Ezra Pound S Chinese Friends Stories In Letters

No literary figure of the past century is comparable to Ezra Pound in the scope and depth of his exchange with China. In this book 162 previously unpublished letters between Pound and nine Chinese intellectuals, accompanied by introductions and notes, make available for the first time the forgotten stories of Pound and his Chinese friends.

No literary figure of the past century - in America or perhaps in any other Western country - is comparable to Ezra Pound in the scope and depth of his exchange with China. To this day, scholars and students still find it puzzling that this influential poet spent a lifetime incorporating Chinese language, literature, history, and philosophy into Anglo-American modernism. How well did Pound know Chinese? Was he guided exclusively by eighteenth to nineteenth-century orientalists in his various Chinese projects? Did he seek guidance from Chinese peers? Those who have written about Pound and China have failed to address this fundamental question. No one could do so just a few years ago when the letters Pound wrote to his Chinese friends were sealed or had not been found. This book brings together 162 revealing letters between Pound and nine Chinese intellectuals, eighty-five of them newly opened up and none previously printed. Accompanied by editorial introductions and notes, these selected letters make available for the first time the forgotten stories of Pound and his Chinese friends. They illuminate a dimension in Pound's career that has been neglected: his dynamic interaction with people from China over a span of forty-five years from 1914 until 1959. This selection will also be a documentary record of a leading modernist's unparalleled efforts to pursue what he saw as the best of China, including both his stumbles and his triumphs.

In the summer of 1936, Ezra Pound agreed to take on the role of European Correspondent for a newly launched travel journal entitled Globe: The International Magazine. Ezra Pound and 'Globe' Magazine: The Complete Correspondence collects for the first time Pound's writings for the journal and his extensive correspondence with one of its editors, James Taylor Dunn, and the leading writers who Pound himself attempted to recruit for the magazine. Numbering almost forty letters and twenty published and unpublished articles, these writings represent a darkly significant time in Pound's thought as his infatuation with the rise of fascism took root. Annotated throughout and supported by substantial explorations of the historical and cultural contexts of the writings, the book also includes a substantial bibliography of related writings and a biographical glossary of the major figures discussed in the correspondence and writing. Together, these texts represent an important resource for anyone interested in an important phase of 20th-Century literary modernism.

Drawing extensively on archival research, The Late Cantos of Ezra Pound critically explores the textual history of Pound's late verse, namely Section: Rock-Drill (1955) and Thrones (1959). Examining unpublished letters, draft manuscripts and other prepublication material, this book addresses the composition, revision and dissemination of these difficult texts in order to shed new light on their significance to Pound's wider project, his methods and techniques, and the structures of authority-literary and political-that govern the meaning of his poetry. Illustrated by reproductions of archival documents, The Late Cantos of Ezra Pound is an innovative new study of one of the most important poets of the 20th century.

First published in 1919 by Ezra Pound, Ernest Fenollosa’s essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound’s understanding—it is fair to say, his appropriation—of the text. Fenollosa’s manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North America and East Asia. Pound’s editing of the essay obscured two important features, here restored to view: Fenollosa’s encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This book is the definitive critical edition of Fenollosa’s important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound’s deletions, insertions, and alterations to Fenollosa’s sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa’s ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition. This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.

Long at the centre of the modernist project, from editing Eliot's The Waste Land to publishing Joyce, Pound has also been a provocateur and instigator of new movements, while initiating a new poetics. This is the first volume to summarize and analyze the multiple contexts of Pound's work, underlining the magnitude of his contribution and drawing on new archival, textual and theoretical studies. Pound's political and economic ideas also receive attention. With its concentration on the contexts of history, sociology, aesthetics and politics, the volume will provide a portrait of Pound's unusually international reach: an American-born, modern poet absorbing the cultures of England, France, Italy and China. These essays situate Pound in the social and material realities of his time and will be invaluable for students and scholars of Pound and modernism.

Christianity and Confucianism: Culture, Faith and Politics, sets comparative textual analysis against the backcloth of 2000 years of cultural, political, and religious interaction between China and the West. As the world responds to China's rise and China positions herself for global engagement, this major new study reawakens and revises an ancient conversation. As a generous introduction to biblical Christianity and the Confucian Classics, Christianity and Confucianism tells a remarkable story of mutual formation and cultural indebtedness. East and West are shown to have shaped the mind, heart, culture, philosophy and politics of the other - and far more, perhaps, than either knows or would want to admit. Christopher Hancock has provided a rich and stimulating resource for scholars and students, diplomats and social scientists, devotees of culture and those who pursue wisdom and peace today.

Known for his maxim "Make it new," Ezra Pound played a principal role in shaping the modernist movement as a poet, translator, and literary critic. His works, with their complex structures and layered allusions, remain widely taught. Yet his known fascism, anti-Semitism, and misogyny raise issues about dangerous ideologies that influenced his work and that must be addressed in the classroom. The first section, "Materials," catalogs the print and digital editions of Pound's works, evaluates numerous secondary sources, and provides a history of Pound's critical contexts. The essays in the second section, "Approaches," offer strategies for guiding students toward a clearer understanding of Pound's difficult works and the context in which they were written.