About this poet

Ezra Pound is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry. In the early teens of the twentieth century, he opened a seminal exchange of work and ideas between British and American writers, and was famous for the generosity with which he advanced the work of such major contemporaries as W. B. Yeats, Robert Frost, William Carlos Williams, Marianne Moore, H. D., James Joyce, Ernest Hemingway, and especially T. S. Eliot.

His own significant contributions to poetry begin with his promulgation of Imagism, a movement in poetry which derived its technique from classical Chinese and Japanese poetry—stressing clarity, precision, and economy of language and foregoing traditional rhyme and meter in order to, in Pound's words, "compose in the sequence of the musical phrase, not in the sequence of the metronome." His later work, for nearly fifty years, focused on the encyclopedic epic poem he entitled The Cantos.

Ezra Pound was born in Hailey, Idaho, on October 30, 1885. He completed two years of college at the University of Pennsylvania and earned a degree from Hamilton College in 1905. After teaching at Wabash College for two years, he travelled abroad to Spain, Italy, and London, where, as the literary executor of the scholar Ernest Fenellosa, he became interested in Japanese and Chinese poetry. He married Dorothy Shakespear in 1914 and became London editor of the Little Review in 1917.

In 1924, he moved to Italy; during this period of voluntary exile, Pound became involved in Fascist politics, and did not return to the United States until 1945, when he was arrested on charges of treason for broadcasting Fascist propaganda by radio to the United States during World War II. In 1946, he was acquitted, but declared mentally ill and committed to St. Elizabeths Hospital in Washington, D.C. During his confinement, the jury of the Bollingen-Library of Congress Award (which included a number of the most eminent writers of the time) decided to overlook Pound's political career in the interest of recognizing his poetic achievements, and awarded him the prize for the Pisan Cantos (1948). After continuous appeals from writers won his release from the hospital in 1958, Pound returned to Italy and settled in Venice, where he died, a semi-recluse, on November 1, 1972.


Selected Bibliography

Poetry

A Draft of Cantos XXXI-XLI (1934)
A Draft of XXX Cantos (1930)
A Lume Spento (1908)
Cantos I-XVI (1925)
Cantos LII-LXXI (1940)
Cantos XVII-XXVII (1928)
Canzoni (1911)
Exultations (1909)
Homage to Sextus Propertius (1934)
Lustra and Other Poems (1917)
Patria Mia (1950)
Personae (1909)
Provenca (1910)
Quia Pauper Amavi (1919)
The Cantos (1972)
The Fifth Decade of Cantos (1937)
The Pisan Cantos (1948)
Umbra: Collected Poems (1920)

Prose

ABC of Economics (1933)
Antheil and the Treatise on Harmony (1924)
Digest of the Analects (1937)
Gaudier Brzeska (1916)
Guide to Kulchur (1938)
How To Read (1931)
Imaginary Letters (1930)
Indiscretions (1923)
Instigations (1920)
Jefferson and/or Mussolini (1935)
Literary Essays (1954)
Make It New (1934)
Pavannes and Divisions (1918)
Polite Essays (1936)
Prolegomena: Volume I (1932)
Selected Prose: 1909-1965 (1973)
Social Credit and Impact (1935)
The ABC of Reading (1934)
The Spirit of Romance (1953)
What is Money For? (1939)

Anthology

Cathay (1915)
The Classic Anthology Defined (1954)
The Great Digest, and the Unwobbling Point (1951)
The Translations of Ezra Pound (1953)


Multimedia

From the Image Archive

 

Portrait d'une Femme

Ezra Pound, 1885 - 1972
Your mind and you are our Sargasso Sea,
London has swept about you this score years
And bright ships left you this or that in fee:
Ideas, old gossip, oddments of all things,
Strange spars of knowledge and dimmed wares of price.
Great minds have sought you—lacking someone else.
You have been second always. Tragical?
No. You preferred it to the usual thing:
One dull man, dulling and uxorious,
One average mind—with one thought less, each year.
Oh, you are patient, I have seen you sit
Hours, where something might have floated up.
And now you pay one. Yes, you richly pay.
You are a person of some interest, one comes to you
And takes strange gain away:
Trophies fished up; some curious suggestion:
Fact that leads nowhere; and a tale or two,
Pregnant with mandrakes, or with something else
That might prove useful and yet never proves,
That never fits a corner or shows use,
Or finds its hour upon the loom of days:
The tarnished, gaudy, wonderful old work;
Idols and ambergris and rare inlays,
These are your riches, your great store; and yet
For all this sea-hoard of deciduous things,
Strange woods half sodden, and new brighter stuff:
In the slow float of differing light and deep,
No! there is nothing! In the whole and all,
Nothing that's quite your own.
                     Yet this is you.

From Ripostes (1912), by Ezra Pound.

From Ripostes (1912), by Ezra Pound.

Ezra Pound

Ezra Pound

Ezra Pound is generally considered the poet most responsible for defining and promoting a modernist aesthetic in poetry.

by this poet

poem
Io venni in luogo d'ogni luce muto;
The stench of wet coal, politicians
. . . . . . . . . . e and. . . . . n, their wrists bound to
    their ankles,
Standing bare bum,
Faces smeared on their rumps,
    wide eye on flat buttock,
Bush hanging for beard,
    Addressing crowds through their arse-holes,
Addressing
poem
I have tried to write Paradise

Do not move
      Let the wind speak
        that is paradise.

Let the Gods forgive what I
        have made
Let those I love try to forgive
        what I have made.
poem
And then went down to the ship,
Set keel to breakers, forth on the godly sea, and
We set up mast and sail on that swart ship,
Bore sheep aboard her, and our bodies also 
Heavy with weeping, so winds from sternward
Bore us out onward with bellying canvas,
Circe's this craft, the trim-coifed goddess.
Then sat we