By David Ten Eyck
Ezra Pound remodeled his variety of poetry while he wrote The Adams Cantos within the Nineteen Twenties. yet what brought on him to reconsider his prior writing thoughts? Grounded in archival fabric, this examine explores the level to which Pound's poetry replaced in keeping with his interpreting of 17th-century American heritage and the social weather of the pre-war interval. Drawing at the Ezra Pound papers, David Ten Eyck files the adjustments to Pound's documentary suggestions, setting up a chronology of the composition of The Cantos. His shut readings of particular passages, set opposed to the interwar years, let Ten Eyck to realize insights into Pound's Thirties political and social feedback. via references to the annotated reproduction of The Works of John Adams, he explores Pound's engagement with Adams on the rate of Thomas Jefferson: a determine officially on the middle of his prior paintings. eventually, this contextual and archival examine makes use of John Adams and the USA to free up the fascist ideals and the later poetry of Ezra Pound.
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Extra resources for Ezra Pound's Adams Cantos (Historicizing Modernism)
26 Their subject is themselves and the cultural inheritance that we’re remaking in our own image and likeness. The game is to study our remembrance of things past and present—by taking our thinking apart, setting it alongside other rememberings for contrasts and comparisons, imagining different contexts and different histories, as many as you can, and altering and abusing it for its own good. 27 Who ever read those lines without wondering: why not “Time, with a glass that ran, / Grief, with a gift of tears”?
My knowledge of it, however slight so far, has become its life. Thus the poem comes to circle back to a self-conscious conﬁrmation of the work done in Space and The Maintains, a statement of the “meaning” of earlier work that now preserves its spirit in a more extended and inclusive form: Soon I will stand up from this page and wonder about. Words allow things that don’t much exist beyond them. Like: the edges of a cloud touch. Pieces of the poem are all you’ll get. The edges of a cloud touch. Snow ash?
One has to see that such a poem ﬁgures terror for Coolidge because it has glimpsed the terror in Coolidge’s most “beloved” forms. ” In all of Coolidge’s poetry these are promoted as key words in his lexicon of white magic. But if Coolidge (or Coolidge’s writing) is serious in declaring “The world is not enough. I want something / else to appear,” the work is bound to dismantle itself. ” But “the world,” including the world of Coolidge’s verse, is not enough for his writing. “Something else” repeatedly appears in the interstices of his work.