Eugene Meyer, and to a lesser extent, the leaders of Morgan banks, in the United States, and men like Max Warburg in Germany, so that they might increase their profit and power. He also claimed that these individuals would play a key role in financing the Bolshevik Revolution.

His October, 1952 article "Adolf Hitler: An Appreciation" was mentioned in a report by the House Un-American Activities Committee

In it, he stated that

Though Mullins would later relinquish his support of Nazism, he still defended the Romanov dynasty as if they were the saviors of mankind. His book The World Order frames them as the major force that stood in the way of the ambitions of the international finance oligarchs he spoke of:

In a tract called The Secret Holocaust, Mullins stated that the account of the Nazi extermination of the Jews is implausible, and that it is a cover story for the Soviet massacres of Christians, which he believed was led by a conspiracy of "international Jews" and instigated for the purpose of killing Gentiles. Introducing the text, he said:

On p. 11 of the June 1955 issue of Women’s Voice, in an article entitled "Jews Mass Poison American Children!", Mullins wrote

The March 1956 issue of Women's Voice, p. 12, reprints a letter by Mullins addressed to “Tax Collectors”:

In 1968, Mullins authored the tract, The Biological Jew, which he claimed was an "objective" analysis of the forces behind the "decline" of Western Culture. He claimed that the main influence that people were overlooking in their analysis of world affairs was "parasitism". He began by describing parasitism in the animal kingdom. He then commented on the work of the macro-historians Oswald Spengler and Arnold Toynbee (who he said was a ripoff of Spengler and a "shabbez-goi historian"), and proposed that if we look at society as if it were an organism, then the Jews would be equivalent to parasites overtaking that organism. He states that Jews "instinctively" want to control the world, writing,

In the more extreme parts of the text, he said

He also said of Nazi antisemitism:

He spent the rest of the book attacking Americans for their supposed docility, ranting about America's "subservience" to the Jews, and predicting that America would be in total cultural decline by the 1980s.

In his pamphlet Sigmund Freud: Antichrist Devil, Mullins wrote:

In his book A New History of the Jews, Mullins said:

He also stated that

He also said

He also said

Mullins also was a devout Jeffersonian Constitutionalist, writing a defense of Constitutionalism called The Great Betrayal. He believed, during the time that he supported Hitler, that fascism was the only means of stopping the spread of Communism. He later rescinded his support of Hitler, and his later works show a critical position towards Nazism.

In some of his lectures, Mullins claimed that the Nazis were simply tools controlled by the leaders of "World Zionism", that without them, the Zionist movement would be very weak, and that Hitler, ostensibly against international bankers, was in reality under their control.

He somehow believed that he wasn't anti-Semitic, but that he was merely warning the world of a supposed Jewish "drive" towards World domination. He said in an interview before his death that "the Jewish people feel that the can be safe only if they control the entire world, because they have developed a mythology that no matter where a Jew goes, he's going to be killed by somebody". He also stated that "I have no reason to hate Jews .. they hate us because we stand in the way of their world power". He furthermore alleged that the leaders of "World Zionism" desired 3 world wars, that the first two had already occurred, but that by the end of the third, "the Jews would control the entire world". He claimed that Christians were being manipulated into fighting Muslims, and that Israelis desire to "exterminate the entire Arab-Muslim population".

In 1987, Mullins authored The Curse of Canaan: A Demonology of History, in which he set forth the theory that behind the oligarchical system he described in his other writings was a Judeo-Masonic "Satanic" conspiracy founded in ancient Babylon, evidence of which he found in the Bible, Masonic texts, and Talmudic and Kabbalistic literature. Updating the claims of the conspiracist Nesta Webster, he asserted that the French Revolution was a culmination of years of intrigue by occult personages, and that it marked the beginning of a program of world revolution that would later manifest in the Bolshevik Revolution and the Soviet Communist regime. He proposed that the purpose of these revolutions was to kill Gentiles, who he referred to as the "real Semites", as opposed to the "cursed Cannanites". He claimed that for thousands of years, Gentiles had been the victims of "anti-Semitic persecution".

Death

While on a speaking tour in Columbus, Ohio in January 2010, Mullins suffered a stroke. He died on February 2, 2010, aged 86, in Hockley, Texas.

Works

Books

The Curse of Canaan: A Demonology of History, Revelation Books, Staunton, Virginia, 1987, 242 pages, ISBN 0978651715 (2007)

The Federal Reserve Conspiracy, Common Sense, Union, New Jersey, 1954, 144 pages

Mullins' New History of the Jews, The International Institute of Jewish Studies, Staunton, Virginia, 1978, reprint of 1968 edition. Quoting from the introduction: "... throughout the history of civilization, one particular problem of mankind has remained constant. In all of the vast records of peace and wars and rumors of wars, one great empire after another has had to come to grips with the same dilemma ... the Jews."

Murder by Injection: The Medical Conspiracy Against America, The National Council for Medical Research, Staunton, Virginia, ISBN 0-88060-694-0

My Life in Christ, Faith and Service Books, Aryan League of America Staunton, Virginia, 1968, 90 pages

The Rape of Justice: America's Tribunals Exposed, Staunton, Virginia: National Commission for Judicial Reform, 1989

The Secret History of the Atomic Bomb

Secrets of the Federal Reserve, 1952. Reprinted John McLaughlin, 1983, 208 pages, ISBN 0-9656492-1-0

The Sedition Case, Sons Of Liberty, 1985, Metairie, Louisiana, 1985, Trade Paperback

This Difficult Individual Ezra Pound, Fleet Publishing Corporation, (1961) reprint, Noontide Press, ISBN 0-317-53248-0

This Difficult Individual: Ezra Pound, Angriff Press: Hollywood, California, 1961. With black & white photos of Ezra Pound taken while incarcerated, 388 pages, cloth reprint (exactly as Fleet Press edition; bootlegged?)

War! War! War!, Sons of Liberty, 1984, ISBN 0-89562-100-2

A Writ for Martyrs, OTU Christ Church, 1985, Soft Cover, 223 pages

The World Order: A Study the Hegemony of Parasitism, Staunton, Virginia: Ezra Pound Institute, 1985, 217 pages

The World Order: Our Secret Rulers, Staunton, Virginia: Ezra Pound Institute, 1992, 294 pages

Pamphlets and other works

27 Billion Dollar Rip Off; The Power Brokers

America's New Robber Barons: Exclusive Report, pamphlet, 8 pages

American Patriotism Means Loyalty to Israel, Says Jack, pamphlet, reprint, 2 pages

Boycott: The Jewish Weapon

Canada: A Financial Report For 1992

The Celebration Of Rosh Hashanah

The Coup That Never Was

Criminals On Capitol Hill

The Danger Of International Merger Mania

The Day Is Here

Death To The Peacemakers

Easter

Education For Death

Education for Slavery

Every Man A King

FDR

Federal Reserve Notes: Shackles Of Slavery

General MacArthur The Man Who Refused to Lose

Genocide In America

George Sylvester Viereck: Roosevelt's Victim, pamphlet, 3 pages

The Glorious Revolution, corner-stapled report, 4 pages

The Hidden Hand Behind Televangelism

The Holocaust Explained

How The Media Is Manipulated

How To Become A United States Senator

Is There A New World Order?

Jesse Jackson And The Jews'', corner-stapled report, 7 pages

Jewish TV: Sick, Sick, Sick

Jewish War Against The Western World

Judges or Criminals?, pamphlet, 3 pages

Khatyn Or Katyn?, pamphlet, 2 pages

The Lindbergh Murders: Hauptman Was Innocent

Marching through Georgia, pamphlet

Murder

Murder by Injection: The Great Swine Flu Massacre

Murder On The Supreme Court

New Israel

New Look at Herzl, 2 pages, corner-stapled photocopied report. Reveals that Herzl's grandiose plans for Zionism resulted from VD.

The New World Order

None Dare Call Him Traitor: Larry Abraham The Israeli Connect, pamphlet, 8 pages

Operation Desert Shield, corner-stapled report, 4 pages

Our Identity

The Plagues Of Pharaoh

''The Power Brokers Of Canada'

Reagan's Final Surrender, corner-stapled report, 2 pages

The Scandal Unveiled

The Secret Holocaust, CPA Book Publishers, Boring, Oregon, small 34-page pamphlet

Sigmund Freud: Anti-Christ Devil

Supreme Court Burns Us Again

The Trilaterals Are Back In The White House

The Vietnam Wall

The War Against Christianity

There's A Gulag In Your Future

Trotsky: Where Are You Now?

The War Against Vietnam Veterans

War Is The Only Way Out

The Warburgs, An American Success Story, corner-stapled catalog, 7 pages.

Warning: The Department Of Justice Is Dangerous To Americans

Washington DC: City Of Fear

What Are We Fighting To Preserve?

What Made Sammy Run?: How Racial Hatred Creates Billion Dollar Fortunes, pamphlet, 10 pages

Who Owns the TV Networks ?

Why General Patton was Murdered, pamphlet, 4 pages

You Can Stop the Threatened Depression!, leaflet, USA: Liberty Free Press, USA

Resources

1900-1930 U.S. Federal Census

World War I Draft Registration Card of Eustace Mullins, Jr.'s father

World War II Military Enlistment Index

References

External links

Eustace Mullins Memorial at Find A Grave

Category:1923 births Category:2010 deaths Category:American pamphlet writers Category:Antisemitism Category:Blood libel Category:Conspiracy theorists Category:Deaths from stroke Category:People from Harris County, Texas Category:People from Roanoke, Virginia Category:Writers from Texas Category:Writers from Virginia Category:University of North Dakota alumni Category:Washington and Lee University alumni

Name	Pier Paolo Pasolini
Imagesize	200px
Birthdate	March 05, 1922
Birthplace	Bologna, Italy
Deathdate	November 02, 1975
Deathplace	Ostia, Rome, Italy
Occupation	Novelist, poet, intellectual, film director, journalist, linguist, philosopher
Notableworks	Accattone Salò Ragazzi di vita Le ceneri di Gramsci La religione del mio tempo
Influences	Dante Alighieri, Giovanni Boccaccio, Geoffrey Chaucer, William Shakespeare, Novalis, Marquis de Sade, Charles Baudelaire, Arthur Rimbaud, Fyodor Dostoyevsky, Carlo Emilio Gadda, Giovanni Pascoli, Antonio Gramsci
Influenced	Sylvia Plath, Alberto Moravia, Sergei Parajanov, Ermanno Olmi, Nanni Moretti, Kathy Acker, Diamanda Galás
Signature	Pier Paolo Pasolini signature.svg

Pier Paolo Pasolini (March 5, 1922 – November 2, 1975) was an Italian poet, intellectual, film director, and writer. Pasolini distinguished himself as a poet, journalist, philosopher, linguist, novelist, playwright, filmmaker, newspaper and magazine columnist, actor, painter and political figure. He demonstrated a unique and extraordinary cultural versatility, becoming a highly controversial figure in the process.

Life

Pasolini was born in Bologna, traditionally one of the most leftist of Italian cities. He was the son of a lieutenant of the Italian Army, Carlo Alberto, who had become famous for saving Benito Mussolini's life, and who married an elementary school teacher, Susanna Colussi, in 1921. Pasolini was born in 1922 and was named after his paternal uncle. His family moved to Conegliano in 1923 and, two years later, to Belluno, where another son, Guidalberto, was born. In 1926, Pasolini's father was arrested for gambling debts, and his mother took the children to her family's house in Casarsa della Delizia, in the Friuli region.

Pasolini began writing poems at the age of seven, inspired by the natural beauty of Casarsa. One of his early influences was the work of Arthur Rimbaud. In 1933 his father was transferred to Cremona, and later to Scandiano and Reggio Emilia. Pasolini found it difficult to adapt to all these moves, though in the meantime he enlarged his poetry and literature readings (Dostoyevsky, Tolstoy, Shakespeare, Coleridge, Novalis) and left behind the religious fervour of his early years. In the Reggio Emilia high school, he met his first true friend, Luciano Serra. The two met again in Bologna, where Pasolini spent seven years while completing high school: here he cultivated new passions, including football. With other friends, including Ermes Parini, Franco Farolfi, Elio Meli, he formed a group dedicated to literary discussions.

In 1939 Pasolini graduated and entered the Literature College of the University of Bologna, discovering new themes such as philology and aesthetics of figurative arts. He also frequented the local cinema club. Pasolini always showed his friends a virile and strong exterior, totally hiding his interior travail. He took part in the Fascist government's culture and sports competitions. In 1941, together with Francesco Leonetti, Roberto Roversi and others, he attempted to publish a poetry magazine, but the attempt failed due to paper shortages. In his poems of this period, Pasolini started to include fragments in Friulian, which he had learned from his mother.

First poetical works

After the summer in Casarsa, in 1941 Pasolini published at his own expense a collection of poems in Friulian, Versi a Casarsa. The work was noted and appreciated by intellectuals and critics such as Gianfranco Contini, Alfonso Gatto and Antonio Russi. His pictures had also been well received. Pasolini was chief editor of the Il Setaccio ("The Sieve") magazine, but was fired after conflicts with the director, who was aligned with the Fascist regime. A trip to Germany helped him also to discover the "provincial" status of Italian culture in that era. These experiences led Pasolini to rethink his opinion about the cultural politics of Fascism and to switch gradually to a Communist position.

In 1942, the family took shelter in Casarsa, considered a more tranquil place to wait for the conclusion of the war, a decision common among Italian military families. Here, for the first time, Pasolini had to face the erotic disquiet he had suppressed during his adolescent years. He wrote: "A continuous perturbation without images or words beats at my temples and obscures me".

In the weeks before the 8 September armistice, Pasolini was drafted. He was captured and imprisoned by the Germans. He managed to escape disguised as a peasant, and found his way to Casarsa. Here he joined a group of other young fans of the Friulian language who wanted to give Casarsa Friulian a status equal to that of Udine, the official regional dialect. From May 1944 they issued a magazine entitled Stroligùt di cà da l'aga. In the meantime, Casarsa suffered Allied bombardments and forced enrollments by the Italian Social Republic, as well as partisan activity.

Pasolini tried to remain apart from these events. He and his mother taught students unable to reach the schools in Pordenone or Udine. He experienced his first homosexual love for one of his students. At the same time, a Slovenian schoolgirl, Pina Kalč, was falling in love with Pasolini. On 12 February 1945 his brother Guido was killed in an ambush. Six days later Pasolini and others founded the Friulian Language Academy (Academiuta di lenga furlana). In the same year Pasolini joined the Association for the Autonomy of Friuli. He graduated after completing a final thesis about Giovanni Pascoli's works.

In 1946 Pasolini published a small poetry collection, I Diarii ("The Diaries"), with the Academiuta. In October he travelled to Rome. The following May he began the so-called Quaderni Rossi, handwritten in old school exercise books with red covers. He completed a drama in Italian, Il Cappellano. His poetry collection, I Pianti ("The cries"), was also published by the Academiuta.

Adherence to the Italian Communist Party

On 26 January 1947 Pasolini wrote a controversial declaration for the front page of the newspaper Libertà: "In our opinion, we think that currently only Communism is able to provide a new culture." The controversy was partly due to the fact he was still not a member of the Italian Communist Party (PCI).

He was also planning to extend the work of the Academiuta to other Romance language literatures and knew the exiled Catalan poet, Carles Cardó. After his adherence to the PCI, he took part in several demonstrations. In May 1949, Pasolini attended the Peace Congress in Paris. Observing the struggles of workers and peasants, and watching the clashes of protesters with Italian police, he began to create his first novel.

In October of the same year, Pasolini was charged with the corruption of minors and obscene acts in public places. As a result, he was expelled by the Udine section of the Communist Party and lost the teaching job he had obtained the previous year in Valvasone. Left in a difficult situation, in January 1950 Pasolini moved to Rome with his mother.

He later described this period of his life as very difficult. "I came to Rome from the Friulian countryside. Unemployed for many years; ignored by everybody; riven by the fear to be not as life needed to be". Instead of asking for help from other writers, Pasolini preferred to go his own way. He found a job as a worker in the Cinecittà studios and sold his books in the 'bancarelle' ("sidewalk shops") of Rome. Finally, through the help of the Abruzzese-language poet Vittorio Clemente, he found a job as a teacher in Ciampino, a suburb of the capital.

In these years Pasolini transferred his Friulian countryside inspiration to Rome's suburbs, the infamous borgate where poor proletarian immigrants lived in often horrendous sanitary and social conditions.

Success and charges

In 1954, Pasolini, who now worked for the literary section of Italian state radio, left his teaching job and moved to the Monteverde quarter, publishing La meglio gioventù, his first important collection of dialect poems. His first novel, Ragazzi di vita (English: Rent boys), was published in 1955. The work had great success but was poorly received by the PCI establishment and, most importantly, by the Italian government. It initiated a lawsuit against Pasolini and his editor, Garzanti. Though totally exonerated of any charge, Pasolini became a victim of insinuations, especially by the tabloid press.

In 1957, together with Sergio Citti, Pasolini collaborated on Federico Fellini's film Le notti di Cabiria, writing dialogue for the Roman dialect parts. In 1960 he made his debut as an actor in Il gobbo, and co-wrote Long Night in 1943.

His first film as director and screenwriter is Accattone of 1961, again set in Rome's marginal quarters. The movie aroused controversy and scandal. In 1963, the episode "La ricotta", included in the collective movie RoGoPaG, was censored and Pasolini was tried for offence to the Italian state.

During this period Pasolini frequently traveled abroad: in 1961, with Elsa Morante and Alberto Moravia to India (where he went again seven years later); in 1962 to Sudan and Kenya; in 1963, to Ghana, Nigeria, Guinea, Jordan, and Israel (where he shot the documentary, Sopralluoghi in Palestina). In 1970 he travelled again to Africa to shoot the documentary, Appunti per un'Orestiade africana.

In 1966 he was a member of the jury at the 16th Berlin International Film Festival.

The late 1960s and early 1970s were the era of the so-called "student movement". Pasolini, though acknowledging the students' ideological motivations, thought them "anthropologically middle-class" and therefore destined to fail in their attempts at revolutionary change. Regarding the Battle of Valle Giulia, which took place in Rome in March 1968, he said that he sympathized with the police, as they were "children of the poor", while the young militants were exponents of what he called "left-wing fascism". His film of that year, Teorema, was shown at the annual Venice Film Festival in a hot political climate. Pasolini had proclaimed that the Festival would be managed by the directors (see also Works section).

In 1970 Pasolini bought an old castle near Viterbo, several miles north of Rome, where he began to write his last novel, Petrolio, which was never finished. In 1972 he started to collaborate with the extreme-left association Lotta Continua, producing a documentary, 12 dicembre, concerning the Piazza Fontana bombing. The following year he began a collaboration for Italy's most renowned newspaper, Il Corriere della Sera.

At the beginning of 1975 Garzanti published a collection of critical essays, Scritti corsari ("Corsair Writings").

Death

Pasolini was murdered by being run over several times with his own car, dying on 2 November 1975 on the beach at Ostia, near Rome. Pasolini was buried in Casarsa, in his beloved Friuli.

Giuseppe Pelosi, a seventeen-year-old hustler, was arrested and confessed to murdering Pasolini. Thirty years later, on 7 May 2005, he retracted his confession, which he said was made under the threat of violence to his family. He claimed that three people "with a southern accent" had committed the murder, insulting Pasolini as a "dirty communist".

Other evidence uncovered in 2005 pointed to Pasolini having been murdered by an extortionist. Testimony by Pasolini's friend Sergio Citti indicated that some of the rolls of film from Salò had been stolen, and that Pasolini had been going to meet with the thieves after a visit to Stockholm, November 2, 1975. Despite the Roman police's reopening of the murder case following Pelosi's statement of May 2005, the judges charged with investigating it determined the new elements insufficient for them to continue the inquiry.

Works

Pasolini's first novel Ragazzi di vita (1955) dealt with the Roman lumpenproletariat. The resulting obscenity charges against him were the first of many instances where his art provoked legal problems. Accattone (1961), also about the Roman underworld, also provoked controversy with conservatives, who demanded stricter censorship.

He then directed the black-and-white The Gospel According to St. Matthew (1964). This film is widely hailed as the best cinematic adaptation of the life of Jesus (Enrique Irazoqui). Whilst filming it, Pasolini vowed to direct it from the "believer's point of view", but later, upon viewing the completed work, saw he had instead expressed his own beliefs.

In his 1966 film, Uccellacci e uccellini (literally Bad Birds and Little Birds but translated in English as The Hawks and the Sparrows), a picaresque - and at the same time mystic - fable, he hired the great Italian comedian Totò to work with one of his preferred "naif" actors, Ninetto Davoli. It was a unique opportunity for Totò to demonstrate that he was a great dramatic actor as well.

In Teorema (Theorem, 1968), starring Terence Stamp as a mysterious stranger, he depicted the sexual coming-apart of a bourgeois family (later repeated by François Ozon in Sitcom and Takashi Miike in Visitor Q).

Later movies centered on sex-laden folklore, such as Boccaccio's Decameron (1971) and Chaucer's Canterbury Tales (1972), and Il fiore delle mille e una notte (literally The Flower of 1001 Nights, released in English as Arabian Nights, 1974). These films are usually grouped as the Trilogy of Life.

His final work, Salò (Salò, or the 120 Days of Sodom, 1975), exceeded what most viewers could then stomach in its explicit scenes of intensely sadistic violence. Based on the novel 120 Days of Sodom by the Marquis de Sade, it is considered his most controversial film. In May 2006, Time Out's Film Guide named it the Most Controversial Film of all time.

Significance

As a director, Pasolini created a picaresque neorealism, showing a sad reality. Many people did not want to see such portrayals in artistic work for public distribution. Mamma Roma (1962), featuring Anna Magnani and telling the story of a prostitute and her son, was an affront to the morality of those times. His works, with their unequaled poetry applied to cruel realities, showing that such realities are less distant from us than we imagine, made a major contribution to change in the Italian psyche.

The director also promoted in his works the concept of "natural sacredness," the idea that the world is holy in and of itself. He suggested there was no need for spiritual essence or supernatural blessing to attain this state. Pasolini was an avowed atheist.

General disapproval of Pasolini's work was perhaps caused primarily by his frequent focus on sexual mores, and the contrast between what he presented and publicly sanctioned behavior. While Pasolini's poetry often dealt with his same-sex love interests, this was not the only, or even main, theme. His interest and approach to Italian dialects should also be noted. Much of the poetry was about his highly revered mother. As a sensitive and intelligent man, he depicted certain corners of the contemporary reality as few other poets could do. His poetry was not as well-known as his films outside Italy.

Legacy and honors

His films won awards at the Berlin Film Festival, Cannes Film Festival, Venice Film Festival, Italian National Syndicate for Film Journalists, Jussi Awards, Kinema Junpo Awards, International Catholic Film Office and New York Film Critics Circle.

Political views

Pasolini generated heated public discussion with controversial analyses of public affairs. For instance, during the disorders of 1969, when the autonomist university students were carrying on a guerrilla-like uprising against the police in the streets of Rome and all the leftist forces declared their complete support for the students, describing the disorders as a civil fight of proletariat against the System, Pasolini, alone among the communists, declared that he was with the police; or, more precisely, with the policemen. He considered them true proletariat, sent to fight for a poor salary and for reasons which they could not understand, against pampered boys of their same age, because they had not had the fortune of being able to study, referring to poliziotti figli di proletari meridionali picchiati da figli di papà in vena di bravate (lit. policemen, sons of proletarian southerners, beaten up by arrogant daddys' boys ). This ironic statement, however, did not stop him from contributing to the autonomist Lotta continua movement.

Pasolini was also an ardent critic of consumismo, i.e. consumerism, which he felt had rapidly destroyed Italian society in the late 1960s/early 1970s. He was particularly concerned about the class of the subproletariat, which he portrayed in Accattone, and to which he felt both humanly and artistically drawn. Pasolini observed that the kind of purity which he perceived in the pre-industrial popular culture was rapidly vanishing, a process that he named la scomparsa delle lucciole (lit. "the disappearance of glow-worms"). The joie de vivre of the boys was being rapidly replaced with more bourgeois ambitions such as a house and a family. He described the coprophagia scenes in Salò as a comment on the processed food industry. He often described consumeristic culture as "unreal", as it had been imposed by economical power and had replaced Italy's traditional peasants culture, something that not even fascism had been able to do. In one interview, he said: "I hate with particular vehemency the current power, the power of 1975, which is a power that manipulates bodies in a horrible way; a manipulation that has nothing to envy to that performed by Himmler or Hitler"

He was angered by economic globalization and the cultural domination of the North of Italy (around Milan) over other regions, especially the South. He felt this was accomplished through the power of TV. He opposed the gradual disappearance of Italian dialects by writing some of his poetry in Friulian, the regional language of his childhood. Despite his left-wing views, Pasolini opposed the liberalization of abortion laws.

Sexuality

The LGBT encyclopedia states the following regarding Pasolini's homosexuality:

While openly gay from the very start of his career (thanks to a gay sex scandal that sent him packing from his provincial hometown to live and work in Rome), Pasolini rarely dealt with homosexuality in his movies. The subject is featured prominently in Teorema (1968), where Terence Stamp's mysterious God-like visitor seduces the son and father of an upper-middle-class family; passingly in Arabian Nights (1974), in an idyll between a king and a commoner that ends in death; and, most darkly of all, in Salò (1975), his infamous rendition of the Marquis de Sade's compendium of sexual horrors, The 120 Days of Sodom.

In 1963 he met "the great love of his life," fifteen-year-old Ninetto Davoli who he later cast in his 1966 film Uccellacci e uccellini (literally Bad Birds and Little Birds but translated in English as The Hawks and the Sparrows), Pasolini became his mentor and friend. "Even though their sexual relations lasted only a few years, Ninetto continued to live with Pasolini and was his constant companion, as well as appearing in six more of his films."

Quotes

* If you know that I am an unbeliever, then you know me better than I do myself. I may be an unbeliever, but I am an unbeliever who has a nostalgia for a belief. (1966)

* The mark which has dominated all my work is this longing for life, this sense of exclusion, which doesn't lessen but augments this love of life. (Interview in documentary, late 1960s)

*One should never hope for anything. Hope is a thing invented by politicians to keep the electorate happy.

New York Times interview, 1968

I suffer from the nostalgia of a peasant-type religion, and that is why I am on the side of the servant. But I do not believe in a metaphysical god. I am religious because I have a natural identification between reality and God. Reality is divine. That is why my films are never naturalistic. The motivation that unites all of my films is to give back to reality its original sacred significance.

* In general, I choose actors because of what they are as human beings, not because of what they can do. Terence Stamp was offended by this because I never asked him to demonstrate his acting ability. It was like stealing from him, using his reality. I had a similar experience with Anna Magnani on ‘Mamma Roma.’ She also felt I was stealing from her.

* I’m in love with New York. I have a passion beyond words for it. Like Romeo and Juliet—love at first sight. It is the most beautiful city in the world. I love the huge mingling of enormous amounts of people, races. The mixture of cruelty and innocence. New York is a piece of mythical reality, as beautiful as the Sahara Desert.

A Film Maker's Life (1971)

Power has two ways of bringing racist hatred against the poor. The first point: leave them poor and a poor person comes to be hated. Make them policemen and they're accused of being killers. The moment a poor person becomes a killer he's open to racist hatred. This is horrible, we shouldn't experience this. I am obviously against the police. It's the arm upon which every power structure is built. And the power structure always tends towards the Right. I do, however, refuse to share in any type of racial hatred.

* I had a strong love for my father until the age of three. The fundamental task I set myself is that of being rigorously disciplined. By this I mean, rigorously disciplined as the intellectual, I was decidedly a Marxist straight after the war. I had to defend myself against an excess and clarity, against an excess of familiarity and, almost, banality.

* My problem is an artistic one, a formal one, and art, as you very well know, is never clear. My films are the works of an author with very singular individual characteristics.

* I've never talked about the importance of the family, I'm against the family, the family is an archaic Remnant. During my childhood I had certain conflicts with my family whose background was definitely middle-class. My father represented the worst element I could imagine. It's rather difficult to talk about my relationship with my father and mother because I know something about psychoanalysis. What I can say is that I have great love for my mother. My origins are fairly typical of petty bourgeois, Italian society. I'm a product of unity of Italy as a Republic.

* I've never wanted to make a conclusive statement. I've always posed various problems and left them open to consideration.

* I've stated various times that "Oedipus Rex" is an autobiography: my father who was an officer and my mother was more or less the woman played by Silvana Mangano. I live the Oedipus complex in a kind of laboratory fashion, in an almost elementary and schematic way.

* When I make a film I'm always in reality, among the trees and among the people; there's no symbolic or conventional filter between me and reality as there's in literature. The cinema is an explosion of my love for reality. I have never conceived of making a film that would be a work of a group, I've always thought of a film as a work of an author, not only the script and the direction but the choices of sets and locations, the characters, even the clothes. I choose everything, not to mention the music.

* I've never been religious unless you can count a very ridiculous religious crisis at fourteen years of age, I was still very innocent. Then from one day to the next, I didn't believe anymore. I was born Catholic by mere chance because I was born in Italy, but I was never particularly Catholic and I came to my criticism of the Church as every Italian intellectual has. I had a very agnostic upbringing; this led me to Marxism so therefore I arrived at it in the most obvious and natural way. The Church in Italy has always been an instrument of power but I don't think it's an ideological power as opposed to its practical power, as any influence over the Italian peasant. An Italian's not religious. I don't want to say pagan because that would be generic but he's pre-Catholic in as much as he's remained in the state in which Catholicism found him, above all, in the South. It is a superficial cross over the Italian people and I believe it would only take a strong confrontation to destroy these ideals.

* I think that the Gospel is one of the many books of religious propaganda that had been written. There will come a time when the Gospel will be linguistically incomprehensible to humanity. The Gospel is tied to time and its historic place. The Church can only survive if it continues to change and put into continual crisis its own institutionality. I'm now preparing a film on Saint Paul. In the film we bring into question not the validity of the Church but its mere motive of existence.

* The Church will probably be able to continue for centuries to come if it creates an ecclesiastic assembly that continually negates and re-creates itself. My criticism is against the Church as power as it is today. I said that when I was a boy I believed, I prayed... but it wasn't anything very serious. I think there're some facets in my character that have something of a mystifying quality. I'd say this is a part of the trauma that dominates my existence. Nature doesn't seem natural to me, it is a sort of an act between me and the naturalness of nature. Philosophically, nothing that I have ever done has been more fitted to me than "Gospel According to St. Matthew" because of my tendency always to see something sacred, mythical and epic quality in everything, even in the most simple and banal objects and events.

* The working class belongs to the modern world, it belongs to our time, our history. Here in Italy the policemen for the most part are poor boys who come from very poor families in the South. I hope that the union confrontations and the student movement will bring us new advances in the people's movement and in revolutionary movement. The idea of Marxism being rational is true when it's a science but the moment Marxism is an action or revolution, it ceases to be rational. The moment a Marxist goes into action, purely pragmatic elements or purely revolutionary sentiments existed contains something of a religious or mystical nature.

Filmography

Feature films

All titles listed below were written and directed by Pier Paolo Pasolini unless stated otherwise. Although obviously Oedipus Rex and Medea are loosely based on plays by Sophocles and Euripides respectively, significant liberties were taken with original texts and titles do not credit anyone except Pasolini. The latter is also true in the case of St. Matthew. {| class="wikitable" |- !width="5%"|Year !width="20%"|Original title !width="26%"|English title ! Notes |- | 1961 | Accattone | Accattone! | Screenplay by Pier Paolo Pasolini based on his novel Una vita violenta. Additional dialogue by Sergio Citti. |-style=background:#efefef;
Karlovy Vary International Film Festival Best Director Award | 1962 | Mamma Roma | Mamma Roma | Screenplay by Pier Paolo Pasolini with additional dialogue by Sergio Citti. |- | 1964 | Il vangelo secondo Matteo | The Gospel According to Matthew |Silver Lion-Venice Film Festival |-style=background:#efefef; | 1966 | Uccellacci e uccellini | The Hawks and the Sparrows | |- | 1967 | Edipo re | Oedipus Rex | |-style=background:#efefef; | 1968 | Teorema | Theorem | Pasolini's novel Teorema was also published in 1968. |- | 1969 | Porcile | Pigpen | |-style=background:#efefef; | 1969 | Medea | Medea | |- | 1971 | Il Decameron | The Decameron | Based on The Decameron by Giovanni Boccaccio. |-style=background:#efefef; | 1972 | I Racconti di Canterbury | The Canterbury Tales | Based on The Canterbury Tales by Geoffrey Chaucer. Won the Golden Bear at the 22nd Berlin International Film Festival. |- | 1974 | Il fiore delle Mille e una Notte | A Thousand and One Nights (Arabian Nights) | Screenplay written in collaboration with Dacia Maraini. |-style=background:#efefef; | 1975 | Salò o le 120 giornate di Sodoma | Salo, or the 120 Days of Sodom | Based on Les 120 journées de Sodome ou l'école du libertinage by Marquis de Sade. Screenplay written in collaboration with Sergio Citti with extended quotes from Roland Barthes' Sade, Fourier, Loyola and Pierre Klossowski's Sade mon prochain. |}

Documentaries

Sopralluoghi in Palestina per Il Vangelo secondo Matteo (1964)

Comizi d'amore (The Assembly of Love, 1964)

Appunti per un film sull'India (1969)

Appunti per un romanzo dell'immondizia (1970)

Le mura di Sana'a (1971)

''12 Dicembre 1972 (long and short version) (1972)

Pasolini e la forma della città (1975)

Appunti per un'Orestiade Africana (Notes Towards an African Orestes, 1975)

Episodes in omnibus films

La ricotta in RoGoPaG (1963)

First segment of La rabbia (1963)

La Terra vista dalla Luna in Le streghe (The Witches, 1967)

Che cosa sono le nuvole? Capriccio all'Italiana (1968)

La sequenza del fiore di carta in Amore e rabbia (1969)

Selected bibliography

Narrative

Poems

Ragazzi di vita (The Ragazzi, 1955)

Una vita violenta (A Violent Life, 1959)

Il sogno di una cosa (1962)

Amado Mio - Atti Impuri (1982, originally composed in 1962)

Alì dagli occhi azzurri (1965)

Reality (The Poets' Encyclopedia, 1979)

Petrolio (1992, incomplete)

Poetry

La meglio gioventù (1954)

Le ceneri di Gramsci (1957)

L'usignolo della chiesa cattolica (1958)

La religione del mio tempo (1961)

Poesia in forma di rosa (1964)

Trasumanar e organizzar (1971)

La nuova gioventù (1975)

Roman Poems. Pocket Poets #41 (1986)

Essays

Passione e ideologia (1960)

Canzoniere italiano, poesia popolare italiana (1960)

Empirismo eretico (1972)

Lettere luterane (1976)

Le belle bandiere (1977)

Descrizioni di descrizioni (1979)

Il caos (1979)

La pornografia è noiosa (1979)

Scritti corsari (1975)

Lettere (1940–1954) (Letters, 1940-54, 1986)

Theatre

Orgia (1968)

Porcile (1968)

Calderón (1973)

Affabulazione (1977)

Pilade (1977)

Bestia da stile (1977)

Footnotes

Additional reading

Aichele, George. "Translation as De-canonization: Matthew's Gospel According to Pasolini - filmmaker Pier Paolo Pasolini - Critical Essay." Cross Currents (2002). FindArticles.

Distefano, John. "Picturing Pasolini." Art Journal (1997).

Eloit, Audrene. "Oedipus Rex by Pier Paolo Pasolini The Palimpsest: Rewriting and the Creation of Pasolini's Cinematic Language." Literature Film Quarterly (2004). FindArticles.

Forni, Kathleen. "A "cinema of poetry": What Pasolini Did to Chancer's Canterbury Tales." Literature Film Quarterly (2002). FindArticles.

Frisch, Anette. "Francesco Vezzolini: Pasolini Reloaded." Interview, Rutgers University Alexander Library, New Brunwick, NJ.

Green, Martin. "The Dialectic Adaptation."

Greene, Naomi. Pier Paolo Pasilini: Cinema as Heresy. Princeton, NJ: Princeton UP, 1990.

Meyer-Krahmer, Benjamin. "Transmediality and Pastiche as Techniques in Pasolini’s Art Production", in: P.P.P. - Pier Paolo Pasolini and death, eds. Bernhart Schwenk, Michael Semff, Ostfildern 2005, p. 109 - 118

Passannanti, Erminia. "Deconstruction and redefinition of the Italian Catholic Identity in Pier Paolo Pasolini's La ricotta, in Italy on Screen: National Identity and Italian Imaginary, Lucy Bolton and Christina Siggers Manson (eds.), Series New Studies in European Cinema series, Peter Lang (2010).

Pugh, Tison. "Chaucerian Fabliaux, Cinematic Fabliau: Pier Paolo Pasolini's I racconti di Canterbury.", Literature Film Quarterly (2004). FindArticles.

Restivo, Angelo. The Cinema of Economic Miracles: Visuality and Modernization in the Italian Art Film. London: Duke UP, 2002.

Rohdie, Sam. The Passion of Pier Paolo Pasolini. Bloomington, Indiana: Indiana UP, 1995.

Rumble, Patrick A. Allegories of contamination: Pier Paolo Pasolini's Trilogy of life. Toronto: University of Toronto P, 1996.

Schwartz, Barth D. Pasolini Requiem. 1st ed. New York: Pantheon Books, 1992.

Siciliano, Enzo. Pasolini: A Biography. Trans. John Shepley. New York: Random House, 1982.

Viano, Maurizio. A Certain Realism: Making Use of Pasolini's Film Theory and Practice. Berkeley: University of California P, 1993.

Willimon, William H. "Faithful to the script", Christian Century (2004).

Films about Pasolini

Ebbo Demant: 'Das Mitleid ist gestorben'. Pier Paolo Pasolini und Italien. Documentary. Germany, 1978.

External links

Piers Paolo Pasolini, Italian website with extensive commentary

"Piers Paolo Pasolini", Senses of Cinema

BBC News report on the reopening of the murder case

Guy Flatley: "The Atheist Who Was Obsessed with God", MovieCrazed

Doug Ireland, "Restoring Pasolini", ZMag

Maria Callas in Pasolini's Medea

Pasolini's own notes on Salo from 1974

Pier Paolo Pasolini poems Original Italian text.

Enzo Biagi)">Video (in Italian): Pasolini on the destructive impact of television (interrupted and half-censored by Enzo Biagi)

Italian website dedicated to Pasolini

Category:Assassinated Italian people Category:Gay writers Category:Italian atheists Category:Italian communists Category:Italian film directors Category:Italian Marxists Category:Italian novelists Category:Italian journalists Category:Italian film critics Category:Italian poets Category:LGBT directors Category:LGBT people from Italy Category:Marxist journalists Category:Murdered entertainers Category:Murdered filmmakers Category:Murdered writers Category:People from Bologna Category:People murdered in Italy Category:1922 births Category:1975 deaths Category:Unsolved murders in Italy Category:Italian Communist Party politicians Category:Viareggio Prize winners

Bgcolour	silver
Name	Jonathan Meese
Imagesize	245px
Birthplace	Tokyo, Japan
Nationality	German
Field	Painting, Sculpture, Performance art, Installation art
Training	Hochschule für bildende Künste Hamburg
Movement	Contemporary art
Awards	Berliner Bär (BZ-Kulturpreis), 2007

Jonathan Meese (born January 23, 1970, Tokyo) is a German painter, sculptor, performance artist and installation artist based in Berlin and Hamburg. His (often multi-media) works include collages, drawings and writing. He also designs theater sets and wrote and starred in a play, "De Frau: Dr. Poundaddylein - Dr. Ezodysseusszeusuzur" in 2007 at the Volksbühne Theater'''.

Work

Meese attended Hochschule für bildende Künste in Hamburg, but left the school before completing his studies and was picked up by Berlin gallery Contemporary Fine Arts. An early installation Ahoi de Angst was presented at the first Berlin Biennale in 1998. Susanne Titz, writing about the Biennale said, "It was thus clear that Meese had indeed put his finger on the pulse of his generation and presented it." According to Karel Schampers, "Jonathan Meese can tell a story in such a gripping way that you would never have the idea to doubt its truth. Especially his installations benefit from this quality,"

He has been included in exhibitions “Spezialbilder” at Contemporary Fine Arts in Berlin, “Grotesk!” at Schirn Kunsthalle in Frankfurt and “Schnitt bringt Schnitte” at Ausstellungsraum Schnitt in Köln. Recent exhibitions include Thanks, Wally Whyton (Revendaddy Phantomilky on Coconut Islandaddy) at Modern Art, London, and a performance at Tate Modern, entitled Noel Coward Is Back — Dr. Humpty Dumpty vs. Fra No-Finger. He has exhibited at Modern Art, London, Galerie Daniel Templon, Paris, and Centro Cultural Andratx, Mallorca.

He is represented by Contemporary Fine Arts in Berlin, Leo Koenig in New York, Modern Art in London and Galerie Daniel Templon in Paris. In 2007 he collaborated with the composer Karlheinz Essl on the installation FRÄULEIN ATLANTIS shown at the Essl Museum in Vienna/Klosterneuburg.

He has worked collaboratively with the painters Jörg Immendorff, Albert Oehlen, Tim Berresheim, Daniel Richter, Tal R and the composer Karlheinz Essl.

For the Salzburg Festival 2010, Meese created an acclaimed stage design for the world premiere of Wolfgang Rihm's opera Dionysus.

Collections

Collections of art that own examples of Meese's work include {|width="100%" align="center"| |width="50%" valign="top"|

ARTAX Düsseldorf

Artothek Nürnberg

Centre Pompidou, Paris

Elgiz Museum of Contemporary Art, Istanbul

Galerie für Zeitgenössische Kunst, Leipzig

Kunsthalle Bielefeld

Magasin 3 Stockholm Konsthall

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Museum Abteiberg, Mönchengladbach

Saatchi Gallery, London

Sammlung Essl, Klosterneuburg

Sammlung Falckenberg, Hamburg

Sammlung zeitgenössischer Kunst der Bundesrepublik Deutschland, Bonn

Trevi Flash Art Museum of Contemporary Art, Trevi

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References

External links

Jonathan Meese at Galerie Daniel Templon, Paris

Jonathan Meese at Regina Gallery, London & Moscow

Jonathan Meese at Stuart Shave/Modern Art, London

Jonathan Meese at Contemporary Fine Arts, Berlin

First Berlin Biennale (by David Allen and Dominic Eichler in Umelec International, 1/1999)

Jonathan Meese: Fräulein Atlantis multimedia room installation for the Essl Museum

Sies + Höke Galerie, Düsseldorf: Jonathan Meese, works

Jonathan Meese at the Saatchi Gallery

Meese at the CAC Malaga, Spain

Category:1970 births Category:Living people Category:German artists Category:Installation artists Category:Contemporary artists

Basil Cheesman Bunting (1 March 1900 – 17 April 1985) was a significant British modernist poet whose reputation was established with the publication of Briggflatts in 1966. He had a lifelong interest in music that led him to emphasise the sonic qualities of poetry, particularly the importance of reading poetry aloud. He was an accomplished reader of his own work.

Biography

Born into a Quaker family in Scotswood-on-Tyne, Northumberland (now part of Newcastle upon Tyne), Bunting was educated at the Royal Grammar School there for two years. He then studied at two Quaker schools: from 1912–1916 at Ackworth School in Yorkshire and from 1916–1918 at Leighton Park School in Berkshire. His Quaker education strongly influenced his pacifist opposition to World War I, and in 1918 he was arrested as a conscientious objector, serving a sentence of more than a year in Wormwood Scrubs and Winchester prisons. Bunting's friend Louis Zukosfky described him as a "conservative/anti-fascist/imperialist."

These events were to have an important role in his first major poem, "Villon" (1925). "Villon" was one of a rather rare set of complex structured poems that Bunting labelled "sonatas," thus underlining the sonic qualities of his verse and recalling his love of music. After his release from prison in 1920, traumatized by the time spent there, Bunting went to London, where he enrolled in the London School of Economics, and had his first contacts with journalists, social activists and Bohemia. Bunting was introduced to the works of Ezra Pound by Nina Hamnett who lent him a copy of Homage to Sextus Propertius. The glamour of the cosmopolitan modernist examples of Nina Hamnett and Mina Loy seems to have influenced Bunting in his later move from London to Paris.

After having travelled in Northern Europe while holding small secretarial jobs in London, Bunting left the London School of Economics without a degree and went to France. There, in 1923, he became friendly with Ezra Pound, who years later would dedicate his Guide to Kulchur (1938) to both Bunting and Louis Zukofsky, "strugglers in the desert". Bunting's poetry began to show the influence of this friendship. He visited Pound in Rapallo, Italy, and later settled there with his family from 1931 to 1933. He was published in the Objectivist issue of Poetry magazine, in the Objectivist Anthology, and in Pound's Active Anthology.

During World War II, Bunting served in British Military Intelligence in Persia. After the war, he continued to serve on the British Embassy staff in Tehran until he was expelled by Muhammad Mussadegh in 1952.

Back in Newcastle, he worked as a journalist on the Evening Chronicle until his rediscovery during the 1960s by young poets, notably Tom Pickard and Jonathan Williams, who were interested in working in the modernist tradition. In 1965, he published his major long poem, Briggflatts, named for the Quaker meeting house in Cumbria where he is now buried. Bunting died in 1985 in Hexham, Northumberland. (for bronze) in existence. The correspondence file relating to the Bunting portrait bust is held as part of the Thornhill Papers (2006:56) in the archive of the Henry Moore Foundation's Henry Moore Institute in Leeds and the terracotta remains in the collection of the artist.

References

Notes

Bibliography

Alldritt, Keith, The Poet As Spy: The Life and Wild Times of Basil Bunting Aurum Press, London, 1998, ISBN 9781854104779.

Makin, Peter (editor) Basil Bunting on Poetry, Johns Hopkins University Press, Baltimore, 1999. ISBN 9780801861666.

Alldritt, Keith, Modernism in the Second World War:The Later Poetry of Ezra Pound, T.S. Eliot, Basil Bunting and Hugh MacDiarmid Peter Lang, New York, 1989, ISBN 0-8204-0865-4

External links

Basil Bunting Poetry Centre

Basil Bunting's Grave

Basil Bunting Home Page at EPC, Buffalo

At Briggflatts Meetinghouse recording read by the author

Minor Poet, Not Conspicuously Dishonest Richard Caddel's Introduction to Complete Poems

Review of Complete Poems

Category:1900 births Category:1985 deaths Category:English poets Category:Objectivist poets Category:English conscientious objectors Category:People from Newcastle upon Tyne Category:Ackworth Old Scholars Category:Old Leightonians Category:Old Novocastrians Category:English Christian pacifists Category:Cholmondeley Award winners