These fascinating letters capture the most traumatic experience of Ezra Pound's life, when he was incarcerated at the end of World War II and indicted for treason. Omar Pound and Robert Spoo have collected and edited the unpublished correspondence between the poet and his wife, combining itwith military and FBI documents, previously unknown photographs, and an extensive, insightful introduction, to create the definitive work on this period of Pound's life. During his incarceration in a U.S. Army detention camp outside Pisa, Pound was allowed to write only to his wife, so these letters afford a unique look at a painful yet highly productive period, when Pound wrote his acclaimed Pisan Cantos and worked on his translations of Confucius. Readerswill discover many fresh insights into the sources and contexts of the Cantos and the circumstances of their composition. Here, too, are many moving passages testifying to Pound's partnership with Dorothy and her courageous efforts to help him; her experiences no less than his come to life in thisvolume. But perhaps the most moving are the harsh conditions Pound found himself in: at one point, in the Pisan camp, he was confined for three weeks in an open air cage, until the sixty year old poet suffered a breakdown and was moved to a tent in the medical compound. The editors connect theanxious lyricism of the Pisan Cantos to these dramatic experiences, as the poet alternated "between savage indignation and suave serenity." The book also covers Pound's return to the United States and his confinement in a federal mental institution there. With more than 150 previously unpublished letters and documents, all authoritatively annotated, Ezra and Dorothy Pound: Letters in Captivity, 1945 1946, offers a rare glimpse into the life and work of one of our century's greatest literary figures.

"'Ezra.' Listen to it--Ezra! Ezra!--And a third time--Ezra!... Some people have complained of untidy boots--how could they look at his boots, when there is his moving, beautiful face to watch!" These words from the notebook of Dorothy Shakespear, dated February 16, 1909, record the entry into her life of the energetic young American, recently arrived in London, who was to become her husband--Ezra Pound. Their correspondence, begun the following year, extends over more than six decades, until the poet's death in 1972. All of these letters are of unusual literary interest, but those from before their marriage in April 1914 have a special importance, since few from this period have been published. The standard edition of The Selected Letters of Ezra Pound, edited by D. D. Paige, includes none from 1910-1911 and only a handful from 1912-1913, yet these were the crucial years in Pound's literary development and in the shaping of early modernism. The over two hundred letters and diary entries in Ezra Pound and Dorothy Shakespear: Their Letters 1909-1914 are published here for the first time. Taken together, they provide a detailed record of the poet's search for a new style and give a full portrait of a dynamic young expatriate who was simultaneously involved in two literary generations, the companion and close friend of Yeats and Ford Madox Hueffer as well as of Wyndham Lewis and the sculptor Gaudier-Brzeska. They also shed a poignant light on The Pisan Cantos of 1945, where amid the ruins of his life Pound recalled again and again the events and people described in these letters, as if the memory of 1909-1914 was the only stable point left in a disintegrating personal universe. The letters have been thoroughly annotated by Omar Pound, translator, and bibliographer of Wyndham Lewis, and by A. Walton Litz of Princeton University, the author of studies of James Joyce, Wallace Stevens, and other modern writers. The book includes: a biographical appendix, with particular emphasis on lesser-known people mentioned in the letters; some unpublished early poems by Pound transcribed by Dorothy into one of her notebooks; family charts, one of which shows Pound's ancestral origins; numerous unpublished illustrations; and an extensive index.

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."

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 life of a woman of unusual talent and spirit, based on her unpublished letters, diaries and notebooks, will intrigue the general reader and be a mine of information for the literary and cultural historian.

Volume I of a major new two-part biography. Contentious, colourful, revolutionary, here is the young Pound - a determined and energetic genius setting out to make his way both as a poet and as a force for civilization in England and America. Covering the years up to 1920, David Moody explores Pound's alliances with Yeats, Eliot, and Wyndham Lewis, the birth of Vorticism, and his poetry up to Hugh Selwyn Mauberley and the first Cantos.

Ezra Pound and Hilda Doolittle, who used the pseudonym H.D., are among the most important American modernist poets. In this comparative study, Jacob Korg examines their intertwined lives, from an early romantic relationship when both writers were in their early twenties, through the ongoing friendship and artistic dialogue that helped shape their work. Drawing on unpublished letters and manuscripts as well as published works, Korg offers a fresh view of two American artists and a wholly unexpected portrait of Pound--examined here, for the first time, through the context of a female modernist.