The Cantos have been called Ezra Pound's intellectual diary, composed over the course of sixty years. Long out of print as a separate volume--it was originally published in 1933--this epic of nine groupings of poems is now being issued as a New Directions Paperbook.

This selection from the Cantos was made by Ezra Pound himself in 1965. It is intended to "indicate main elements" in the long poem -- his personal epic -- with which he was engaged for more than fifty years. His choice includes, of course, a number of the Cantos most admired by critics and anthologists, such as Canto XIII ("Kung [Confucius] walked by the dynastic temple..."), Canto XLV ("With usura hath no man a house of good stone...") and the passage from The Pisan Cantos (LXXXI) beginning "What thou lovest well remains / the rest is dross," and so the book is an ideal introduction for newcomers to the great work. But it has, too, particular interest for the already initiated reader and the specialist, in its revelation, through Pound's own selection of "main elements," of the relative importance which he himself placed on various motifs as they figure in the architecture of the whole poem. Book jacket.

At last, a definitive, paperback edition of Ezra Pound's finest work.

“A wonderful book” from the National Book Award for Poetry finalist that explores themes of dislocation and danger (Bob Hicok, author of Red Rover, Red Rover). The speaker in this extraordinary collection finds herself dislocated: from her childhood in California, from her family’s roots in Mexico, from a dying parent, from her prior self. The world is always in motion—both toward and away from us—and it is also full of risk: from sharks unexpectedly lurking beneath estuarial rivers to the dangers of New York City, where, as Ada Limón reminds us, even rats find themselves trapped by the garbage cans they’ve crawled into. In such a world, how should one proceed? Throughout Sharks in the Rivers, Limón suggests that we must cleave to the world as it “keep[s] opening before us,” for, if we pay attention, we can be one with its complex, ephemeral, and beautiful strangeness. Loss is perpetual, and each person’s mouth “is the same / mouth as everyone’s, all trying to say the same thing.” For Limón, it’s the saying—individual and collective—that transforms each of us into “a wound overcome by wonder,” that allows “the wind itself” to be our “own wild whisper.” “Through the steamy, thorny undergrowth, up through the cold concrete, under the swift river, Limon soars and twirls like a bird, high on heart.” —Jennifer L. Knox, author of Crushing It

Gathers all the poet's art criticism from various sources, as well as his articles explaining the new approach of vortography, the English avantgarde movement.

Ezra Pound's classic book about the meaning of literature.