Is politics important in poetry? The new biography explores Ezra pound’s case.
In the winter of 1949, a group of judges, including the poets TS Eliot and Robert Lowell, formed a winner named Bollingen Prize for the best poem published in the United States last year. They awarded Ezra Pound his collection of The Pisan Cantos awards. And then all hell broke.
Pound wrote in a prison in Italy in 1945, “pisencantos”. During the second world war from roma sent more than 200 radio charged with treason, which he expressed his support for Mussolini and Hitler, and the world within the scope of the jewish conspiracy.
That’s why, four years later, when he won the bolingen award, he was living at st. Elizabeth’s hospital, a SAN diego-based psychiatric government agency. The New York times’s disparaging title for the award reads: “pound won a poetry prize for a rebel cell at a psychiatric clinic.”
Elliot and the committee insist that only “poetic achievement” is essential. Pound himself prepared a vague acceptance statement with “no comment from bughouse”.
Literary critics Daniel swift in its rich provocative and the universality of “buck house” recorded in his book of pendle madness and the question of whether political issues related to his poetry. In other research adventure, swift in abandoned st. Elizabeth hospital hallway, into files, have dinner together with the new fascist Italy, the new fascist fear of Ezra pound, and traveled to Italy’s castle to visit Ezra pound, a 90 – year – old daughter.
If swift’s book is even published last year, its subject may seem scholarly. But given Harvey weinstein, Roy Moore, Kevin sent west, Alan franken, Louis CK, Charlie rose, etc, in short on man’s behavior and the behavior how to affect their reputation and, in some cases, the story of their art – all of a sudden, pound political the story and he has a new meaning to prejudice.
If you know any of pound’s business, you might know his signature modernist mantra: “make it new.” The squalor of the past few months has raised the question of what Mr Pound has “redone”.
Swift is a watchful and eloquent guide not only through the difficult poetry of pound, but also through the change of mental illness in the 20th century. Swift check medical records, dialogue and Ezra pound’s poetry to find evidence of madness – some critics think that he is false, especially when he stay in his 12 years period beginning on the lawn next to the st. Elizabeth seminar for literature.
Pound’s radio was less clear. His message was clear on the Rome broadcast in April 1943. “If you can do this through the right legal process, I think it would be good to hang up Roosevelt and hundreds of good intentions,” pound said.
On the basis of the work of other scholars, swift pointed out that even when he was in st. Elizabeth, pound also anonymously provided about 200 works for the most right-handed journals and newspapers. For eugenics, many said, he saw it as a “jewish fuss” and denounced the abolition of apartheid.
So, suppose we do this, how do we read and think about Ezra Pound these days? Swift tried to maintain all of pound’s contradictions and resist the final ruling. However, the court eventually asked for a deal.
The pound was released from st. Elizabeth in 1958. The judge ruled that pound had been angry and that his condition was incurable. As swift said, this judgment “empties” the radio and his entire poem “become crazy”.
Whatever you think judgment is sarcasm or good escape or other things, I’m sure bouguer house will make you more in-depth thinking of the relationship between the artist’s life and work, and perhaps even old problems about moral responsibility.