Delmore Schwartz said about The Cantos: They are one of the touchstones of modern poetry. William Carlos WIlliams said [Pound] discloses history by its odor, by the feel of it--in the words; fuses it with the words, present and past, to MAKE his Cantos. Make them.

Since the 1969 revised edition, the Italian Cantos LXXII and LXXIII (as well as a 1966 fragment concluding the work) have been added. Now appearing for the first time is Pound's recently found Eglish translation of Italian Canto LXXII.

For this definitive collection of Pound's Literary Essays, his friend (and English editor) T. S. Eliot chose material from five earlier volumes: Pavannes and Divisions (1918), Instigations (1920), How to Read (1931), Make It New (1934), and Polite Essays (1937). 33 pieces are arranged in three groups: The Art of Poetry, The Tradition, and Contemporaries. Eliot wrote in his introduction: I hope that this volume will demonstrate that Pound's literary criticism is the most important contemporary criticism of its kind . . perhaps the kind we can least afford to do without . . . the refreshment, the revitalization and 'making new' of literature in our time.

The verse and criticism which he produced during the early years of the twentieth century very largely determined the directions of creative writing in our time; virtually every major poet in England and America today has acknowledged his help or influence. Pound's lyric genius, his superb technique, and his fresh insight into literary problems make him one of the small company of men who through the centuries have kept poetry alive--one of the great innovators.

This book offers a compact yet representative selection of Ezra Pound's poems and translations. The span covered is Pound's entire writing career, from his early lyrics and the translations of Provençal songs to his English version of Sophocles' Trachiniae. Included are parts of his best known works--the Chinese translations, the sequence called Hugh Selwyn Mauberly, the Homage to Sextus Propertius. The Cantos, Pound's major epic, are presented in generous selections, chosen to emphasize the main themes of the whole poem.

Ezra Pound makes his Penguin Classics debut with this unique selection of his early poems and prose, edited with an introductory essay and notes by Pound expert Ira Nadel. The poetry includes such early masterpieces as The Seafarer, Homage to Sextus Propertius, Hugh Selwyn Mauberley, and the first eight of Pound's incomparable Cantos. The prose includes a series of articles and critical pieces, with essays on Imagism, Vorticism, Joyce, and the well-known Chinese Written Character as a Medium for Poetry.

• First time in Penguin Classics

• Includes generous selections of Pound's poetry, as well as an assortment of prose

Here in one volume is the biggest and best collection of Pound's poetry (excepting his long poem The Cantos) and translations ever assembled.

Ranging from the text of the handmade first collection Hilda's Book (a gift to the poet H.D.) to his late translations of Horace, and containing dozens of items previously unavailable, Poems and Translations reveals the diversity and richness of a body of work marked by daring invention and resonant music.

In such early volumes as Ripostes, Cathay, Lustra, and Hugh Selwyn Mauberley--as surely as in his later magisterial versions of The Confucian Odes and the Sophoclean dramas Women of Trachis and Elektra--Pound followed his own directive to make it new, opening fresh formal pathways while exploring the most ancient traditions. Before, during, and after the controversies and catastrophes of his public career (culminating in his long residence in a Washington mental hospital while under indictment for treason), Pound remained capable of rare technical brilliance and indelible lyricism.

Here are the lush early lyrics, echoing Browning and the Troubadours; the chiseled free verse of such masterpieces as The Return, Near Perigord, and Homage to Sextus Propertius; the dazzling translations that led Eliot to call Pound the inventor of Chinese poetry for our time. The Chinese verse translations are supplemented by Pound's versions of the Confucian prose texts--The Analects, The Great Digest, and The Unwobbling Pivot--which he saw as crucial to his literary aims. An extensive chronology offers guidance to Pound's tumultuous life, and detailed notes clarify the many recondite allusions.

LIBRARY OF AMERICA is an independent nonprofit cultural organization founded in 1979 to preserve our nation's literary heritage by publishing, and keeping permanently in print, America's best and most significant writing. The Library of America series includes more than 300 volumes to date, authoritative editions that average 1,000 pages in length, feature cloth covers, sewn bindings, and ribbon markers, and are printed on premium acid-free paper that will last for centuries.

First published in 1915, Cathay, Ezra Pound's early monumental work, originally contained fourteen translations from the Chinese and a translation of the Anglo-Saxon poem The Seafarer. Over time, these poems have been widely read and loved as both translations and original poetry. In 1916, Cathay was reprinted in the book Lustra without The Seafarer and with four more Chinese poems. Cathay is greatly indebted to the notes of a Harvard-trained scholar Ernest Fenollosa. In Fenollosa's Chinese poetry materials, Pound scholar Zhaoming Qian writes, Pound discovered a new model that at once mirrored and challenged his developing poetics. Edited by Qian, this centennial edition reproduces for the first time the text of the original publication plus the poems from Lustra and transcripts of all the relevant Fenollosa notes and Chinese texts. Also included is a new foreword by Ezra Pound's daughter Mary de Rachewiltz, providing an appreciation and fascinating background material on this pivotal work of Pound's oeuvre.

Fascist Voices contains a unique and uncompromising collection of essays that appeared in Fascist Quarterly during the turbulent 1930s. This publication was a bold attempt by the British Union of Fascists to counter the influence of the Left Book Club, by providing an alternative intellectual platform for those writers and thinkers who subscribed to the Fascist and National Socialist creed.

The series includes articles by Ezra Pound who highlights the problem of money and the Central Banking system, Anne Seelig-Thomann describes the achievements of Hitler, and the role of women in National Socialist Germany. Joseph Goebbels, outlining his vision of European Socialism, Vidkun Quisling, calling for the political unification of the Nordic race. General Franco's speech to the people of Spain, Major General J. F. C. Fuller, describes the Fascist attitude to War. Oswald Mosley provides an analysis of the political philosophy of Fascism. Alfred Rosenberg outlines the World philosophy of Fascism and National Socialism. Dr. Robert Ley describes the goals and achievements of the National Socialist Strength through Joy program, and Max Hunger describes the achievements of the German Winter Relief Work.

Whilst these and other writers in Fascist Voices shared common values in the Fascist creed, each had their own political agenda and loyalties. In Fascist Voices the reader will obtain not only an understanding of the vision and achievements of Fascism and National Socialism, but the reader will also understand why powerful economic and political vested interests sought their destruction. Some eighty years later, the world knows very little about the Fascist and National Socialist creed, except the lies and distortions provided by its opponents. The publication of Fascist Voices seeks to address that problem.

Rummaging through his papers in 1958, Ezra Pound came across a cache of notebooks dating back to the summer of 1912, when as a young man he had walked the troubadour landscape of southern France. Pound had been fascinated with the poetry of medieval Provence since his college days. His experiments with the complex lyric forms of Amaut Daniel, Bertran de Born, and others were included in his earliest books of poems; his scholarly pursuits in the field found their way into The Spirit of Romance (1910); and the troubadour mystique was to become a resonant motif of the Cantos. In the course of transcribing and emending the text of Walking Tour 1912, editor Richard Sieburth retraced Pound's footsteps along the roads to the troubadour castles. What this peripatetic editing process revealed, he writes, was a remarkably readable account of a journey in search of the vanished voices of Provence that at the same time chronicled Pound's gradual discovery of himself as a modernist poet.

Fascist Voices contains a unique and uncompromising collection of essays that appeared in Fascist Quarterly during the turbulent 1930s. This publication was a bold attempt by the British Union of Fascists to counter the influence of the Left Book Club, by providing an alternative intellectual platform for those writers and thinkers who subscribed to the Fascist and National Socialist creed.

The series includes articles by Ezra Pound who highlights the problem of money and the Central Banking system, Anne Seelig-Thomann describes the achievements of Hitler, and the role of women in National Socialist Germany. Joseph Goebbels, outlining his vision of European Socialism, Vidkun Quisling, calling for the political unification of the Nordic race. General Franco's speech to the people of Spain, Major General J. F. C. Fuller, describes the Fascist attitude to War. Oswald Mosley provides an analysis of the political philosophy of Fascism. Alfred Rosenberg outlines the World philosophy of Fascism and National Socialism. Dr. Robert Ley describes the goals and achievements of the National Socialist Strength through Joy program, and Max Hunger describes the achievements of the German Winter Relief Work.

Whilst these and other writers in Fascist Voices shared common values in the Fascist creed, each had their own political agenda and loyalties. In Fascist Voices the reader will obtain not only an understanding of the vision and achievements of Fascism and National Socialism, but the reader will also understand why powerful economic and political vested interests sought their destruction. Some eighty years later, the world knows very little about the Fascist and National Socialist creed, except the lies and distortions provided by its opponents. The publication of Fascist Voices seeks to address that problem.

Ezra Pound is destined to rank as one of the great translators of all time. Ranging through many languages, he chose for translation writers whose work marked a significant turning point in the development of world literature, or key poems which exemplify what is most vital in a given period or genre. This new enlarged edition, devoted chiefly to poetry, includes some forty pages of previously uncollected material. Anglo-Saxon: The Seafarer. Chinese: (Cathay) Rihaku (Li Po). Bunno, Mei Sheng, T'ao Yuan Ming. Egyptian: Conversations in Courtship. French: du Bellay, de Boufflers, D'Orléans, Lalorgue, Lubicz-Milosz, Rimbaud, Tailhade. Prose: de Gourmont. Hindi: Kabir. Italian: Cavalcanti, St. Francis, Guinicelli, Leopardi, Montanari, Orlandi. Japanese Noh Plays: 15 plays with Fenollosa's commentary. Latin: Catullus, Horace, Navagero, Rutilius. Provençal: Bertrand de Born, Cercalmon, Daniel, Folquet de Romans, Li Viniers, Ventadorn.

Early in 1949, while under indictment for treason and hospitalized by court order at St. Elizabeths Hospital in Washington, D.C., Ezra Pound collaborated with Rudd Fleming, a professor at the University of Maryland, on a new version of Sophokles' Elektra. Pound's decision to focus on this play of imprisonment and justice at such a crucial juncture in his own life and art throws both the play and the poet into stark and ironic relief. Rediscovered and finally produced to great acclaim in 1987 by New York's Classic Stage Company, the Pound/Fleming translation of Elektra is now available in an acting edition prepared by the CSC Repertory's artistic director. Carey Perloff says of the translation: It is energetic, slightly outrageous, and very American .... It's very chiseled, very spare, not flowing or lyrical. It's sort of 'cowboy.' But line for line, it is Sophokles. Ms. Perloff also gives suggestions for staging and casting which will be invaluable to other producers and directors.

Pound, Guide to Kulchur. an iconoclastic revision of culture.

Ezra Pound's The Pisan Cantos was written in 1945, while the poet was being held in an American military detention center near Pisa, Italy, as a result of his pro-Fascist wartime broadcasts to America on Radio Rome. Imprisoned for some weeks in a wire cage open to the elements, Pound suffered a nervous collapse from the physical and emotional strain. Out of the agony of his own inferno came the eleven cantos that became the sixth book of his modernist epic, The Cantos, themselves conceived as a Divine Comedy for our time. The Pisan Cantos were published in 1948 by New Directions and in the following year were awarded the Bollingen Prize for poetry by the Library of Congress. The honor came amid violent controversy, for the dark cloud of treason still hung over Pound, incarcerated in St. Elizabeths Hospital for the Criminally Insane. Yet there is no doubt that The Pisan Cantos displays some of his finest and most affecting writing, marking an elegaic turn to the personal while synthesizing the philosophical and economic political themes of his previous cantos. They are now being published for the first time as a separate paperback, in a fully annotated edition prepared by Richard Sieburth, who also contributes a thoroughgoing introduction, making Pound's master-work fully accessible to students and general readers.

This important work, first published in 1934, is a concise statement of Pound's aesthetic theory. It is a primer for the reader who wants to maintain an active, critical mind and become increasingly sensitive to the beauty and inspiration of the world's best literature. With characteristic vigor and iconoclasm, Pound illustrates his precepts with exhibits meticulously chosen from the classics, and the concluding Treatise on Meter provides an illuminating essay for anyone aspiring to read and write poetry. ABC of Reading displays Pound's great ability to open new avenues in literature for our time.

Winner, Ezra Pound Society Book Prize
Finalist, Pegasus Award for Poetry Criticism
Finalist, Modernist Studies Association Book Prize for an Edition, Anthology, or Essay Collection

Ezra Pound's Cathay (1915) is a masterpiece both of modernism and of world literature. The muscular precision of images that mark Pound's translations helped establish a modern style for American literature, at the same time creating a thirst for classical Chinese poetry in English. Pound's dynamic free-verse translations in a modern idiom formed the basis for T.S. Eliot's famous claim that Pound was the inventor of Chinese poetry for our time. Yet Pound achieved this feat without knowing any Chinese, relying instead on word-for-word cribs left by the Orientalist Ernest Fenollosa, whose notebooks reveal a remarkable story of sustained cultural exchange.

This fully annotated critical edition focuses on Pound's astonishing translations without forgetting that the original Chinese poems are masterpieces in their own right. On the one hand, the presentation of all that went into the final Cathay makes it possible for the first time to appreciate the magnitude and the nuances of Pound's poetic art. At the same time, by bringing the final text together with the Chinese and Old English poems it claims to translate, as well as the manuscript traces of Pound's Japanese and American interlocutors, the volume also recovers practices of poetic circulation, resituating a Modernist classic as a work of world literature.

The Pound text and its intertexts are presented with care, clarity, and visual elegance. By providing the first accurate and unabridged transcriptions of Fenollosa's notebooks, along with carefully edited Chinese texts, the volume makes it possible to trace the movements of poetic ideas and poetic expression as they veer toward and away from Pound's creations. In supplying the full Fenollosa texts, the volume overturns decades of scholarship that has mystified Pound's translation process as a kind of clairvoyance, displaying instead the impressive amount of sinological learning preserved in Fenollosa's hard-to-read notebooks and by detailing every deviation from the probable sense of the originals. The edition also supplies exhaustive historical, critical, and textual notes, clarifying points that have sometimes lent obscurity to Pound's poems and making the process of translation visible even for readers with no knowledge of Chinese.

Cathay: A Critical Edition includes the original fourteen Chinese translations as well as Pound's unique version of The Seafarer, which is fully annotated alongside its Anglo-Saxon source. Also included are Pound's fifteen additional Chinese translations from Lustra and other contemporary publications, his essay Chinese Poetry (1919), a substantial textual Introduction, and original essays by Christopher Bush and Haun Saussy on international modernism, the mediation of Japan, and translation.

The meticulous treatment and analysis of the texts for this landmark edition will forever change how readers view Pound's Chinese poems. In addition to discoveries that permanently alter the scholarly record and force us to revise a number of critical commonplaces, the critical apparatus allows readers to make fresh discoveries by making available the specific networks through which poetic expression moved among hands, languages, and media.

Ultimately, this edition not only enables us more fully to appreciate a canonical work of Modernism but also resituates the art of Pound's translations by recovering the historical circulations that went into the making of a multiply authored and intrinsically hybrid masterpiece.

Collecting in full for the first time the correspondence between Ezra Pound and members of Leo Frobenius' Forschungsinstitut für Kulturmorphologie in Frankfurt across a 30 year period, this book sheds new light on an important but previously unexplored influence on Pound's controversial intellectual development in the Fascist era.

Ezra Pound's long-term interest in anthropology and ethnography exerted a profound influence on early 20th century literary Modernism. These letters reveal the extent of the influence of Frobenius' concept of 'Paideuma' on Pound's poetic and political writings during this period and his growing engagement with the culture of Nazi Germany.

Annotated throughout, the letters are supported by contextualising essays by leading Modernist scholars as well as relevant contemporary published articles by Pound himself and his leading correspondent at the Institute, the American Douglas C. Fox.

The Collected Early Poems of Ezra Pound contains the complete text, the poet's first six books, their title pages in facsimile (A Lume Spento, 1908; A Quinzaine for This Yule, 1908; Personae, 1909; Exultations, 1909; Canzoni, 1911; Ripostes, 1912), and the long poem Redondillas (1911), for many years available only in a rare limited edition. There are, in addition, twenty-five poems originally published in periodicals but not previously collected, as well as thirty-eight others drawn from miscellaneous manuscripts. Ezra Pound's 1926 collection, entitled Personae after his earlier volume of that name, was his personal choice of all the poems he wished to keep in print other than some translations and his Cantos. It was intended to be the definitive collection of his shorter poems, and so it should remain. Yet even the discarded works of a great poet are of value and interest to students and devotees. Originally, brought out clothbound by New Directions in 1976, the texts were established at the Center for the Study of Ezra Pound and His Contemporaries of The Beinecke Rare Book and Manuscript Library at Yale University. They were edited by Michael King under the direction of Louis L. Martz, who wrote the introduction, and Donald Gallup, formerly Curator of American Literature. Included are textual and bibliographic notes as well as indexes of titles and first lines.

Opposing the Money Lenders is a collection of writings from some of the most determined fighters against usury and the Central Banking system during the 20th Century. Those included are Arthur Nelson Field, John A. Lee, John Hargrave, Ezra Pound, Father Charles Coughlin, and Gottfried Feder, who fought and inspired mass movements that struggled to liberate their nations from the forces of what one - Gottfried Feder - aptly called Mammonism. The subject of the supply of our money, and who controls it, is the greatest social issue that confronts humanity today. It is the Hidden Hand behind history. Without dealing with the problems of banking and usury, without a people having control over its own means of credit and exchange, there can be no genuine nationhood, and no real freedom, whether personal or national. Almost every individual, family, nation, indeed most of the world, is in thrall to the money lenders. Despite advances in mechanisation and technology, people are working longer hours, and are more enslaved to the economic treadmill than were their ancestors in Medieval times. At the same time, despite mass education, people today understand the economic and financial system far less than their parents and grandparents. Opposing the Money Lenders examines our parasitic financial system and the means by which it might be replaced.