If the invention of literary modernism is usually attributed to James Joyce, T. S. Eliot and Ezra Pound, it was Pound alone who provided (in Hugh Kenner's words) "the synergetic presence") to convert individual experiment into an international movement. In 1926 Pound carefully sculpted his body of shorter poems into a definitive collection which would best show the concentration of force, the economy of means, and the habit of analysis that were, to him, the hallmarks of the new style.This collection, where Pound presented himself in a variety of characters or "masks," was called Personae. In 1926, Personae's publication gave solidity to a movement today the work stands as one of the classic texts of the twentieth century.

"Both a commentary on and a critical appreciation of the work of the early Pound. It starts off with a luci introduction to Pound's technique in general, and to his imagist phase (during which the poems commented on in this book were written) in particular. In the critical passages Mr. Ruthven steers a sage middle course between the attitudes of uncritical adoration and wholesale rejection that mar so much of the literature on Pound. . . . informative without being pedantic, and exhaustive without being long-winded. . . .To turn to Mr. Ruthven's Guide is to follow in the footsteps of an intelligent, sensitive and reliable scholar." --English Studies This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1969.

A new edition of Pound's groundbreaking shorter poems.

Prose work by Ezra Pound, published in 1938. A brilliant but fragmentary work, it consists of a series of apparently unrelated essays reflecting his thoughts on various aspects of culture and history.

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.

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.

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

Included here are all of Pound's concert reviews and statements; the biweekly columns written under the pen name William Atheling for The New Age in London; articles from other periodicals; the complete text of the 1924 landmark volume Antheil and the Treatise on Harmony; extracts from books and letters, and the poet's additional writings on the subject of music. The pieces are organized chronologically, with illuminating commentary, thorough footnotes, and an index. Three appendixes complete this comprehensive volume; an analysis of Pound's theories of "absolute rhythm" and "Great Bass;" a glossary of important musical personalities mentioned in the text and the composer George Antheil's 1924 appreciation, "Why a Poet Quit the Muses."