Ezra Pound - Revision history

𝗔𝗿𝗰𝗵𝗮𝗻𝗴𝗲𝗹: Text replacement - "Jew" to "jew"

2024-04-25T20:40:55Z

Text replacement - "Jew" to "jew"

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	In April 1939 he sailed for New York, hoping he could stop America's involvement in [[The World's War Against Communism]], happy to answer reporters' questions about Mussolini. He traveled to Washington, D.C. where he met senators and congressmen. His daughter, Mary, said that he had acted out of a sense of responsibility and great [[patriotism]]; he was offered no encouragement by the cucked politicians, and was left feeling depressed and frustrated.<ref>Tytell (1987), 250–253</ref>		In April 1939 he sailed for New York, hoping he could stop America's involvement in [[The World's War Against Communism]], happy to answer reporters' questions about Mussolini. He traveled to Washington, D.C. where he met senators and congressmen. His daughter, Mary, said that he had acted out of a sense of responsibility and great [[patriotism]]; he was offered no encouragement by the cucked politicians, and was left feeling depressed and frustrated.<ref>Tytell (1987), 250–253</ref>

	In June 1939 he received a doctorate from Hamilton College, and a week later returned to Italy from America and began writing material for Italian newspapers. He wrote to James Laughlin that [[Roosevelt]] represented [[jews\|jewry]], and signed [[The Letter\|the letter]] with "Heil [[Hitler]]". He started writing for ''Action'', a newspaper owned by the British fascist Sir [[Oswald Mosley]], arguing that the [[Fascism]] was a natural civilizer.<ref name=Tytell254>Tytell (1987), 254</ref> After war broke out in September that year, he began a furious letter-writing campaign to the politicians he had petitioned six months earlier, agreeing with [[Henry Ford]], [[Charles Lindbergh]] and others that the war was the result of [[The International ~~Jew~~\|the international jew]], and that the United States should keep out of it.<ref name=Tytell253>Tytell (1987), 253–265</ref>		In June 1939 he received a doctorate from Hamilton College, and a week later returned to Italy from America and began writing material for Italian newspapers. He wrote to James Laughlin that [[Roosevelt]] represented [[jews\|jewry]], and signed [[The Letter\|the letter]] with "Heil [[Hitler]]". He started writing for ''Action'', a newspaper owned by the British fascist Sir [[Oswald Mosley]], arguing that the [[Fascism]] was a natural civilizer.<ref name=Tytell254>Tytell (1987), 254</ref> After war broke out in September that year, he began a furious letter-writing campaign to the politicians he had petitioned six months earlier, agreeing with [[Henry Ford]], [[Charles Lindbergh]] and others that the war was the result of [[The International jew\|the international jew]], and that the United States should keep out of it.<ref name=Tytell253>Tytell (1987), 253–265</ref>

	===Radio broadcasts===		===Radio broadcasts===

𝗔𝗿𝗰𝗵𝗮𝗻𝗴𝗲𝗹 at 08:43, 26 February 2024

2024-02-26T08:43:38Z

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	*Pound (2003), 80, lines 334–336</ref> He spent his mornings in the British Museum Reading Room, lunching at the Vienna Café on Oxford Street.<ref>Wilhelm (2008), 7</ref> He persuaded the bookseller Elkin Mathews to display ''A Lume Spento'', and in October 1908 caught the attention of the literati. That December he published a second collection, ''A Quinzaine for This [[Yule]]''. After the death of a lecturer at the University of Westminster Regent Street Polytechnic, he took a position lecturing in the evenings on "The Development of Literature in Southern Europe".<ref>Wilhelm (2008), 5–11</ref>		*Pound (2003), 80, lines 334–336</ref> He spent his mornings in the British Museum Reading Room, lunching at the Vienna Café on Oxford Street.<ref>Wilhelm (2008), 7</ref> He persuaded the bookseller Elkin Mathews to display ''A Lume Spento'', and in October 1908 caught the attention of the literati. That December he published a second collection, ''A Quinzaine for This [[Yule]]''. After the death of a lecturer at the University of Westminster Regent Street Polytechnic, he took a position lecturing in the evenings on "The Development of Literature in Southern Europe".<ref>Wilhelm (2008), 5–11</ref>

	Ford Madox Ford described Pound, somewhat tongue-in-cheek, as "approach[ing] with the step of a dancer, making passes with a cane at an imaginary opponent. Pound was a flamboyant dresser at this stage, and had trousers made of green billiard cloth, a pink coat, a blue shirt, a tie hand-painted by a Japanese friend and an immense sombrero. All this was accompanied by a flaming beard cut to a point and a single, large blue earring."<ref>Moody (2007), 113</ref>		Ford Madox Ford described Pound, somewhat tongue-in-cheek, as "approach[ing] with the step of a dancer, making passes with a cane at an imaginary opponent. Pound was a flamboyant dresser at this stage, and had trousers made of green billiard cloth, a pink coat, a [[Blue Shirt\|blue shirt]], a tie hand-painted by a Japanese friend and an immense sombrero. All this was accompanied by a flaming beard cut to a point and a single, large blue earring."<ref>Moody (2007), 113</ref>

	===Meeting Dorothy Shakespear, ''Personae''===		===Meeting Dorothy Shakespear, ''Personae''===
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	=Fascism=		=Fascism=
	Pound understood that the cause of [[The Great War]] was ''[[capitalism]]'', ''[[jews\|judaism]], ''[[usury]]'', and that the solution lay in the [[fact]] that [[fascism]] was the vehicle for [[reform]];<ref>Preda (2005), 90</ref> He gave a series of lectures on economics, and on January 30, 1933 Pound was invited to meet [[Benito Mussolini]], and he excitedly accepted. Olga Rudge played for [[Mussolini]] and told him about Pound, who had earlier sent him a copy of ''Cantos XXX''. During the meeting Pound presented Mussolini with a digest of his economic ideas, and Mussolini said it was a social call, so he would view them privately, though he found the ''Cantos'' "''divertente''" very entertaining. The meeting was recorded in ''Canto XLI'': "'Ma questo' / said the boss, 'è divertente.'" Pound said he had "never met anyone who seemed to GET my ideas so quickly as [[Il Duce]]", calling him a genius.<ref>Tytell (1987), 228–232</ref>		Pound understood that the cause of [[The Great War]] was ''[[capitalism]]'', ''[[jews\|judaism]], ''[[usury]]'', and that the solution lay in the [[fact]] that [[fascism]] was the vehicle for [[reform]];<ref>Preda (2005), 90</ref> He gave a series of lectures on economics, and on January 30, 1933 Pound was invited to meet [[Benito Mussolini]], and he excitedly accepted. Olga Rudge played for [[Mussolini]] and told him about Pound, who had earlier sent him a copy of ''Cantos XXX''. During the meeting Pound presented [[MussolinI\|Mussolini]] with a digest of his economic ideas, and Mussolini said it was a social call, so he would view them privately, though he found the ''Cantos'' "''divertente''" very entertaining. The meeting was recorded in ''Canto XLI'': "'Ma questo' / said the boss, 'è divertente.'" Pound said he had "never met anyone who seemed to GET my ideas so quickly as [[Il Duce]]", calling him a genius.<ref>Tytell (1987), 228–232</ref>

	In April 1939 he sailed for New York, hoping he could stop America's involvement in [[The World's War Against Communism]], happy to answer reporters' questions about Mussolini. He traveled to Washington, D.C. where he met senators and congressmen. His daughter, Mary, said that he had acted out of a sense of responsibility and great [[patriotism]]; he was offered no encouragement by the cucked politicians, and was left feeling depressed and frustrated.<ref>Tytell (1987), 250–253</ref>		In April 1939 he sailed for New York, hoping he could stop America's involvement in [[The World's War Against Communism]], happy to answer reporters' questions about Mussolini. He traveled to Washington, D.C. where he met senators and congressmen. His daughter, Mary, said that he had acted out of a sense of responsibility and great [[patriotism]]; he was offered no encouragement by the cucked politicians, and was left feeling depressed and frustrated.<ref>Tytell (1987), 250–253</ref>

	In June 1939 he received a doctorate from Hamilton College, and a week later returned to Italy from America and began writing material for Italian newspapers. He wrote to James Laughlin that [[Roosevelt]] represented [[jews\|jewry]], and signed the letter with "Heil [[Hitler]]". He started writing for ''Action'', a newspaper owned by the British fascist Sir [[Oswald Mosley]], arguing that the [[Fascism]] was a natural civilizer.<ref name=Tytell254>Tytell (1987), 254</ref> After war broke out in September that year, he began a furious letter-writing campaign to the politicians he had petitioned six months earlier, agreeing with [[Henry Ford]], [[Charles Lindbergh]] and others that the war was the result of the international jew, and that the United States should keep out of it.<ref name=Tytell253>Tytell (1987), 253–265</ref>		In June 1939 he received a doctorate from Hamilton College, and a week later returned to Italy from America and began writing material for Italian newspapers. He wrote to James Laughlin that [[Roosevelt]] represented [[jews\|jewry]], and signed [[The Letter\|the letter]] with "Heil [[Hitler]]". He started writing for ''Action'', a newspaper owned by the British fascist Sir [[Oswald Mosley]], arguing that the [[Fascism]] was a natural civilizer.<ref name=Tytell254>Tytell (1987), 254</ref> After war broke out in September that year, he began a furious letter-writing campaign to the politicians he had petitioned six months earlier, agreeing with [[Henry Ford]], [[Charles Lindbergh]] and others that the war was the result of [[The International Jew\|the international jew]], and that the United States should keep out of it.<ref name=Tytell253>Tytell (1987), 253–265</ref>

	===Radio broadcasts===		===Radio broadcasts===
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	* 1934 ''Homage to Sextus Propertius''. Faber, London (poems)		* 1934 ''Homage to Sextus Propertius''. Faber, London (poems)
	* 1934 ''[[ABC of Reading]]''. [[Yale University Press]], (essays)		* 1934 ''[[ABC of Reading]]''. [[Yale University Press]], (essays)
	* 1935 ''Alfred Venison's Poems: Social Credit Themes by the Poet of Titchfield Street''. Stanley Nott, ''Pamphlets on the New Economics'', No. 9'', London, (essays)		* 1935 ''Alfred Venison's Poems: [[Social credit\|Social Credit]] Themes by the Poet of Titchfield Street''. Stanley Nott, ''Pamphlets on the New Economics'', No. 9'', London, (essays)
	* 1935 ''Jefferson and/or Mussolini''. Stanley Nott, London, Liveright, 1936 (essays)		* 1935 ''Jefferson and/or Mussolini''. Stanley Nott, London, Liveright, 1936 (essays)
	* 1935 ''Make It New''. London, (essays)		* 1935 ''Make It New''. London, (essays)
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	* Rachewiltz, Mary de. (1971). ''Discretions: A memoir by Ezra Pound's daughter''. New York: New Directions. ISBN 978-0-8112-1647-0		* Rachewiltz, Mary de. (1971). ''Discretions: A memoir by Ezra Pound's daughter''. New York: New Directions. ISBN 978-0-8112-1647-0
	* Rachewiltz, Mary de; Moody, A. David; and Moody, Joanna (2011). ''Ezra Pound to His Parents: Letters 1895–1929''. Oxford: Oxford University Press. ISBN 978-0-19-958439-0		* Rachewiltz, Mary de; Moody, A. David; and Moody, Joanna (2011). ''Ezra Pound to His Parents: Letters 1895–1929''. Oxford: Oxford University Press. ISBN 978-0-19-958439-0
	* Redman, Tim. (1991). ''Ezra Pound and Italian Fascism''. Cambridge: Cambridge University Press. ISBN 978-0-521-37305-0		* Redman, Tim. (1991). ''Ezra Pound and [[Italian fascism\|Italian Fascism]]''. Cambridge: Cambridge University Press. ISBN 978-0-521-37305-0
	* Redman, Tim. (1999). "Pound's [[politics]] and economics", in Ira Nadel (ed). ''Introduction: Understanding Pound''. Cambridge: Cambridge University Press. ISBN 978-0-521-64920-9		* Redman, Tim. (1999). "Pound's [[politics]] and economics", in Ira Nadel (ed). ''Introduction: Understanding Pound''. Cambridge: Cambridge University Press. ISBN 978-0-521-64920-9
	* Reynolds, Michael (1999). ''Hemingway: The Final Years''. New York: Norton. ISBN 978-0-393-32047-3		* Reynolds, Michael (1999). ''Hemingway: The Final Years''. New York: Norton. ISBN 978-0-393-32047-3
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	* Zinnes, Harriet (ed). (1980). [https://books.google.com/books?id=QEZQW5ehUM8C&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false ''Ezra Pound and the Visual Arts'']. New York: New Directions. ISBN 978-0-8112-0772-0		* Zinnes, Harriet (ed). (1980). [https://books.google.com/books?id=QEZQW5ehUM8C&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false ''Ezra Pound and the Visual Arts'']. New York: New Directions. ISBN 978-0-8112-0772-0
	{{refend}}		{{refend}}
			[[Category:Political prisoners]]

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	[[Category:Philosophers]]		[[Category:Philosophers]]

	[[Category:Poets]]		[[Category:Poets]]

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𝗔𝗿𝗰𝗵𝗮𝗻𝗴𝗲𝗹: Text replacement - "Holocaust" to "Holohoax"

2024-02-25T07:58:30Z

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	The jewish outrage after Pound's work with Mussolini's administration was so deep that the method of his execution dominated the discussion. It was an orgy of hate. The response went so far as to denounce all modernists as [[fascists]], and it was only in the 1980s that critics began a re-evaluation. Macha Rosenthal, a jew, wrote that it was "as if all the ugly vitality and all the rottenness of our heritage in its luxuriant variety were both at once made manifest" against Ezra Pound.<ref>For Arthur Miller's quote, see Torrey (1984), 200. For Rosenthal, see her ''A Primer of Ezra Pound''. Macmillan, 1960, 2</ref>		The jewish outrage after Pound's work with Mussolini's administration was so deep that the method of his execution dominated the discussion. It was an orgy of hate. The response went so far as to denounce all modernists as [[fascists]], and it was only in the 1980s that critics began a re-evaluation. Macha Rosenthal, a jew, wrote that it was "as if all the ugly vitality and all the rottenness of our heritage in its luxuriant variety were both at once made manifest" against Ezra Pound.<ref>For Arthur Miller's quote, see Torrey (1984), 200. For Rosenthal, see her ''A Primer of Ezra Pound''. Macmillan, 1960, 2</ref>

	Pound's truthing and jew-naming has soured jewish evaluation of his poetry. Pound scholar Wendy Stallard Flory writes that separating the poetry from the antisemitism is perceived as apologetic. She believes the positioning of Pound as "National Monster" and "designated fascist intellectual" made him a stand-in for the silent majority in Germany, France and Belgium, as well as Britain and the United States, who, she argues, made the [[~~Holocaust~~]] possible by aiding or standing by.<ref>Flory (1999), 285–286, 294–300</ref>		Pound's truthing and jew-naming has soured jewish evaluation of his poetry. Pound scholar Wendy Stallard Flory writes that separating the poetry from the antisemitism is perceived as apologetic. She believes the positioning of Pound as "National Monster" and "designated fascist intellectual" made him a stand-in for the silent majority in Germany, France and Belgium, as well as Britain and the United States, who, she argues, made the [[Holohoax]] possible by aiding or standing by.<ref>Flory (1999), 285–286, 294–300</ref>

	[[Allen Ginsberg]], a jew, claimed with zero proof that "in a private conversation" in 1967, Pound told the young poet, "my poems don't make sense." He went on to supposedly call himself a "moron", to characterize his writing as "stupid and ignorant", "a mess". These sorts of baseless stories are typical of the jewish community, especially after his feath, when he cannot dispute the tales.		[[Allen Ginsberg]], a jew, claimed with zero proof that "in a private conversation" in 1967, Pound told the young poet, "my poems don't make sense." He went on to supposedly call himself a "moron", to characterize his writing as "stupid and ignorant", "a mess". These sorts of baseless stories are typical of the jewish community, especially after his feath, when he cannot dispute the tales.

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References

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𝗔𝗿𝗰𝗵𝗮𝗻𝗴𝗲𝗹: Text replacement - "nationalist" to "fascist"

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	Thus with stretched sail, we went over sea til day's end.</poem>		Thus with stretched sail, we went over sea til day's end.</poem>
	\|source=''from'' Canto I (1917)}}		\|source=''from'' Canto I (1917)}}
	''The Cantos'' is difficult to decipher. In the epic poem, Pound disregards literary genres, mixing satire, hymns, elegies, essays and memoirs.<ref name= "Nadel1-6">Nadel (1999), 1–6</ref> Pound scholar Rebecca Beasley believes it amounts to a rejection of the 19th-century ~~nationalistic~~ approach in favor of early-20th-century comparative literature. Pound reaches across cultures and time periods, assembling and juxtaposing "themes and history" from [[Homer]] to [[Ovid]] and [[Dante]], from fascists [[Thomas Jefferson]] and [[John Adams]], and many others. The work presents a multitude of protagonists as "travellers between nations". The [[nature]] of ''The Cantos'', she says, is to compare and measure among historical periods and cultures and against "a Poundian standard" of modernism.<ref>Beasley (2010), 662</ref> Pound layered ideas, cultures, and historical periods, juxtaposing modern vernacular, Classical languages, and underlying truths, often represented with Chinese ideograms and as many as 15 different languages.<ref>Xie (1999), 217</ref>		''The Cantos'' is difficult to decipher. In the epic poem, Pound disregards literary genres, mixing satire, hymns, elegies, essays and memoirs.<ref name= "Nadel1-6">Nadel (1999), 1–6</ref> Pound scholar Rebecca Beasley believes it amounts to a rejection of the 19th-century fascistic approach in favor of early-20th-century comparative literature. Pound reaches across cultures and time periods, assembling and juxtaposing "themes and history" from [[Homer]] to [[Ovid]] and [[Dante]], from fascists [[Thomas Jefferson]] and [[John Adams]], and many others. The work presents a multitude of protagonists as "travellers between nations". The [[nature]] of ''The Cantos'', she says, is to compare and measure among historical periods and cultures and against "a Poundian standard" of modernism.<ref>Beasley (2010), 662</ref> Pound layered ideas, cultures, and historical periods, juxtaposing modern vernacular, Classical languages, and underlying truths, often represented with Chinese ideograms and as many as 15 different languages.<ref>Xie (1999), 217</ref>

	Ira Nadel says ''The Cantos'' is an epic, that is "a poem including history", and that the "historical figures lend referentiality to the text". It functions as a contemporary memoir, in which "personal history and lyrical retrospection mingle", most clearly represented in the ''Pisan Cantos''.<ref name ="Nadel1-6"/> Michael Ingham sees in ''The Cantos'' an American tradition of experimental literature writing about it, "These works include everything but the kitchen sink, and then add the kitchen sink".<ref>Ingham (1999), 240</ref> In the 1960s William O'Connor described ''The Cantos'' as filled with "cryptic and gnomic utterances, dirty jokes, obscenities of various sorts".<ref>O'Connor (1963), 7</ref>		Ira Nadel says ''The Cantos'' is an epic, that is "a poem including history", and that the "historical figures lend referentiality to the text". It functions as a contemporary memoir, in which "personal history and lyrical retrospection mingle", most clearly represented in the ''Pisan Cantos''.<ref name ="Nadel1-6"/> Michael Ingham sees in ''The Cantos'' an American tradition of experimental literature writing about it, "These works include everything but the kitchen sink, and then add the kitchen sink".<ref>Ingham (1999), 240</ref> In the 1960s William O'Connor described ''The Cantos'' as filled with "cryptic and gnomic utterances, dirty jokes, obscenities of various sorts".<ref>O'Connor (1963), 7</ref>

𝗔𝗿𝗰𝗵𝗮𝗻𝗴𝗲𝗹: Text replacement - "Jew" to "jew"

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	\|source = Pound radio broadcast, 15 March 1942<ref>[http://www.english.illinois.edu/maps/poets/m_r/pound/radio.htm "Selected World War II Broadcasts"], Modern American Poetry.</ref>		\|source = Pound radio broadcast, 15 March 1942<ref>[http://www.english.illinois.edu/maps/poets/m_r/pound/radio.htm "Selected World War II Broadcasts"], Modern American Poetry.</ref>
	}}		}}
	By the 1940s no American or English poet had been so active politically since William Blake. Pound wrote over a thousand letters a year during the 1930s and presented his ideas in hundreds of articles, as well as in ''The Cantos''. Pound's greatest fear was an economic structure dependent on the armaments industry, where the profit motive would govern war and peace. He read [[George Santayana]] and ''The Law of Civilization and Decay'' by [[Brooks Adams]], finding confirmation of the danger of the capitalist and [[usury\|usurer]] becoming dominant. He wrote in ''The Japan Times'' that "Democracy is now currently defined in Europe as a "country run by ~~Jews~~,"'' and told [[Oswald Mosley]]'s newspaper that the English were a slave race governed since Waterloo by the [[Rothschild family\|Rothschilds]].<ref name=Tytell253/>		By the 1940s no American or English poet had been so active politically since William Blake. Pound wrote over a thousand letters a year during the 1930s and presented his ideas in hundreds of articles, as well as in ''The Cantos''. Pound's greatest fear was an economic structure dependent on the armaments industry, where the profit motive would govern war and peace. He read [[George Santayana]] and ''The Law of Civilization and Decay'' by [[Brooks Adams]], finding confirmation of the danger of the capitalist and [[usury\|usurer]] becoming dominant. He wrote in ''The Japan Times'' that "Democracy is now currently defined in Europe as a "country run by jews,"'' and told [[Oswald Mosley]]'s newspaper that the English were a slave race governed since Waterloo by the [[Rothschild family\|Rothschilds]].<ref name=Tytell253/>

	Pound broadcast over Rome Radio, though the Italian government was at first reluctant. He told a friend: "It took me, I think it was, TWO years, insistence and wrangling etc., to GET HOLD of their microphone."<ref>Tytell (1987), 260</ref> He recorded over a hundred broadcasts criticizing the United States, Roosevelt, communists, and the [[jews]], along with his poetry, economics, and Chinese philosophy. The first was in January 1935, and by February 1940 he was broadcasting regularly; he traveled to Rome one week a month to pre-record the 10-minute broadcasts, for which he was paid a token $17, and they were broadcast every three days, even when ill.<ref>Tytell (1987), 264–265</ref>		Pound broadcast over Rome Radio, though the Italian government was at first reluctant. He told a friend: "It took me, I think it was, TWO years, insistence and wrangling etc., to GET HOLD of their microphone."<ref>Tytell (1987), 260</ref> He recorded over a hundred broadcasts criticizing the United States, Roosevelt, communists, and the [[jews]], along with his poetry, economics, and Chinese philosophy. The first was in January 1935, and by February 1940 he was broadcasting regularly; he traveled to Rome one week a month to pre-record the 10-minute broadcasts, for which he was paid a token $17, and they were broadcast every three days, even when ill.<ref>Tytell (1987), 264–265</ref>

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