Eustace Mullins e i segreti del poeta

Washington DC – primavera del 1949, St. Elizabeths Hospital in una camera del Mental Health Department un illustre “ospite”: Ezra Pound

di Gian Paolo Pucciarelli

Ex: http://www.rinascita.eu/

Eustace Mullins ha un rispettabile impiego alla Library of Congress, una laurea alla Washington University e un vivo interesse per le avanguardie europee del primo Novecento.
Lo attraggono i dipinti di Picasso e di Kandinski e in genere il Modernismo.
La Biblioteca del Congresso è la più grande del mondo (ventotto milioni di volumi).
Monumentale compendio dell’intero scibile umano e (con qualche disagio) campionario assortito di crisi e fulgori della cultura occidentale. Di quest’ultima un semplice bibliotecario può comprendere ambiguità e contraddizioni, a stento nascoste sotto il peso dell’architettura neoclassica, della tradizione liberale e della memoria di un presidente.
L’imponente Jefferson Building, appunto. E tutto quello che c’è dentro.
Ubicazione: 101 Independence Avenue – Washington – DC, qualche minuto a piedi dalla Casa Bianca, mezz’ora d’autobus e due secoli d’inutile fuga dall’oscurantismo per raggiungere il 1100 dell’Alabama Avenue e il… “Nido del Cuculo”.
La storia dei manicomi, vero o falsa che sia, lascia concrete tracce d’archetipi. Uno di questi si trova su una lieve altura, in direzione sud-est, quasi alla confluenza del Potomac con l’Anacostia.
Il punto in cui sostano gli uccelli migratori in cerca della giusta rotta e sbagliano… nido.
Ottanta piedi d’altezza, linee tardogotiche in segno d’austerità e non trascorsi orrori, sovrapposti ai tanti frantumi del sogno americano, in modo che ne risulti un sinistro edificio. (L’ispirazione è di Milos Foreman che venticinque anni più tardi, tenterà di spiegare le terapie psichiatriche in uso negli States, con buoni appoggi di Upjohns, Roche e le Multinazionali delle benzodiazepine).
Nome ufficiale: St. Elizabeths Hospital.
A causa di ben note imprecisioni nel distinguere la follia individuale da quella collettiva, i cartelli indicatori all’ingresso del nosocomio non recano la scritta “Mental Health”. Anche perché non è bene si sappia che fra gli 8.000 “ospiti” dell’Ospedale sono selezionati i “forensic patients” da sottoporre al test della lobotomia.
I Civils “beneficiano” invece di quotidiane terapie… elettroconvulsive.
Le visite ai ricoverati non sono concesse facilmente. Per via del lezzo di urina secolare misto ai vapori dell’acido ipocloroso, causa di svenimenti e complicazioni polmonari.
Poi perché non sono ancora tanto lontani i tempi in cui Mr. Donovan, già Chief dell’ O.S.S., inaugurò al St. Elizabeth l’uso della scopolamina per farne il siero della verità.
Nel complesso di edifici dell’Alabama Avenue si conservano in formaldeide 1.400 cervelli umani e corre voce che vi sia finito anche quello di Mussolini (ritenuto d’interesse sociale e utile un domani a chi intendesse esaminare le cellule del Capo del Fascismo a scopi didattici, misurando gli effetti dell’irrazionalità delle masse sui lobi cerebrali del Duce).
Eustace Mullins ha appena varcato i cancelli del St. Elizabeth, dopo aver ottenuto il “passi” e non prima di aver svuotato la propria vescica urinaria. Fra tante amenità, recentemente apprese, mentre s’incammina lungo il viale che attraversa un ampio prato fino all’entrata principale, sente l’irrefrenabile impulso di affondare una mano nella tasca dei pantaloni per tastarsi ripetutamente i testicoli. Gesto salvifico, anche se irrispettoso, per la vicinanza di Mrs. Dorothy che, pur mesta e pensosa, con lui procede, affiancandolo.
Poco dopo, preda dell’emozione e degli scongiuri, Mullins si guarda intorno circospetto, avvertendo invisibili presenze di spettri in divisa.
Sono i fantasmi dei 500 Soldati Blu (e Grigi) sepolti nell’area circostante, vittime della guerra civile e dell’oblio. I loro poveri resti giacciono dispersi per sempre nel sottosuolo, mentre ignari tagliaerba, ordinando il prato che li sovrasta senza alcun segno tombale, continuano a cancellarne la memoria. Mullins sembra udire grida di vendetta, soffocate da metri di terra e fastidiosi ronzii di tagliatrici. Ma è solo un’impressione. Non gli resta che accennare un sorriso, sul quale si protende un filo di persistente amarezza.
 
Appare il cartello Mental Health Department. Prima di varcarne l’ingresso, il “visitatore” guarda il lontano e quasi immobile Potomac, da cui sembra levarsi il frastuono delle battaglie combattute novant’anni prima. L’illusione sonora s’interrompe, per via delle voci, quasi irreali, che provengono dall’interno. Mullins, controllando a stento la propria emozione, si affida a Mrs. Dorothy che lo accompagna alla camera di un illustre “ospite” del dipartimento: Ezra Pound.
Fuori, lo struttural-funzionalismo alla Talcott Parsons propone tregua ai conflitti sociali, solidale col noto impostore che raccomanda “Società Aperte” senza far uso di volantini.
Bastano l’abbaglio del benessere e l’abitudine a invisibili moltiplicatori del debito pubblico.
La cella del St. Elizabeth in cui “alloggia” Pound è occupata da un maleodorante giaciglio e un tavolo di metallo, su cui si ammucchiano quaderni di appunti. Lo spazio esiguo della cella consente di ospitarvi il solo recluso, esempio del trattamento riservato alle vittime della moderna inquisizione. Sebbene Mrs. Dorothy cerchi di tranquillizzare Mullins, si fa presto strada in lui la tentazione di concludere la visita con un rapido, liberatorio congedo, ancor prima che si proceda con le presentazioni. L’ambiente è impressionante. Il Poeta del resto, poco incline ai convenevoli, esclusi quelli strettamente di rito, dopo un breve scambio di parole, non sembra propenso al dialogo. Lunghi silenzi, interrotti da brevi domande sullo stato di salute del recluso, restano senza risposta, con evidente imbarazzo di Mullins, che più volte rivolge lo sguardo a Mrs. Dorothy, mentre gli occhi di Pound, seminascosti da cispose sopracciglia, lo fissano con insistenza.
“Lei ha fatto la guerra?” Chiede il Poeta. E la domanda riduce l’impaccio del bibliotecario, ma ne aumenta comunque la sudorazione corporea.
“Sì. Ho prestato servizio nell’US Army, e nel 1945 facevo parte delle Forze di occupazione in Baviera.”
“ Si è mai chiesto perché?”
“Come?”
“Perché?”
“Perché ho servito la mia Patria.”
“No. No. Si è mai chiesto perché è scoppiata la guerra?”
Mullins impallidisce.
“Si è mai chiesto che cosa rappresentano gli enormi e profondi crateri di Hiroshima, scavati e modellati nella calda estate del 1945?”
“Lei sa che cos’è la Federal Reserve Bank?”
“La Banca Centrale degli Stati Uniti.”
“Non esattamente. E’ la responsabile della Prima e della Seconda Guerra Mondiale!”
Mullins ascolta attonito.
Nel linguaggio di Pound ricorre la parola Usura, che vuol dire International Loan System, rete dei prestiti pubblici organizzata dall’Investment Banking, cui spetta il diritto di intermediazione su ogni scambio internazionale. La memoria di un passato non più recente, ma incancellabile, emerge, imperiosa e sgradita, componendo immagini che velocemente si sovrappongono per ricordare ferite inguaribili, inflitte nel profondo dell’animo.
Tempi e luoghi diversi evocano il lungo soggiorno europeo e il passo dell’esule, cadenzato sui ritmi poetici del Cavalcanti e l’Alighieri, per tradurlo nel linguaggio, illuminante e faticoso dei Cantos. Parigi e la Bella Signora Italia, più volte violentata e offesa. Venezia, la Riviera. Il 1945 è anno cruciale. Oltre all’arresto del cittadino americano “traditore” che osò denunciare i responsabili di due guerre mondiali, si segnalava nei pressi del lago di Como, la presenza di un britannico obeso, con l’orecchio all’ascolto di sempre più fievoli eco, disperse nel vuoto, fino alla decisa pressione d’uno scarpone militare straniero; un brindisi di compiacimento per festeggiare la morte di Radio Roma e i trionfi del Dio della Guerra.
Un’analisi retrospettiva è essenziale, dice il Poeta, non certo per convincere chi baratta la libertà con la miopia, ma per… vederci chiaro. La sorpresa non manca, quando Pound afferma che in quella occasione l’agenda di Winston Churchill non valeva meno dei diari di Mussolini e di una cartella marrone, contenente carte compromettenti.
Il premier inglese era solito annotarvi date importanti, usando la matita rossa, come per esempio “Yalta – 4 febbraio 1945”.
Per Dresda preferiva il colore blu, che ricorda le bombe al fosforo, stilando di suo pugno le note su quanto sarebbe avvenuto nella città tedesca undici giorni dopo.
Perché mai la Conferenza economica di Bretton Woods ebbe luogo un mese dopo lo sbarco in Normandia? Una direttiva del “War Production Board”, o un ordine preciso del “Pool” di Banche Internazionali che finanziavano le industrie di armamenti? Chi aveva voluto la guerra, manovrando astutamente “dietro le quinte”? Chi pretendeva il controllo della finanza mondiale?
Mullins è impressionato.
Pound continua…
Provincia di Como, Giulino di Mezzegra e dintorni – 28 aprile 1945
Lo stesso signore sovrappeso, calvo e vestito di scuro, la matita rossa e blu nel taschino, pronta a scrivere luoghi e date, e a tracciare una bella “X” trasversale sopra un nome importante e troppo scomodo. Che cosa fa costui, quando gli Alleati sono alle porte e il Cln combatte la “sua” guerra di ritorsione? Dipinge mediocri acquarelli sulle rive del lago.
Alle creazioni artistiche assistono a breve distanza i suoi attenti custodi, agenti del Secret Operations Executive (SOE).
Fra i cadaveri, che entro poche ore penderanno a testa in giù in Piazzale Loreto, ci sarà anche quello dell’uomo che voleva difendersi e sapeva troppe cose.
Il signore obeso, vestito di scuro, che non conosce le sventure di Mani, l’eretico, né l’orrenda fine di Dioniso, o del Paracleto consolatore, due volte crocifisso, traccia due “X” in rosso su quel nome e riprende a pasticciare acquarelli.
Nelle orecchie risuonano i primi sette versi del Canto Pisano 74, (scritti su carta igienica, all’interno di una gabbia per animali, esposta alle intemperie in aperta campagna).
Lì si apprende che rischia la condanna a morte chiunque raccomandi la “moneta a scadenza” di Silvio Gesell, le teorie monetarie del Maggiore Douglas e osi maledire il “putrido” gold standard e i Banchieri usurai. Ma dal ventoso viale di Washington, dove si aprono i portali della Suprema Corte giunge l’eco della sentenza, nella severa voce di un giudice che si appresta a decretare insanità mentali.
Il “folle” avrebbe fatto anche l’uomo in gabbia per manifestare i tormenti del secolo breve e il grande inganno, di cui il mondo sarebbe stato vittima, senza il bisogno di cercare conferme fra gli appunti di Winston Churchill.
In America intanto i sondaggi già tendono a far crescere l’ottimismo, mentre di fatto la vita continua fra incertezze e paure.
Per altro, nessuno crede più alla casualità di quel che accade in politica. Né alle stime che confermano il prevalere degli “accidentalisti” sui “cospirazionisti”. Ma chi se la sentiva allora di smentire il compianto Presidente, Franklin Delano Roosevelt, autorevole pedina di Wall Street, e quanto egli avrebbe confidato al proprio ambasciatore a Londra, Joseph (Joe) Kennedy: “ In politics nothing happens by chance, if it happens you may bet it was planned that way”?
Nel grande Paese della Libertà si vive intanto l’età dell’ansia, da secoli sofferta e pianificata per i decenni a venire.
“The Age of Anxiety” è, fra l’altro, poema fresco di stampa, che guadagna il Pulitzer, la buona fama di W.H. Auden e crea non pochi equivoci nella società americana del dopoguerra, più incline a ingoiare ansiolitici che a leggere versi (ignorando che le strade della follia spesso non portano al manicomio).
Pound si congeda, pregando Mrs. Dorothy di accompagnare il visitatore all’uscita.
Al commiato, un biglietto di 10 dollari si protende verso Mullins ed è accettato volentieri. Rimborso spese settimanali per svolgere una piccola inchiesta.
Dove? Alla Library of Congress, naturalmente. Lì c’è tutto quello che occorre sapere sul Vreeland-Aldrich Act, e molto altro ancora. Per esempio quanto accadde in una stazione ferroviaria del New Jersey durante una sera d’autunno del 1910.
Il bibliotecario intanto accetta l’incarico che gli costerà, subito dopo, il posto di lavoro.


23 Settembre 2011 12:00:00 - http://rinascita.eu/index.php?action=news&id=10489

Masa y Poder: Ezra Pound pedagogo

Presentación del libro de Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011

“I was twenty years behind the Times”
(Ezra Pound, ‘Contemporania’, 1913)

Masa y Poder: Ezra Pound pedagogo

Por Nicolás González Varela

http://geviert.wordpress.com

 

“GUÍA DE LA CULTURA. Título ridículo, truco publicitario. ¿Desafío? Guía debería significar ayuda a otra persona a llegar a un sitio. ¿Debemos de despreciarlo? Tiros de prueba.”[1] El único libro del economista-poeta Ezra Loomis Pound que salió en el annus memorabilis de 1938[2] fue una anomalía desde todo punto de vista. Su título: Guide to Kulchur (GK). En sus páginas puede disfrutarse del mejor Pound vanguardista, que como Minerva nace armado con su método ideogramático, un Pound sin temor ni temblor a fundir en una nueva síntesis, en una Summa de su pensamiento, nada menos que a Jefferson, Mussolini, Malatesta, Cavalcanti y Confucio. Pound vive en la Italia fascista desde fines de 1924, ha vivido la consolidación, estabilización y maduración del regimen fascista, desde cuyas fórmulas políticas e instituciones económicas, cree con fervor, puede plantearse una terza via entre el capitalismo liberal en bancarrota y el socialismo burocrático de Stalin. También son los años en que Pound, demostrando su estatura intelectual, pasa de las preocupaciones estéticas a las éticas. El libro tiene su propia historia interna, una poco conocida tortured history: en febrero de 1937 Pound inicia una correspondencia con el playful in-house editor Frank Morley (a quién Pound llamaba cariñosamente por su tamaño Whale, ballena), de la editorial inglesa Faber&Faber. Pound le informa acerca de un nuevo libro revolucionario de prosa. Estaría muy bien, le contestaba Morley, que en lugar de escribir algo similar a su ABC of Reading, de 1934, publicara sus ideas sobre lo que entiende por la Cultura con mayor extensión y profundidad. Inmediatamente Pound le contesta que pensaba en primer lugar en una obra que se llamaría The New Learning (El nuevo Aprendizaje), luego sugirió el nombre de Paideuma, pero desde el principio el editor Morley lo consideraría, más que como un Hauptwerk exhaustivo sobre el tema, como una introducción o guía, por lo que surgió el nombre de Guide to Cultur, que llevaría un subtítulo curioso luego desechado “The Book of Ezro”: “un libro que pueda funcionar como una educación literaria para el aspirante a todas las excavaciones y que desea hacer volar el mundo académico antes que hacer su trabajo.”[3] Morley además le aseguraba que para un popular textbook como del que hablaba, existía un amplio mercado potencial de lectores. En una carta dirigida al editor Pound en febrero de 1937 describía el proyecto como “lo que Ez (Ezra) sabe, todo lo que sabe, por siete y seis peniques” (y en tamaño más portable que el British Museum)[4], y le explicaba que introduciría algunos contrastes entre la decadencia de Occidente y Oriente y que también mencionaría los aspectos “raciales” de la Cultura. Además describía el esqueleto de su futura obra en tres grandes bloques: I) Método (basado en las Analectas de Confucio); II) Filosofía (en tanto una exposición y a la vez crítica de la Historia del Pensamiento) y III) Historia (genealogía de la acción o los puntos cruciales del Clean Cut).[5] Finalmente se firmó el contrato formal entre ambas partes y el libro se denominaba en él como Ez’ Guide to Kulchur.

GK fue publicada entonces por la editorial Faber&Faber[6] en el Reino Unido en julio de 1938 y por la editorial New Directions, pero bajo el título más anodino de Culture, en noviembre de 1938 en la versión para los pacatos Estados Unidos. Pound la escribió de corrido en un mes durante la primavera de 1937 (marzo-abril), bajo un estado anímico al que algunos biógrafos como Tytell denominaron “a sense of harried desperation”.[7] Como saben los que conocen su vida y obra, cada movimiento que propugnaba lo tomaba como un asunto de emergencia extrema y límite. Según el irónico comentario del propio Pound “el contrato de la editorial habla de una guía DE la cultura no A TRAVÉS de la cultura humana. Todo hombre debe conocer sus interioridades o lo interno de ella por sí mismo.” y efectivamente no defraudó a sus editores en absoluto. El libro (si podemos denominarlo así) era un escándalo antes de ver la luz. Aparentemente nadie de la editorial leyó en profundidad el manuscrito en su contenido polémico y cercano al libélo. Ya había ejemplares encuadernados, listos para entregar al distribuidor, cuando la editorial inglesa Faber&Faber decidió que, posiblemente, algunos pasajes eran radicalmente difamatorios. Al menos, según cuentan especialistas y biógrafos confiables, se arrancaron quince páginas ofensivas, se imprimieron de nuevo y se pegaron con prisa; también se imprimieron nuevos cuadernillos de páginas para los ejemplares que no habían sido encuadernados todavía.[8] No nos extraña: sabemos que Pound como crítico “jamás experimentó el temor de sus propias convicciones”, en palabras de Eliot. Quod scripsi scripsi. Lo extraño y maravilloso es que el libro como tal haya sobrevivido a semejante desastre editorial. GK fue finalmente publicado el 21 de julio de 1938, estaba dedicada “A Louis Zukofsky y Basil Bunting luchadores en el desierto”. Zukofsky era un mediocre poeta objetivista neyorquino, autodefinido como communist, al que Pound adoptó como discípulo y seguidor de sus ideas[9]; a su vez Bunting era un poeta británico, conservador e imperialista, que Pound ayudó con sus influencias intelectuales y el mecenazgo práctico.[10] Pound mismo consideraba GK, circa 1940, como la obra en la que había logrado desarrollar su “best prose”[11], además la ubicaba, junto a The Cantos, Personae, Ta Hio, y Make It New, en el canon de sus opera maiorum. También lo consideraba uno de sus libros más “intensamente personales”, una suerte de ultimate do-it-yourself de Ezra Pound. Su amigo, el gran poeta T. S. Eliot afirmó que tanto GK como The Spirit of Romance (1910) debían ser leídos obligatoriamente con detenimiento e íntegramente. Aunque puede considerarse el más importante libro en prosa escrito por Pound a lo largo de su vida[12], sin embargo Guide to… no cuenta con el favoritismo de especialistas y scholars de la academia (a excepción de Bacigalupo, Coyle, Davie, Harmon, Lamberti, Lindberg y Nicholls).[13] El mejor y más perceptivo review sobre el libro lo realizó su viejo amigo el poeta Williams Carlos Williams, en un artículo no exento de críticas por sus elogios desmesurados a Mussolini titulado “Penny Wise, Pound Foolish”. En él, Williams señalaba que a pesar de todas su limitaciones o errores involuntarios, GK debía ser leído por el aporte de Pound en cuanto a revolucionar el estilo, por su modo de entender la nueva educación de las masas y por iluminar de manera quirúrgica muchas de las causas de la enfermedad de nuestro presente.[14] En cambio nosotros no consideraremos a GK ni como un libro menor, ni como un divertido Companion a su obra poética, ni como un torso incompleto, ni siquiera como un proyecto fallido. En realidad GK es una propedeútica al sistema poundiano, su mejor via regia, un acceso privilegiado a lo que podríamos denominar los standard landmarks[15] de su compleja topografía intelectual: la doctrina de Ch’ing Ming, el famoso método ideogramático, su libro de poemas The Cantos entendido como un tale of the tribe, la figura de la rosa in steel dust,[16] la forma combinada de escritura paratáctica[17], el uso anti y contrailustrado de la cita erudita, su deriva hacia el modelo fascista (la economía volicionista y su correspondiente superestructura cultura)[18], la superioridad en el conocimiento auténtico de la Anschauung[19] como ars magna y el concepto-llave de Paideuma. GK puede ser además considerado un extraordinario postscript a su opera maiorum, hablamos de la monumental obra The Cantos, en especial a los poemas que van del XXXI al LI, publicados entre 1934 y 1937. Pound se propone incluso romper con su propia prosa pasada: “Estoy, confío de manera clara, haciendo con este libro algo diferente de lo que intenté en Como leer, o en el ABC de la Lectura. Allí estaba tratando abiertamente de establecer una serie o un conjunto de medidas, normas, voltímetros; aquí me ocupo de un conjunto heteróclito de impresiones, confío que humanas, sin que sean demasiado descaradamente humanas.”[20]

US propaganda contra la cultura alemana, I Guerra

 

En primer término, y por encima de todo, debemos señalar al lector ingenuo que Ezra Loomis Pound ha sido un pedagogo y un propagandista antes que nada y se propone nada más ni nada menos que GK sea un Novum Organum, al mejor estilo baconiano[21], de la época incierta que se abre ante sus pies. Llamarlo Kulchur tiene su explicación filosófica y política: Pound quería referirse al concepto alemán de Cultura (Kultur) pero para diferenciarlo del tradicional que utiliza la élite (irremediablemente lastrado de connotaciones clasistas, nacionalistas y raciales), lo escribe según la pronunciación; y al mismo tiempo anula la indicación tradicional que tiene el concepto Cultur en inglés. Este sesgo nuevo y revolucionario a lo que entendemos en la Modernidad por Cultura es el primer paso para la tarea de un New Learning de masas y la posibilidad histórica de un nuevo Renacimiento en Europa, ya que “las democracias han fallado lamentablemente durante un siglo en educar a la gente y en hacerle consciente de las necesidades totalmente rudimentarias de la democracia. La primera es la alfabetización monetaria.” Su significado temático revolucionario, intentar comprender de otro modo al Hombre, la Naturaleza y la Historia, debemos señalarlo, excede el mero ejercicio de escribir poesía. Es una vigorosa reacción contra la Aufklärung, que para Pound es una período de lenta decadencia, la verdadera Dark Age de Occidente, signado por la subsunción de toda la Cultura a la usura y el mercantilismo más brutal (institucionalizados en una forma perversa: la banca): “Hemos ganado y perdido cierto terreno desde la época de Rabelais o desde que Montaigne esbozó todo el conocimiento humano.”[22] Como Nietzsche, Pound rescata de las Lumiéres tan solo a Bayle y Voltaire y si Nietzsche intentó este nuevo desaprendizaje-aprendizaje contra la Modernidad desde la forma literario-política del aforismo, Pound lo intentará desde el ideograma y el fragmento citacional, buscando el mismo efecto pedagógico en las masas, en el hombre sin atributos, que había experimentado en persona en la Mostra della Rivoluzione Fascista[23] inaugurada en el Palazzo delle Esposizioni de Roma en 1932.

¿El libro es en realidad un enorme ideograma de acceso a la verdadera Kulchur? Recordemos que para Pound Cultura con mayúsculas es cuando el individuo ha “olvidado” qué es un libro, o también aquellos que queda en el hombre medio cuando ha olvidado todo aquello que le han enseñado.[24] Y que entonces de alguna manera la auténtica Cultura se correlaciona con una forma privilegiado de relación entre el sujeto y el objeto, la Anschauung, opuesta sin posibilidad de cancelación con el Knowledge de la Modernidad, un producto amnésico y totalitario (en sentido gestáltico, no político) prefabricado a través de un enfoque deficiente de el Arte, la Economía, la Historia y la Política. La Anschauung es superior, tanto epistémica como políticamente: “La autoridad en un mundo material o salvaje puede venir de un prestigio acumulado, basado en la intuición. Confiamos en un hombre porque hemos llegado a considerarle (en su totalidad) como hombre sabio y bien equilibrado. Optamos por su presentimiento. Realizamos un acto de fe.”[25] Siempre hay que subrayar que Pound no tiene como propósito exclusivamente el regodeo narcisista de transmitir “descubrimientos”, ni progresar en algún tipo de carrerismo académico, sino que su pathos radical presionaba a que sus tesis deben ser llevadas a la práctica, y por ello él mismo nos muestra el camino y custodia con celo la senda adecuada para tal traducción material: “Y al llegar aquí, debemos hacer una clara diferencia entre dos clases de «ideas». Ideas que existen y/o son discutidas en una especie de vacío, que son como si fueran juguetes del intelecto, e ideas que se intentan poner en «acción» o guiar la acción y que nos sirven como reglas (y/o medidas) de conducta.”[26] La distinción de Pound fijada en el concepto técnico de “Clean Cut” entre ideas in a vacuum y las ideas in action (básicas como reglas de conducta) es crucial en este sentido.[27] Pound decía que al final GK no era más que “su mapa de carreteras, con la idea de ayudar al que venga detrás a alcanzar algunas pocas de las cimas, con menos trabajo que el que uno ha tenido…” Para lograr una educación profunda y postliberal, decía Pound que el alumno debía dominar las siguientes bases mínimas: todo Confucio (en chino directamente o en la versión francesa de M. G. Pauthier), todo Homero (en las traducciones latinas o en la francesa de Hughes Salel), Ovidio, Catulo y Propercio (utilizando como referencia la Metamorfosis de Golding y los Amores de Marlowe), un libro de canciones provenzales (que al menos incluya a los Minnesingers y a Bion), por supuesto Dante (además treinta poemas de sus contemporáneos, en especial de Cavalcanti), “algunos otros temas medievales… y algún esbozo general de la Historia del Pensamiento a través del Renacimiento, Villon, los escritos críticos de Voltaire (incluyendo una pequeña incursión en la prosa contemporánea), Stendhal, Flaubert (y por supuesto los hermanos Goncourt), Gautier, Corbière y Rimbaud.”[28] GK es la Guía Baedeker, que puede superar en un solo mandoble las limitaciones tanto de la Modernidad liberal como el Comunismo de sello staliniano[29], a través de una nueva genealogía basada en lo que denomina the Best Tradition, o en palabras de Pound “En lo esencial, voy a escribir este nuevo Vademécum sin abrir ningún otro volumen, voy a anotar en la medida de lo posible solamente lo que ha resistido a la erosión del tiempo y al olvido. Y en esto hay un poderoso argumento. Cualquier otro camino significaría que me vería obligado a tener que citar un sinnúmero de historias y obras de referencia.”[30]

El primer efecto del método poundiano en el lector ingenuo y tradicional es la desorientación en el maremagnum de las yustaposiciones y la interrupciones en la ilación lógica. Además es evidente que Pound “juega” con el diseño gráfico de la página, trasciende la linearidad del texto, subvierte las normas establecidas de signos y morfología, trascendiendo el contenido a través de imágenes: reproducción de ideogramas, partituras musicales, fragmentos citacionales de temas diversos, citaciones ad verbatim, déjà-vus semánticos, formas coloquiales anónimas et altri. Esto efectos no son meramente buscados en busca de algún efecto visual “vanguardista”, “lúdico” o “creativo”, en absoluto (aunque co-existan en GK como efectos de composición) sino de crear un nuevo soporte, mitad estilo mitad icónico, capaz de vehicular, de soportar como medio comunicativo eficaz, la nueva sensibilidad que reclama Occidente en decadencia: “El lector con prisas puede decir que escribo en clave y que mis afirmaciones se deslizan de un punto a otro sin conexión u orden. La afirmación es, sin embargo, completa. Todos los elementos están ahí, y el más perverso de los aficionados a los crucigramas debería ser capaz de resolverlo o de verlo.”[31] Pound reclama en GK su idea de One-Image Poems, paradigma poético-icónico,  o incluso podemos llamarlo una suerte de “lenguaje mosaico”, que como hemos señalado, se eleva sobre el sólido fundamento de la yuxtaposición paratáctica de texto e imágenes diversas, creando una suerte de espacio acústico.[32] El aspecto formal del método ideogramático es muy importante para Pound, y uno de sus componentes centrales es su propia definición de imagen como una presencia compleja que implica tanto lo intelectual como lo puramente emocional en una simultaneidad: “an Image is that which presents an intellectual and an emotional complex in an instant of time.”[33] Una definición totalmente bergsoniana: la inmediata, la interacción intuitiva inmediata con la imagen, el mismo instante del tiempo en que esta interacción se produce, el espontáneo crecimiento formativo por la presencia del élan vital, el retorno a los horned Gods y la libertad total con respecto de los límites “normales” que determinan el cuadro perceptivo burgués, tienen directa contraparte con el concepto de evolución creadora de la filosofía de Henri Bergson.

GK es concebido por Pound para las grandes masas, el gran público amorfo de la infernal sociedad industrial-mercantilista[34], el despreciado uomo qualunque, al cual el poeta intenta re-educar en un modo revolucionario, polémico y de mortal enfrentamiento con el sistema institucional y académico burgués y para sobrevivir a la sobre información generada por la opinión pública moderna: “Estoy, en el mejor de los casos, tratando de suministrar al lector medio unas pocas herramientas para hacer frente a la heteróclita masa de información no digerida con que se le abruma diaria y mensualmente, y lista a enmarañarle los pies por medio de libros de referencia.”[35] La hipótesis no explícita de Pound es el reconocimiento de la irrupción irreversible en la Historia de una nueva “masa”, heterogénea y segmentada (aunque tanto el tardoliberalismo como el burocratismo soviético intentarán homogeneizarla y uniformarla), que empuja a revisar axiomas y arcani imperii consolidados: estado, economía, política, cultura, organismo social, poder. Es a esta masa, que soporta el efecto reaccionario de los new media, es el objeto privilegiado de intervención al que se dirige GK con la ideología a la que adhiere Pound, tanto en lo personal (las nuevas teorías económicas de Gesell, el confuso antisemitismo)[36] como en lo corporativo (el Stato totale de la Italia fascista como anticipación)[37]. El método ideogramático se coloca así como una refinadísima actividad de agitprop, con la capacidad de retomar fuentes de la tradición culta (consciente y críticamente seleccionadas)[38], elementos literarios como la voz y la autoridad autoral (que le otorga credibilidad e identidad al texto), para refundirlos con los nuevas necesidades de consenso y reproducción que han generado en el sustrato popular los nuevos medios de comunicación (¡de masas!) de la esfera pública burguesa, así como las modalidades de consumo y ocio. Y es por ello la importancia hoy de volver a leer GK como un laboratorio que lleva a sus límites la propia Weltanschauung tardomodernista, en esa experimentación entre desarrollo formal y la voluntad de generar nuevos “efectos” que van más allá de lo meramente poético en el uso de herramientas retóricas.

Pound persigue regenerar un Total Man, pero revulsivo y de signo inverso al de la ideología demo-liberal, que puede realizar una conversión y metamorfosis de tal magnitud que le permita “conversar” con los grandes filósofos y generar buenos líderes. Esta “regeneración”, por supuesto, es incompleta y unilateral si no se logra que los vórtices del Poder y los vórtices de la Cultura coincidan[39], por lo que la efectividad de GK sólo podrá verse reflejada cuando la forma estado en Occidente tienda hacia el Stato totale[40] de la Italia fascista. Y del elemento corporativo deberían aprender con humildad las deficientes y corruptas democracias liberales, en especial Reino Unido y los Estados Unidos de América, ya que “NINGUNA democracia existente puede permitirse el pasar por alto la lección de la práctica corporativa. El ‘economista’ individual que trate de hacerlo, o bien es un tonto o un sinvergüenza o un ignoramus.” En otro polémico libro, Jefferson and/or Mussolini, Pound lo describe de esta manera: “Un buen gobierno es aquel que opera de acuerdo con lo mejor de lo que se conoce y del pensamiento. Y el mejor gobierno es el que traduce el mejor pensamiento más rápidamente en acción.”[41] De igual manera lo expresa mucho más pristínamente en GK: “El mejor gobierno es (¿naturalmente?) el que pone a funcionar lo mejor de la inteligencia de una nación.”[42] Es esa simultaneidad expresada en un Best Government es la que abrirá la puerta en Europa a un nuevo Renacimiento, a una Era of Brillance libre de la Ley del valor capitalista (explotación) y de su efecto más funesto: la usura: “Si el amable lector (o el delegado a una conferencia internacional económica de U.S.A.) no puede distinguir entre su sillón y la orden de un alguacil, que permita a este último secuestrar dicho sillón, entonces la vida le ofrecerá dos alternativas: ser explotado o ser más o menos alcahuete, mimado por los explotadores, hasta que le llegue el turno de ser explotado.”[43] La nueva Kulchur debería ser una arma masiva y práctica contra la explotación, una arma que trasciende tanto la burocrática proletarskaya kultura de la URSS como la falsa meritocracia del sistema demo-liberal anglosajón, cuya alma oculta es el mecanismo de la usura. La usura, un tema omnipresente en la obra de Pound, es definida en su libro The Cantos, en una nota bene al canto XLV como: “Usura: gravamen por el uso del Poder adquisitivo, impuesto sin relación a la producción, a veces sin relación a las posibilidades de la producción (de ahí la quiebra del banco de los Medici)”.[44] Para Pound, como para muchos intelectuales no-conformistas de los 1930’s, el mundo se dividía, no en proletariado y capitalistas, sino en una peculiar lucha de clases entre productores y usurers. La única posibilidad epocal de superación de este estado contra naturam del hombre, dominado por el finance Capitalism, era la coincidencia de la Paideuma con un regimen autoritario-corporativo. Y para ello era necesario un salto en la conciencia de las masas por medio de una acción pedagógica militante. Pound siempre sostuvo un compromiso con los temas educativos y una pasión vocacional por la pedagogía, hasta tal punto de planificar literary kindergartens. Se podría decir que GK es un esfuerzo más en el ideal de una sociedad basada en un nuevo aprendizaje y en medios educativos revolucionarios.

Merece un párrafo su especial relación intelectual ambivalente con Karl Marx, del cual pueden verse rescoldos en GK. La formación económica de Pound se realizó íntegramente a través de de economistas heterodoxos, algunos importantes aún hoy en día, como el economista anarquista Silvio Gesell (discípulo de Proudhon) y otros que han pasado al justo olvido, como C. H. Douglas u Odon. Ya en pleno fascismo italiano Pound dio conferencias sobre economía planificada y la base histórica de la economía en la Universidad de Milán a partir de 1933. Al inicio del ‘900 en sucesivos artículos Pound defiende las reformas socialistas llamadas Social Credit, en clave proudhonnistes y sus economistas de cabecera es siempre Douglas y Gesell, de quienes decía habían lograda acabar con the Marxist era. Como muchos pre fascistas, Pound cree que modificando la esfera de la circulación y la distribución podría nacer una nueva sociedad sin tocar las estructuras sociales y políticas, sin tocar el derecho de propiedad básico. El Fascismo es el único, entre el Comunismo y el detestable capitalismo liberal, de llevar a buen término, la justicia económica. Pound se percibe con muchas afinidades con Marx, valora su figura de social Crusader, alaba la noble indignación tal como surge en la retórica de Das Kapital, sabemos que Pound pudo leerlo en traducción italiana, pero una indignación que sin embargo es como una nube que confunden al lector. Además Marx esta en una siniestra genealogía filonietzscheana que desde la Ilustración radical desemboca en una nueva forma de décadence. Para Pound la verdad de lo que denomina Marxism materialist está en sus resultados prácticos en Lenin y Stalin, en la burocracia soviética y el Gulag: “El fango no justifica la mente. Kant, Hegel, Marx terminan en OGPU. Algo faltaba.”[45] Pound también comparte con Marx que las relaciones económicas materiales son fundamentales para la comprensión exacta de la dinámica social, y adhiere completamente a la crítica de la avaricia y la crueldad del British industrialism. Siguiendo en esto a Gesell, Pound cree que el Marxismo qua ideología fijada en un estado en realidad no significa ningún desafío al capitalismo liberal, al bourgeois demo-liberal: “Los enemigos de la Humanidad son aquellos que fosilizan el pensamiento, esto es lo MATAN, como han tratado de hacerlo los marxistas en nuestra época, lo mismo que un sin número de tontos y de fanáticos han tratado de hacerlo en todos los tiempos, desde la cadencia musulmana, e incluso antes. HACEDLO NUEVO”[46] La doctrina de Marx murió en 1883, el mismo día de su muerte: solo quedan sus acólitos construyendo un nuevo y esclerótico dogma. Del mismo Gesell, Pound tomará acríticamente su endeble crítica a la teoría de la moneda y de la ley del valor marxiana. Por ello Marx jamás podrá dañar definitivamente al Capital: “El error de la izquierda en las tres décadas siguientes fue que querían usar a Marx como el Corán. Supongo que la verdadera apreciación, esto es, el verdadero intento de apreciar el mérito verdadero de Marx empezó con Gesell y con la afirmación de Gesell de que Marx nunca ponía en duda el dinero. Lo aceptó buenamente tal como lo encontró.”[47] Sabemos que sus conocimientos de Marx son pocos y fragmentados, centrados literariamente en el capítulo VIII de Das Kapital, que se ocupa de la lucha por la jornada laboral.[48]

¿Podía calificarse a Pound de nietzscheano? Aunque se discute si existe algún elemento de nietzscheanismo difuso en Pound, es evidente que conceptos-llave de su Weltanschauung, están derivados o de Nietzsche o de seguidores, inclusive el mismo término Paideuma acuñado por Frobenius está inspirado en última instancia de un nietzscheano radical auténtico como Oswald Spengler. Se puede hablar de afinidades electivas y de influencias indirectas del Nietzschéisme en la conformación del paradójico Aristocratism side del individualismo metodológico de Pound sin lugar a dudas.[49] Pound ya utilizaba terminus technicus nietzscheanos, como Over Man (Superhombre) a inicios del ‘900, aunque producto de una lectura fragmentada y a tirones, o como él mismo confesaba en un poema I believe in some parts of Nietzsche/I prefer to read him in sections.[50] Incluso llega a aceptar como válida las consecuencias biológicas de la filosofía de Nietzsche y su oposición intransigente a toda conclusión cooperativa o colectivista: “I, personally, may prefer the theory of the dominant cell, a slightly Nietzschean biology, to any collectivist theories whatsoever.”[51] En un poema-funerario dedicado a su admirado amigo Gaudier-Brzeska titulado “Reflection”, Pound hace otro acto de fe hacia Nietzsche: “I know what Nietzsche said is true…”[52] La afinidad electiva es más que obvia, los une pasión pedagógica y una hybris reactiva: Nietzsche también estuvo obsesionado por la Paideia como base del estado, por la cuestión formativa y las reformas educativas que pudieran detener la decadencia burguesa de Occidente.[53] También como en Nietzsche, como en Mann o como en Heidegger, Pound sostiene la creencia que el stress de los costos extras de la dominación burguesa, que implica la constante revolución de las fuerzas productivas y el avance tecnológico, es insostenible, decadente y alienante. Coexisten en Pound el interés por la alta o nueva tecnología con el pesimismo sobre la interrupción vital de la fluidez de la imaginación, la negra posibilidad de la hegemonía del hombre sin atributos y sus consecuencias en la Cultura. Es la típica ambivalencia ideológica del Modernismo a la que no escapa Pound: mientras la techné es celebrada como una extensión proteica de la voluntad de poder del hombre en la máquina, el efecto total debido a la forma de dominio bourgeois es ácidamente atacada como una totalidad falsa, despersonalizada, inauténtica y vacía. Contra este gigantesco movimiento milenario de decadencia y empobrecimiento es que Pound levanta su New Learning, su revolucionaria Guía a la Cultura, y por ello afirma sin hesitar que sus ojos are geared for the horizon.[54]

La obra de Pound tanto poética como en prosa es difícil o de imposible lectura, decía sabiamente Borges, aunque reconocía la obligatoriedad de su lectura, ya que con él la literatura norteamericana y la ensayística universal había tocado las alturas más temerarias. Invitamos al lector al desafío de sumergirse en uno de las mejores ensayos del siglo XX, ahora disponible en una exquisita edición crítica y completa.

[1]Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 195.

[2] En su Guide to… Pound coloca la fecha exacta de su urgente escritura: “16 de marzo anno XV Era Fascista”. Desde 1931 Pound utilizaba el nuevo calendario fascista. Los biógrafos creen que la ansiedad de Pound se debía a las consecuencias inmediatas de la crisis de Münich, el Tratado de Rapallo y la posibilidad de una guerra europea catastrófica. No estaba equivocado en absoluto.

[3] Morley le afirmaba que “seeryus & good sized home university library for the seeryus aspiring & highminded youth… a book that would function as… litry education for the aspirant with all the excavations you wish blowing up what it is the academics do instead of their job.”, en: Pound Papers, February, 1937, Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library, New Haven, Connecticut; parcialmente on-line: http://beinecke.library.yale.edu/digitallibrary/pound.html

[4] Pound decía: “Wot Ez knows, or a substitute (portable) fer the Bruitish museum”, en: ibidem, February, 1937. Lo de “Bruitish” una ironía bien poundiana.

[5] Un esquema básico que mantendrá en GK: “Ningún ser viviente sabe lo suficiente para escribir: Parte I. Método; Parte II. Filosofía, la historia del pensamiento; Parte III. Historia, o sea, la acción; Parte IV. Las Arles y la Civilización.”, en: Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 57.

[6] La editorial Faber fue la editorial en inglés más importante en la difusión de la entera obra de Pound, llegando a editar más de veinte títulos entre 1930 y 1960; en ella trabajaba como primary literary editor su amigo, el poeta T. S. Eliot.

[7] Tytell, John; Ezra Pound: The Solitary Volcano,  Anchor P, New York, 1987, p. 247.

[8] Stock, Noel; Ezra Pound; Edicions Alfons El Magnànim, Valencia, 1989, p. 441 y ss. Pound conservó como un tesoro cinco ejemplares de GK no expurgados. Lo señala también Gallup en su definitiva obra bibliográfica: Gallup, Donald; A Bibliography of Ezra Pound. 1963, edición revisada y ampliada: Ezra Pound: A Bibliography, University Press of Virginia, Charlottesville, 1983, quién enumera en detalle las modificaciones finales. Como dato curioso: desapareció de la versión final el nombre del vilipendiado poeta español Salvador de Madariaga.

[9] Véase la voz “Zukofsky, Louis (1904-1978)”, en: Adams, Stephen J./ Tryphonopoulos, Demetres P. (Editors); The Ezra Pound Encyclopedia, Greenwood Press, Westport, 2005, p. 309.

[10] Véase la voz “Bunting, Basil (1900–1985)”, en: ibidem, p. 22.

[11] La carta con la autointerpretación sobre GK en: Norman, Charles; Ezra Pound; Funk &Wagnalls, New York, 1968, p. 375.

[12] Los numerosos libros de prosa de Pound, algunos poco conocidos y agotados, son en orden cronológico: The Spirit of Romance (1910) Gaudier-Brzeska. A Memoir (1916), Pavannes and Divisions (1918), Instigations. . . Together with an Essay on the Chinese Written Character (1920), Antheil and the Treatise on Harmony (1924), How to Read (1931), ABC of Economics (1933), ABC of Reading (1934), Make It New (1934), Jefferson and/or Mussolini (1935), Social Credit: An Impact (1935), Polite Essays (1937), Guide to Kulchur (1938) y Literary Essays (ed. T. S. Eliot, 1954).

[13] Bacigalupo, Massimo. The Formed Trace: The Later Poetry of Ezra Pound, Columbia University Press, New York, 1980; Coyle, Michael; Ezra Pound, Popular Genres, and the Discourse of Culture, University Park: Pennsylvania State UP, 1995; Davie, Donald. Studies in Ezra Pound. Manchester,  Carcanet, 1991;  Lamberti, Elena; “’Guide to Kulchur’: la citazione tra sperimentazione modernista e costruzione del Nuovo Sapere”, en: Leitmotiv, 2, 2002, pp. 165-179; Lindberg, Kathryne V.; Reading Pound Reading: Modernism after Nietzsche, Oxford UP, New York:, 1987; Nicholls, Peter; Ezra Pound: Politics, Economics, and Writing: A Study of The Cantos, Humanities Press, Atlantic Highlands, 1984. El rechazo in toto de la academia sería para Pound justamente un elogio indirecto a su método heterodoxo de aprendizaje y educación radicalmente revolucionario.

[14] Williams, William Carlos; “Penny Wise, Pound Foolish”, en: The New Republic, 49, 28, june, 1939, pp. 229-230. Williams llamaba en la recensión a Pound “a brave Man” por su honestidad intelectual y valentía política. La única crítica de Pound a Mussolini en GK es que en su mente todavía quedan residuos de Aristóteles: “… an Aristotelic residuum…”, e: Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 305.

[15] Pound los denomina nuclei, sus núcleos.

[16] Dice bellamente Pound: “La forma, el inmortal concetto, el concepto, la forma dinámica que es como el dibujo de la rosa hundido en las muertas limaduras de hierro por el imán, no por contacto material con el imán mismo, sino separado del imán. Separados por una capa de cristal, el polvo y las limaduras se levantan y se ponen en orden. Así la forma, el concepto resucita de la muerte.”, en: Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 166.

[17] Parataxis: se entiende como una construcción de dos oraciones sintácticamente independientes que están en una relación de subordinación implícita en virtud de lo que se conoce como una “curva melódica” común, que hace innecesario el uso de la conjunción, uniéndolas en una relación íntima de dependencia. Véase: Mounin, Georges (Dirigido por); Diccionario de Lingüística, Labor, Barcelona, 1979, p. 139-140. Estilísticamente puede decirse que mientras la hipotaxis (relación explícita mediante un signo funcional) señala un discurso meditado y racional, incluso de cierta “distinción” social en el nivel cultural de quién la emplea, la parataxis, propia de la expresión de emociones, es de un lenguaje más popular y llano. Pound: “The Homeric World, very human”, en: GK, p. 38.

[18] Además en GK se muestra claramente, como en Cantos, el milieu intelectual fascista en el cual se mueve Pound alrededor de los círculos romanos de Edmondo Rossoni, ministro de Agricultura del Duce y editor de la influyente revista cultural La Stirpe: “Eran personalidades serias, como las que Confucio, San Ambrosio o su Excelencia Edmondo Rossoni podrían y desearían reconocer como personalidades serias.”; en esta edición, vide infra, p.  Sobre Pound y el Fascismo italiano, véase: Redman, Tim; Ezra Pound and Italian Fascism, Cambridge University Pres, Cambridge, 1991.

[19] Pound utiliza la palabra alemana Anschauung, un erkenntnistheoretischer Begriff introducido por Kant aunque ya utlizado por místicos como Notker o Meister Eckhart, para referirse a la superioridad epistemológica de la inducción y la intuición: “…la facultad que le permite a uno «ver» que dos líneas rectas no pueden encerrar una superficie, y que el triángulo es el más sencillo de todos los polígonos posibles.” Por ejemplo, el pedagogo iluminista Pestalozzi lo utilizó en un contexto operativo educativo, tal como pretende re-utilizarlo Pound. En esta revalorización de la Anschauung Pound aquí coincide no casualmente no sólo con Nietzsche sino con el neokantismo, Husserl y Heidegger, y en sus comentarios críticos a Aristóteles (Arry), Pound ubica a la intuición por encima de la sophia.

[20] Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 217.

[21] Pound dixit: “Bacon. No creo que la coincidencia con mis puntos de vista sea debida a memoria inconsciente, dos hombres en momentos diferentes pueden observar que los caniches tienen el pelo rizado sin necesidad de referirlo o derivarlo de una «autoridad» precedente.”

[22]Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 57.

[23] La Mostra… fue realizada con motivo del décimo aniversario de la Toma del Poder por Mussolini, tras la marcha fascista sobre Roma. Fue una idea de Dino Alfieri, futuro ministro de Cultura Popular. Pound visitó la Mostra… en diciembre de 1932, poco después de su inauguración oficial, quedando impresionado como la organización anti-museo Risorgimiento de iconografía, objetos cotidianos (el propio escritorio de Mussolini en el diario Il Popolo d’Italia) y collages de imágenes promovía la incitación del visitante a la acción. Sobre la Mostra… y su formato conservador-revolucionario, véase: Andreotti, Libero; “The Aesthetics of War: The Exhibition of the Fascist Revolution”, en: Journal of Architectural Education, 45.2, 1992, pp. 76-86; finalmente el trabajo de Jeffrey Schnapp: Anno X. La Mostra della Rivoluzione fascista del 1932: genesi-sviluppo-contesto culturale-storico-ricezione. With an afterword by Claudio Fogu, Piste – Piccola biblioteca di storia 4, Istituti Editoriali e Poligrafici Internazionali, Rome-Pisa, 2003 y su artículo: “Fascism’s Museum in Motion”; en: Journal of Architecture Education 45.2, 1992,  pp. 87-97.  Pound elogiará el aspecto radical y pedagógico de la Mostra… en su Cantos, el número XLVI, publicado en 1936. No es de extrañar: arquitectos liberales como Le Corbusier o un nietzscheano de izquierda como Georges Bataille también tuvieron una impresión profunda de la Mostra…

[24] Pound dice: “when one HAS ‘forgotten-what-book’ ” (GK 134) y más adelante: “what is left after man has forgotten all he set out to learn” (GK 195); véase: Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 151 y 197.

[25] Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 178.

[26] Ibidem, , p. 76.

[27] En GK, p. 34. Un ejemplo concreto de esta “limpieza directa” sería la obra de Gaudier-Brzeska.

[28] El famoso “Pound’s Pentagon”, su canon clásico y la superestructura cultural de un estado noble, lo constituye las Odas de Confucio, los Epos de Homero, la Metamorfosis de Ovidio, la Divina Comedia de Dante y las obras teatrales de Shakespeare.

[29] “El Comunismo como rebelión contra los ladrones de cosechas  fue una tendencia admirable.  Como revolucionario, me niego a aceptar una pretendida revolución que intenta inmovilizarse o moverse hacia atrás.”; en: Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 202.

[30] Ibidem, p. 65.

[31]Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 78. No es casualidad que Pound indique formalmente al lector placentero del diario burgués típico.

[32] Pound había estudiado en detalle el método similar de sobreposición y parataxis que funciona en el Haiku japonés a través de los trabajos de Fenellosa.

[33] Pound, E.; “A Few Don’ts By an Imagiste”; en: Poetry, 1, 1916.

[34] “This book is not written for the over-fed. It is written for men who have not been able to afford a university education or for young men, whether or not threatened with universities, who want to know more at the age of fifty than I know today, and whom I might conceivably aid to that object.”, en: GK, p. 6.; en esta edición, vide infra, p.  Pound consideraba, en una particular estadística personal, que en la sociedad burguesa podía encontrarse un lector reflexivo y serio por cada 900 lectores ingenuos o masificados.

[35] Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 57.

[36] Sobre el controversial antisemitismo ad hoc de Pound en GK, véase: Chace, William M.; The Political Identities of Ezra Pound & T. S. Eliot, Stanford University Press, Stanford, 1973, Chapter Five, “A Guide to Culture: Antisemitism”, p. 71 y ss.

[37] “El genio de Mussolini era ver y afirmar repetidamente que había crisis no EN, sino DE sistema. Quiero decir que lo vio claro y temprano. Muchos lo vemos ahora.”

[38] “¿Y qué hay sobre anteriores guías a la Kulchur o Cultura? Considero que Platón y Plutarco podrían servir, que Herodoto sentó un precedente, que Montaigne ciertamente suministró una guía tal en sus ensayos, lo mismo que lo hizo Rabelais y que incluso Brantôme podría tomarse como una guía del gusto.”; en: Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 216.

[39] Dice Pound: “When the vortices of power and the vortices of culture coincide, you have an era of brilliance”.

[40] Pound en realidad llama a esta Océana ideal de su filosofía política Regime Corporativo.

[41] Pound, Ezra; Jefferson and/or Mussolini, Stanley Nott, New York, 1935, p. 96: “A good government is one that operates according to the best that is known and thought. And the best government is that which translates the best thought most speedily into action.”

[42] “The best Government is (naturally?) that which draws the best of the Nation’s intelligence into use.”, en: Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 266.

[43] Ibidem, p. 247.

[44] Dice Pound: “Usury: A charge for the use of purchasing power, levied without regard to production; often without regard to the possibilities of production.” Es una conclusión extraída de las enseñanzas sobre el Social Credit del economista Douglas.

[45] En: Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 183.

[46] Ibidem, p. 278.

[47] Pound nunca llegó a conocer los escritos juveniles de Marx, donde se analiza a fondo el papel del Dinero, por ejemplo.

[48] Amplias citas de Das Kapital en su obra The Cantos, en particular en el canto XXXIII.

[49] Véase el trabajo de Kathryine V. Lindberg: Reading Pound Reading: Modernism After Nietzsche, Oxford University Press, New York & Oxford, 1987. Lindberg analiza la larga influencia del reaccionario pensamiento nietzscheano en la ideología y estética del Modernismo hasta el Postestructuralismo. De Gourmont recibió además Pound el impacto de la ideología derivada de Lamarck

[50] Pound, Ezra; “Redondillas, or Something of That Sort”, en: Ezra Pound: Poems and Translations, ed. by Richard Sieburth, Library of America, New York, 2003, pp. 175–182 (la stanza se encuentra en la p. 181). El poema “Redondillas…” es de mayo de 1911 y en él Pound también reconoce que lee a Nietzsche con la devoción con la que un cristiano se enfrenta a la sagrada Biblia.

[51] Pound, Ezra; “The Approach to Paris, III”, en: New Age, 13, Nº 21, 18 September 1913, pp. 607-609. Ahora en: Ezra Pound’s Poetry and Prose, 11 vols, Garland, London, 1991, I, C-95, pp. 156-159.

[52] Pound, Ezra; “Reflection”, en: Smart Set, 43, Nº 3, july, 1915, p. 395. Ahora en: Ezra Pound: Poems and Translations, ed. by Richard Sieburth, Library of America, New York, 2003, p. 1179.

[53] Sobre Nietzsche como pedagogo y reformador educativo, un aspecto infravalorado por los estudios y hagiografías, nos permitimos remitir al lector a nuestro libro: Nietzsche contra la Democracia, Montesinos, Mataró, 2010, capítulo V, “Pathein Mathein: la educación reaccionaria y ¿racista? del Futuro”, p. 173  y ss.

[54] Ezra Pound; Guía de la Kultura, Capitán Swing, Madrid, 2011, p. 84.

Ezra Pound, maître d'une poésie romanesque et brutale

Ezra Pound, maître d'une poésie romanesque et brutale

Ex: http://racinescharnelles.blogspot.com/

Qu'on ne s'y trompe pas. Malgré son prénom aux consonances bibliques et les airs de prophète qu'il prenait volontiers vers la fin de sa vie, Ezra Pound n'a été ni dans son œuvre ni dans son existence l’enfant de cœur tourmenté par la notion de péché ou d'humilité. Dis­sident de l'Amérique, du mauvais goût et des valeurs approximatives d'un pays où la Bible et le dollar tiennent lieu de référence, Pound l'est déjà dès son plus jeune âge. « J'écrirai, déclare-t-il à l'âge de 12 ans, les plus grands poèmes jamais écrits ». En cette fin de XIXe siècle, en plein Wild West américain, il se découvre une vocation poétique pour le moins incongrue si l'on en juge par les préoccupations de ses compatriotes de l'époque, plus soucieux de bâtir des empires financiers que de partir en guerre contre des moulins à vent. Pendant des années, en subissant les vexations des cuistres, il va se consacrer à l'étude du provençal et à l'art des ménestrels et troubadours précurseurs de la littérature moderne.

Des poèmes comme "L'arbre", témoins, comme le note Tytell, d'un paga­nisme croissant, et sa haine de l'Amérique sont le signe avant-coureur que sa vie entière allait devenir un défi lancé aux systèmes occidentaux et une dénonciation de la religion moderne qu'il tenait pour la servante de ces systèmes. Les conflits incessants avec le monde universitaire qui lui refuse quelque chaire, l'ordre moral et l'étroitesse d'esprit de ses contemporains vont avoir pour conséquence le départ de Pound pour l'Europe. Venise, tout d'abord, où il s'exerce au dur métier de gondolier, puis Londres, où son talent va enfin éclore. C'est pour lui le temps des amitiés littéraires avec George Bernard Shaw, puis James Joyce, T.S. Eliot.

Le Londres aux mœurs victo­riennes ne nuit en rien pour l'heure à l'effervescence d'un génie que l'on commence à voir poindre ici et là dans les revues auxquelles il collabore. La guerre de 14 éclate et nombre des amis de Pound n'en reviendront pas. « C'est une perte pour l'art qu'il faudra venger », écrit-il, plus convaincu que quiconque que cette guerre est une plaie dont l'Europe aura bien du mal à cicatriser. Peu après, il se met à travailler à un nouveau poème, « un poème criséléphan­tesque d'une longueur incommen­surable qui m'occupera pendant les quatre prochaines décennies jusqu'à ce que cela devienne la barbe ». Les Cantos, l'œuvre maîtresse et fondamentale de Pound, était née.

Puis, las de la rigueur anglaise et des Britanniques qu'il juge snobs et hermétiques à toute forme d'art, Pound décide de partir pour la France.

Il débarque dans le Paris léger et enivrant de l'après-guerre lorsque brillent encore les mille feux de l'intelligence et de l'esprit. Les phares de l'époque s'appellent Coc­teau, Aragon, Maurras et Gide. Pound s'installe rue Notre-Dame­-des-Champs et se consacre à la littérature et aux femmes. À Paris toujours, il rencontre Ernest Hemingway, alors jeune joumalis­te, qui écrira que « le grand poète Pound consacre un cinquième de son temps à la poésie, et le reste a aider ses amis du point de vue matériel et artistique. Il les défend lorsqu'ils sont attaqués, les fait publier dans les revues et les sort de prison. »

La France pourtant ne lui convient déjà plus. À la petite histoire des potins parisiens, il préfère l'Histoire et ses remous italiens. L'aura romanesque d'un D'Annun­zio et la brutalité de la pensée fas­ciste l'attirent comme un aimant.

Pound obtient une tribune à la radio de Rome. L'Amérique, « Jew York » et Confu­cius vont devenir ses chevaux de bataille. Pendant des années, le délire verbal et l'insulte vont tenir lieu de discours à Pound, un genre peu apprécié de ses compatriotes...

En 1943 le régime fasciste s'écroule, mais la République de Salo, pure et dure, mêlera la tragédie au rêve. Les GI's triomphants encagent le poète à Pise avant de l'expédier aux États-Unis pour qu'il y soit jugé. « Haute trahison, intelligence avec l'ennemi », ne cessent de rabâcher ses détracteurs nombreux. Pound échappe à la corde mais pas à l'outrage d'être interné pendant douze ans dans un hôpital psychiatrique des environs de Washington. Lorsqu'on lui demanda de quoi il parlait avec les toubibs, il répondit : « D'honneur. C'est pas qu'ils y croient pas. C'est simplement qu'ils n'en ont jamais entendu parler. »
Le 9 juillet 1958, le vieux cowboy revient à Naples et dans une ultime provocation répond à l'attente des journalistes par le salut fasciste, dernier bras d'honneur du rebelle céleste.

• Ezra Pound, le volcan solitaire, John Tytell, Seghers.

Ezra Pound and the Occult

Ezra Pound and the Occult
 

Brian Ballentine

In 1907, when Ezra Pound was still teaching Romance languages at Wabash
College in Indiana, he completed the poem "In Durance":

I am homesick after mine own kind
And ordinary people touch me not.
Yea, I am homesick
After mine own kind that know, and feel
And have some breath for beauty and the arts (King 86).

Pound left America and its "ordinary people" behind for Europe shortly after. When he arrived in London in 1908, Pound wasted no time becoming a part of the community of writers which he considered his "own kind." He was quickly running among the more prestigious of London’s literary society including members from the Rhymer’s Club and W. B. Yeats’s publisher Elkin Mathews. Of course, it was Yeats’s association that Pound truly desired and successfully sought out. In Poetry 1, Pound begins his "Status Rerum" by declaring that he found "Mr. Yeats the only poet worthy of serious study" (123). Pound would eventually be content to condense his esoteric community of cutting edge writers down to two men: himself and Yeats. In 1913 he wrote Harriet Monroe proclaiming that London’s writers are divided into two groups: "Yeats and I in one class, and everybody else in the other" ("Status Rerum" 123).When Pound first met Yeats, the older poet was heavily involved and experimenting with theurgy, or magic, that is performed with the aid of beneficent spirits. This form of occult study was not at all of interest to Pound. Shortly after their introduction, it was arranged for Pound to serve as Yeats’s "secretary" at the winter retreat Stone Cottage. Not trying to hide his skepticism , Pound wrote this letter to his mother just prior to his first winter with Yeats at Stone Cottage:

My stay at Stone Cottage will not be in the least profitable. I detest
the country. Yeats will amuse me part of the time and bore me to
death with psychical research the rest. I regard the visit as a duty to
posterity (Paige 25).

The purpose of this research is to expose the various types of occultism that were prevalent during Pound's life and determine what elements of the occult he subscribed to. Although there are signs of an occult influence all the way through his later writing, Pound’s own stance on the occult is difficult to pin down. Pound’s own belief in the occult was one that was constantly being rethought and revised. There are moments when Pound was on the brink of exploration into Yeats’s world of spirits as well as moments when he was ready to abandon the occult altogether. Pound’s exploration of "retro-cognition," his revitalization
of the Greek idea of the "phantastikon," his pursuit of gnosis or what he termed a "crystal" state, and his associations with some of London’s premiere occultists provide evidence for the former. The latter is demonstrated in his revisions on the original 1917 Three Cantos and his apparent desire to be disassociated with the "pseudo-sciences" of the occult. Much of the occult element that dominated the original publication has been edited entirely out of the final and existing copy. In any case, much of Pound’s writing is indebted to an occult influence and it will be explored in this paper.

In his essay "Ezra Pound’s Occult Education," Demetres Tryphonopoulos warns other critics not to view Pound’s skeptical letter to his mother as a rejection towards all forms of the occult. He states that "it is only theurgy and spiritualism that Pound rejects" (76). These "pseudo-sciences" are what Tryphonopoulos believes to be "the areas of human interest which many true occultists would reject as involving the degradation of humanity" ("Occult Education" 74). Yeats’s other interests in astrology and numerology, both of which were popular in the early twentieth century, are also included among the "pseudo-sciences." Occult studies such as gnosticism and theosophy are understood as legitimate pursuits by scholars like Tryphonopoulos. Gnosis, an esoteric form of knowledge that made possible the direct awareness of the Divine, was one of Pound’s major interests with the occult. James Longenbach argues that Pound labored over creating a "priest-like status" for himself and his work (92). The quest for becoming as close to God as possible led Pound on a long exploration of occult texts. According to Walter Baumann, Pound’s quest drove him to "provide further ingredients for [his] own vision of Paradise" (311). These esoteric components or "ingredients" then become the source of much difficulty in understanding Pound’s work. To date only a few scholars have made the occult element in Pound’s work more accessible and in the past only people "deeply steeped in occult literature" could successfully navigate his writing (Baumann 318). Pound never came so far around as to accept Yeats’s interests in what he considered less useful facets of the occult, but he would humor Yeats. The older poet was also interested in astrology and asked Pound for his birth date so he could determine his horoscope. In a letter to Dorothy Shakespear Pound exclaimed:

The Eagle [Yeats] is welcomed to my dashed horoscope tho’ I
think Horace was on the better track when he wrote
"Tu ne quaesaris, scire nefas, quem
mihi quem tibi
Finem dii dederunt" (Litz 113).
[Ask not, we cannot know, what ends the gods have set for me, for thee]

Despite Pound’s show of pessimism, he provided Yeats with all of the necessary information, which included writing a letter to his mother for the exact time of his birth. He told his mother that "half a million people, some of them intelligent, who still believe in the possibility of planetary influences . . . When astrology is taken hold of systematically by modern science there will be some sort of discoveries. In the meantime there is no reason why one should not indulge in private experiment and investigation (Paige 152).A subject of particular interest to both men is something that psychologists today have termed "retro-cognition." Yeats, Pound and the rest of England received their introduction to this phenomenon when Anne Moberly and Eleanor Jourdain published An Adventure in 1911. On August 10, 1901 the two women claimed to have been strolling through the Versailles gardens and found themselves transported back into the eighteenth century. Apparently, neither of them had realized what had occurred at the time but recounted the experience in a narrative:

We walked briskly forward, talking as before, but from the moment we left the lane an
extraordinary depression had come over me. . . In front of us was a wood, within which,
and overshadowed by trees, was a light garden kiosk, circular and like a small bandstand,
by which a man was sitting. There was no greensward, but the ground was covered by
rough grass and dead leaves as in a wood. The place was so shut that we could not see
beyond it. Everything suddenly looked unnatural, therefore unpleasant; even the trees
behind the building seemed to have become flat and lifeless, like a wood worked in a
tapestry (41).

Ten years of research in the French National Archives led them to believe that all the things they saw that day existed not in 1901 but in 1789. Also, they determined the person Moberly saw by the terrace, who is referred to as a "man" in the narrative, to be Marie Antoinette (Longenbach 222-23).Shortly after the publication of An Adventure, Yeats completed two essays for Lady Gregory’s Visions and Beliefs in the West of Ireland. In his essays, Yeats references An Adventure, making it highly probable that the two men had possession of the book during the Stone Cottage years if not sooner. An Adventure became an important beginning for the work of Pound and how the artist can relate to the spirit of his ancestors. The key to these relations with the past is the soul. Pound borrowed from a lot of different sources to derive his own theories on the human soul. He used Cicero’s idea of the "immortality of the soul" in De Senectute (Longenbach 222-23).He also borrowed from Plato and the Phaedrus in the Spirit of Romance: "And this is the recollection of those things which our souls saw when in company with God-when looking down from above on that which we now call being, and upward toward the true being" (140-41). Pound himself claimed to have had two experiences with retrocognition which were extremely important to him. As Longenbach writes, "Pound’s poetic goal was the cultivation of ‘adventures,’ the soul’s visionary memories of the paradise or the past it once knew" (229).Pound recounts his own experiences with retrocognition in an essay on Arnold Dolmetsch published in 1914. "So I had two sets of adventures. First, I perceived a sound which was undoubtedly derived from the Gods, and then I found myself in a reconstructed century- in a century of music, back before Mozart or Purcell, listening to clear music, to tones clear as brown amber" (Eliot 433). Pound was drawing on or participating in what he determined to be the soul’s eternal memory. His essay begins with a description of his first adventure:

I have seen the God Pan and it was in this manner: I heard a bewildering and pervasive music moving from precision to precision within itself. Then I heard a different music, hollow and laughing. Then I looked up and saw two eyes like the eyes of a wood- creature peering at me over a brown tube of wood. Then someone said: Yes, once I was playing a fiddle in the forest and I walked into a wasps’ nest. Comparing these things with what I can read of the Earliest and best authenticated appearances of Pan, I can but conclude that they relate to similar experiences. It is true that I found myself later in a room covered with pictures of what we now call ancient instruments, and that when I picked up the brown tube of wood I found that it had ivory rings upon it. And no proper reed has ivory rings on it, by nature. . . .Our only measure of truth is, however, our own perception of truth. The undeniable tradition of metamorphoses teaches us that things do not remain always the same. They become other things by swift and unanalysable process (Eliot 431).

Pound’s own understanding of truth and what he perceived to be his reality are bold advancements from what was presented in the original An Adventure. The visionary’s experience becomes the sole measure of reality and therefore Pound’s encounter with Dolmetsch as Pan becomes factual. In his essay, "Psychology and Troubadours," Pound draws a parallel between himself and early visionaries who had no way of differentiating imaginary visions from a "real" environment: "These things are for them real" (Spirit of Romance 93). Also, although Pound’s adventures and experiences cannot technically be affirmed in any way, they "stand in a long tradition of similar experiences recorded in the literature of folklore, mythology, and the occult" (Longenbach 230). In the essay on Dolmetsch, Pound works to place himself in this tradition when he writes: "When any man is able, by a pattern of notes or by an arrangement of planes or colours, to throw us back into the age of truth, everyone who has been cast back into that age of truth for one instant gives honour to the spell which has worked, to the witch-work or the art-work, or whatever you like to call it" (Eliot 432). Like Moberly and Jourdain, who had peered into the past and subsequently took ten years to write about it, Pound was wrestling with putting his visions into poetry. The "arrangement of planes or colours," the "art-work" which "throws us back into the age of truth" is what Pound wanted to create with the early Cantos. Pound began writing the first of the Cantos around 1910 but did not pursue them in earnest until 1915. It was during this time that Pound is documented in his letters as having read Robert Browning’s poem "Sordello" out loud to Yeats at Stone Cottage. Although Pound had read the poem before, it was not until he read it to Yeats that "Sordello" became a major influence. He praises the poem in a letter to his father on December 18, 1915: "It is probably the greatest poem in English. Certainly the best long poem since Chaucer. You’ll have to read it sometime as my big long endless poem that I am now struggling with starts out with a barrel full of allusions to ‘Sordello’" (Bornstein 119-20). However, the original support Pound relied on from Browning would soon be replaced with occult references. In the June, July and August 1917 edition of Poetry Magazine, Pound published his Three Cantos. These three were supposed to be the beginning of his existing long work The Cantos. Even after the highly positive review of Browning’s poem to his father, Pound would have nothing to do with Browning’s style. The original opening, which served more or less as a dialogue with Browning, is deceiving. Pound makes no effort to sustain Browning’s technique through his poem. It does not function in a lyric mode, rather it is an "apologia for the lyric mood" (Nassar 12). Pound began to question Browning’s elaborate metaphor for the stage and his character’s acting on it. Pound did not hide his "aesthetic and philosophic problems" (Nassar 13) that he had with Browning when he wrote:

. . . what were the use
Of setting figures up and breathing life upon them,
Were’t not our life, your life, my life extended?
I walk Verona. (I am here in England.)
I see Can Grande. (Can see whom you will.)
You had one whole man?
And I have many fragments, less worth? Less worth?
Ah, had you quit my age, quit such a beastly age and
cantankerous age?
You had some basis, had some set belief (Poetry, June 1917, 115).

As if to answer his own question, and provide Browning with proper examples, Pound continued with passages in the mode of An Adventure. The only way to contain the "beastly and cantankerous age" in which one lived was to tap into the past as Moberly and Jordain had done.

Sweet lie!-Was I there truly? . . .
Let’s believe it . . .
No, take it all for lies
I have but smelt this life, a wiff of it-
. . . And shall I claim;
Confuse my own phantastikon,
Or say the filmy shell that circumscribes me
Contains the actual sun;
confuse the thing I see
With actual gods behind me?
Are they gods behind me?
How many worlds we have! If Botticelli
Brings her ashore on that great cockle-shell-
His Venus (Simonetta?),
And Spring and Aufidus fill the air
With their clear outlined blossoms?
World enough.
(Poetry, June 1917, 120-21)

 

Eugene Nassar claims that Pound demonstrated the "mind circumscribed by its diaphanous film-its limits-[which] imagines gods when in the presence of beauty . . . The mind as ‘phantastikon’ may be intuiting transcendent truths" (12). Pound wrestled with the "truth" about his occult link to the past in his revisions on Three Cantos all the way up until its republication in 1925. The once long opening addressed to Browning was reduced to the opening four lines of Canto II:

Hang it all, Robert Browning,

There can be but the one Sordello.

But Sordello and my Sordello?

Lo Sordels si fo di Mantovana" (6).

Following the address to Browning, Pound presents his vision of his characters or in this case "Ghosts" that "move about me / Patched with histories" (Poetry 116). There is no need for Pound to go "setting up figures and breathing life into them" because his characters were already part of a living past. Pound’s "fragments" are in fact not "less worth" because together they form a more complete whole than Browning’s characters. Pound sees these apparitions hovering over the water at Lake Garda. As with his Imagist poetry, these early portions of the Cantos reflect Pound’s attention to presenting the clearest possible picture of his experience:

And the place is full of spirits.
Not lemures, not dark and shadowy ghosts,
But the ancient living, wood white,
Smooth as the inner bark, and firm of aspect,
And all agleam with colors-no, not agleam,
But colored like the lake and like the olive leaves (Poetry June 1917, 116).

 

Pound used specific people and places, such as Lake Garda, to set up a desired historical backdrop. Often with Pound, the more oblique source was championed. The names are obscure and esoteric, leaving "ordinary people" in the dark just as Pound intended. Pound’s references to antiquated places, his use of foreign language, all in addition to his occult content, contribute to a higher level of difficulty in his poetry:

‘Tis the first light-not half light-Panisks
And oak-girls and the Maenads
Have all the wood. Our olive Sirmio
Lies in its burnished mirror, and the Mounts Balde and Riva
Are alive with song, and all the leaves are full of voices (Poetry June 1917,118).

 

The visionary experiences that Pound recreates in the Three Cantos are matched with these areas to "emphasize their origin in the meeting of a particular consciousness with a particular place" (Longenbach 232). This association was a technique that Pound had already begun experimenting with in some of his writing such as "Provincia Deserta." Yeats put it into his own words in a portion of his prose piece Per Amica Silentia Lunae: "Spiritism . . . will have it that we may see at certain roads and in certain houses old murders acted over again, and in certain fields dead huntsmen riding with horse and hound, or in ancient armies fighting above bones or ashes" (354). The spirits that haunt Pound’s Cantos are ones which he spent much time excavating from history during his reading at Stone Cottage. Also, Pound used specific names and places from his research to create a sense of locality. In the first Canto it was places such as Sirmio, and in the second there were others such as the Dordogne valley in France:

So the murk opens.
Dordogne! When I was there,
There came a centaur, spying the land,
And there were nymphs behind him.
Or going on the road by Salisbury
Procession on procession-
For that road was full of peoples,
Ancient in various days, long years between them.
Ply over ply of life still wraps the earth here.
Catch at Dordoigne (Poetry July 1917, 182).

At the same time that Pound was struggling with the original Three Cantos, Yeats was preparing his own take on An Adventure. The older poet was busy formulating what he called the "doctrine of the mask" (Autobiography 102). According to Yeats, this doctrine "which has convinced [him] that every passionate man . . . is, as it were, linked with another age, historical or imaginary, where alone he finds images that rouse his energy" (Autobiography 102). Yeats’s link to the past came in a voice which he claimed to have heard for awhile but ignored. The voice even provided him with information leading to its identity. Yeats discovered that he was communicating with a Cordovan Moor named Leo Africanus. However, he did not take Leo seriously until a seance conducted on July 20, 1915. After the seance, Yeats began to consider the possibility of an anti-self existing from another period of time. Communication with this opposite personality would lead to a more complete existence as well as a better understanding of the self. Yeats began writing letters to Leo and in turn would write letters back to himself believing that Leo’s intentions could be conveyed through him. Now that Yeat’s theory had advanced to a stage where his opposite existed in another century, his idea advanced from one that was grounded in psychology to a theory that had just as much to do with history (Longenbach 190-91). There is no documented proof of Pound ever participating in one of Yeats’s seances. Despite Pound’s lack of involvement, it is impossible to overlook the parallels between the two poets work at the time. Pound was using his own ghosts and their historical associations in his early Cantos. In his final winter at Stone Cottage, Pound took interest in the seventeenth-century Neo-Platonic occult philosopher John Heydon. In 1662, Heydon published his Holy Guide. Although Pound enthusiastically read Heydon’s book, he presented a mixed image of him with Heydon’s debut in the original Three Cantos . In the final version of the original Three Cantos III, Pound introduces Heydon in a fashion that is somewhere between mockery and praise:

Another’s a half-cracked fellow-John Heydon,
Worker of miracles, dealer in levitation,
In thoughts upon pure form, in alchemy,
Seer of pretty visions (‘servant of God and secretary of nature’);
Full of a plaintive charm, like Botticelli’s,
With half-transparent forms, lacking the vigor of gods. . .
Take the old way, say I met John Heydon,
Sought out the place,
Lay on the bank, was ‘plunged deep in the swevyn;’
And saw the company-Layamon, Chaucer-
Pass each his appropriate robes; (Poetry Aug, 1917, 248)

 

Walter Bauman refers to Heydon as Pound’s "spiritual brother" (314). Despite the not-so flattering introduction of Heydon, Pound would appear to agree with Bauman. One possible explanation for Pound’s harsher opening remarks on Heydon could be that many people of Heydon’s own time did not think highly of his work. To many, Heydon was simply "a charlatan trifling with occult lore" (Bauman 306). In any case, Pound seems to make a point of acknowledging Heydon’s uncertain past before citing him as a credible source. Pound begins to spell out exactly what one could obtain by reading Heydon in a section of his prose piece Gaudier-Brzeska: A Memoir. In section 16, Pound writes positively about artists like Brzeska, Wyndham Lewis and Jacob Epstein who were on the forefront of the new movement Vorticism. Here he discusses the power a work of art can have:

A clavicord or a statue or a poem, wrought out of ages of knowledge, out of fine perception and skill, that some other man, that a hundred other men, in moments of weariness can wake beautiful sound with little effort, that they can be carried out of the realm of annoyance into the realm of truth, into the world unchanging, the world of fine animal life, the world of pure form. And John Heydon, long before our present day theorists, had written of the joys of pure form . . . inorganic, geometrical form, in his "Holy Guide" (157).

 

Pound also closes the section with a final reminder to read "John Heydon’s ‘Holy Guide’ for numerous remarks on pure form and the delights thereof" (Gaudier-Brzeska: A Memoir 167). There are several facets of the occult found in Pound’s memoir. He infers that the perfect work of art is layered with history. It is hundreds of years and hundreds of men in the making. The "realm of truth" is reached when the mind, as Nassar previously described it, has the ability to imagine "gods when in the presence of beauty." The "transcendent truths," that are a conglomeration of the past, can then be tapped as a source for the pure form Pound is describing (Nassar 12).Much of Pound’s desire for a pure truth goes hand in hand with his quest to be close to the Divine and obtain his "priest-like status." His use of Heydon becomes clearer as one reads that Heydon pondered questions such as "if God would give you leave and power to ascend to those high places, I meane to these heavenly thoughts and studies (Heydon 26). Pound borrows almost verbatim from Heydon and then cites him in "Canto 91":

to ascend those high places
wrote Heydon
stirring and changeable
‘light fighting for speed’ (76).

Heydon continues stating that people involved with studies such as his should realize that "their riches ought to be imployed in their own service, that is, to win Wisdome" (31). This "Wisdome" was something Pound wanted to make certain the masses or the "ordinary people" would not be privy to. It was exactly the divine wisdom, or gnosis, that Pound was in search of. Pound was asking the same questions and desiring the same answers that Heydon was asking hundreds of years earlier: "let us know first, that the minde of man being come from that high City of Heaven" (33). With these overt connections to Heydon, Pound’s opening remarks on him as a "half-cracked fellow" remain puzzling. Again, it is likely that Pound was initially shy about such overt references to a less-than-favorable occultist just as he was with some of Yeats’s mysticism. As it turns out, the title "Secretary of Nature" was actually Heydon’s and was printed on the title page of Holy Guide. Pound was respectful enough to include the title. Also in the Cantos, Heydon is in the company of men such as Ocellus, Erigena, Mencius and Apollonius. Pound appears to have thought much higher of Heydon than his opening remarks lead a reader to believe. In total, over half a dozen quotes are taken from Heydon’s work adding to the "crystal clear" quality of Pound’s Cantos (Davie 224).

 

From the green deep
he saw it,
in the green deep of an eye:
Crystal waves weaving together toward the gt/healing
Light compenetrans of the spirits
The Princess Ra-Set has climbed
to the great knees of stone,
She enters protection,
the great cloud is about her,
She has entered the protection of crystal . . .
Light & the flowing crystal
never gin in cut glass had such clarity
That Drake saw the splendour and wreckage
in that clarity
Gods moving in crystal
(Canto 91, 611)

 

In this selection, the "Pricess Ra-Set" has completed a journey that has allowed a metamorphosis to take place about her. The crystal which has encompassed her represents Heydon’s "pure form" that Pound was himself searching for. Inside this crystal protection "gods are manifest, whatever their ontological status outside" (Nassar 110). Pound’s metaphor shows up in several places. In "Canto 92," Pound describes "a great river" with the "ghosts dipping in crystal" (619). Also, in "Canto 91," Pound wrote:

"Ghosts dip in crystal,
adorned"
. . . A lost kind of experience?
scarcely,
Queen Cytherea,
che ‘l terzo ciel movete
[who give motion to the third heaven]

 

Pound already knew the answer to his own question about experience when he asked it. Crystal was chosen not only for its clarity to represent the pureness of form but it is hard and durable as well. The experience was not lost in the protection of this divine state that is the "crystal."

There are several individuals who were contemporaries of Pound that had a large influences on Pound and exposed him to their own ideas about the occult. People such as Yeats, A. R. Orage, Allen Upward, Dorothy Shakespear, and Olivia Shakespear all had their own occult interests. However, the largest occult influence on Pound, even greater than that of Yeats, was G. R. S. Mead. Mead became a member of Madame Blavatsky’s Theosophical Society in 1884. In 1889 he was Blavatsky’s private secretary and kept that position until her death in 1891. He served as the society’s editor for their monthly magazine but branched off and quit the society altogether in 1909. Blavatsky’s writings and practices aligned themselves more with the "pseudo-sciences" that Pound would not have approved of. Oddly enough, in Mead’s essay "‘The Quest’ - Old and New:

Retrospect and Prospect," he apparently does approve of Blavatsky’s ways either:I had never, even while a member, preached the Mahatma - gospel of H. P. B. [Blavatsky], or propagandized Neo-theosophy and its revelations. I had believed that "theosophy" proper meant the wisdom-element in the great religions and philosophies of the world (The Quest 296-97).

This passage represents thinking that was in line with Pound’s ideas on gnosis and his own pursuit of wisdom. Mead is considered by some to be "the best scholar the Theosophical Society ever produced" (Godwin 245).Pound’s assessment of what he experienced in his visionary episodes as well as his readings was heavily influenced by the writings and teachings of Mead. Pound met him at one of Yeats’s "Monday Evenings" at 18 Woburn Building in London which Mead regularly attended. On October 21, 1911, Pound wrote to his parents: "I’ve met and enjoyed Mead, who’s done so much research on primitive mysticism - that I’ve written you at least four times." [1] In another letter to his parents dated February 12, 1912, Pound praises Mead writing: "G. R. S. Mead is about as interesting - along his own line - as anyone I meet"(Beinecke 238). In a letter to his mother dated September 17, 1911, Pound relays that Mead had asked him to write a publishable lecture. Pound discusses the task with his more skeptical side of the occult: "I have spent the evening with G. R. S. Mead, edtr. of The Quest, who wants me to throw a lecture for his society which he can afterwards print. ‘Troubadour Psychology,’ whatever the dooce that is" (Beinecke 223). Pound did go on to give the lecture which gave birth to his essay "Psychology and the Troubadours." In this essay Pound wrote that "Greek myth arose when someone having passed through delightful psychic experience tried to communicate it to others" (92). Again Pound was referring to an occult "adventure" similar to that of Moberly and Jourdain. Once an individual has undergone this event "the resulting symbol is perfectly clear and intelligible" (Longenbach 91). Pound also endeavors to explain further his idea of the Greek "phantastikon." According to Pound, "the consciousness of some seems to rest, or to have its center more properly, in what the Greek psychologists called the phantastikon. Their minds are, that is, circumvolved about them like soap-bubbles reflecting sundry patches of the macrocosmos" (92). In April of 1913, Pound wrote a letter to Harriet Monroe attempting to clarify this element of his essay: "It is what Imagination really meant before the term was debased presumably by the Miltonists, tho’ probably before them. It has to do with the seeing of visions."

Pound’s phantastikon became his link to tapping into the purest form of "real symbolism." Dorothy Shakespear requested that Pound explain to her the difference between this symbolism and aesthetic or literary symbolism. He wrote her stating:

 

There’s a dictionary of symbols, but I think it immoral. I mean that I think a superficial acquaintance with the sort of shallow, conventional, or attributed meaning of a lot of symbols weakens - damnably, the power of receiving an energized symbol. I mean a symbol appearing in a vision has a certain richness and power of energizing joy - whereas if the supposed meaning of the symbol is familiar it has no more force, or interest of power of suggestion than any other word, or than a synonym in some other language (Pound/Shakespear 302).

 

Of course, the ability to perceive these symbols was not within the reach of everyone. It was only for those who have set sail in the pursuit of higher wisdom. Those in pursuit of gnosis "possess the key to the mysteries of its symbolism and establish themselves as priests - divinely inspired interpreters to whom the uninitiated public must turn for knowledge" (Longenbach 91). From here, the possibilities are endless according to Pound:

"All is within us", purgatory and hell,
Seeds full of will, the white of the inner bark
the rich and the smooth colours,
the foreknowledge of trees,
sense of the blade in seed, to each its pattern.
Germinal, active, latent, full of will,
Later to leap and soar,
willess, serene,
Oh one could change it easy enough in talk.
And no one vision will suit all of us.

Say I have sat then, the low point of the cone,
hollow and reaching out beyond the stars,
reaches and depth, the massive parapets,
Walls whereon chariots went by four abreast (Longenbach 237).

Pound made it a habit to not only read Mead’s article’s and books but he also religiously attended his lectures outside the "Monday Evenings." In another letter to his parents he wrote: "I’m going out to Mead’s lecture. And so on as usual. This being Tuesday" (Beinecke 271). From these readings and lectures, Pound most likely got his inspiration for the beginning of his revised Cantos:

the passing into the realms of the dead, while living, refers to the initiation of the soul of the candidate into the states of after- death consciousness, while his body was left in a trance. The successful passing through these states of consciousness removed the fear of death, by giving the candidate an all sufficing proof of the immortality of the soul and of its consanguinity with the gods (Taylor 319).

The "initiation" process of the soul was one that Pound decided must begin his entire Cantos. "Canto 1" starts with: "And then went down . . ." which initiates a descent that is the beginning of this journey (3). Pound made it clear in "Canto 1" that the Odysseus figure was alive during his descent just as Mead required the figure to be "living." Also, in a blatant attempt to achieve the "consanguinity with the gods," Pound’s character drank the blood of the sheep that was sacrificed to them.

The process that Pound is discussing is palingenesis, or the birth and the growth of the soul. The ultimate goal of the entire process, as Pound saw it, was "the expansion of the initiand’s consciousness into a state where he awakes to his relationship with the gods, and participates in their world" (Celestial Tradition 107). At this initial stage the initiate knows nothing except that he is on a quest for gnosis. As Pound wrote in Canto 47: "Knowledge the shade of a shade, / Yet must thou sail after knowledge / Knowing less than drugged beasts" (30).

The completion of the journey is the passage into what was previously described as "the crystal." This stage is the graduation from the ephemeral world of man to the realm of the gods. The soul has passed "from fire" of the "Kimmerian lands" of "Canto 1" "to crystal / via the body of light" (Canto 91,61). Pound put it much more bluntly when he stated that one must "bust thru" to this realm of understanding but he made his point (Celestial Tradition 107). Although he makes references to the exceptions, Tryphonopoulos contends that "Scholarly comment on Pound’s relation to the occult is virtually nonexistent" ("Occult Education" 75). The difficulty in analyzing Pound’s occult studies is that his reading and influences are so vast. From his amassed material Pound would piece together a detailed mosaic. This method provided a coherence for his presentation. In this fashion, structure begins to surface in even his most dense work The Cantos. Tryphonopoulos understands The Cantos to be a "collection of fragments gathered according to a predetermined plan for the purpose of validating the author’s original value system" (1). Pound seems to be speaking of this in the very late "Canto 110" when he writes: "From times wreckage shored / these fragments shored against ruin" (781). These elements pulled from the rubble of history and which Pound tiles together are what make the picture complete.

What did Ezra Pound really say?

WHAT DID EZRA POUND REALLY SAY? 
 

by Michael Collins Piper 

From 1945 through 1958 America's iconoclastic poet--the flamboyant Ezra Pound, one of the most influential individuals of his   generation--was held in a Washington, D.C. mental institution, accused of  treason. Pound had merely done what he had always done--spoken his mind. Unfortunately for Pound, however, he had made the error of criticizing the American government in a series of broadcasts from Italy during World War II. For that he was made to pay the price.  Was Pound a traitor--or a prophet? Read his words and judge for yourself.

American students have been taught by scandalized educators that famed American poet and philosopher Ezra Pound delivered "treasonous" English-language radio broadcasts from Italy (directed to both Americans and to the British) during World War II. However, as noted by  Robert H. Walker, an editor for the Greenwood Press: "Thousands of people have heard about them, scores have been affected by them, yet but a handful has ever heard or read them."   This ignorance of Pound's most controversial political rhetoric is ironic, inasmuch as: "No other American--and   only a few individuals throughout the world--has left such a strong mark on so many aspects of the 20th century: from poetry to economics, from theater to philosophy, from politics to pedagogy, from Provencal to Chinese. If Pound was not always totally accepted, at least he was unavoidably there." One critic called Pound's broadcasts a "confused mixture of fascist apologetics, economic theory, anti-Semitism, literary judgment and memory" Another described them as "an unholy mixture of ambiguity, obscurity, inappropriate subject matters [and] vituperation," adding (grudgingly) there were "a few pearls of unexpected wisdom." 

Despite all the furor over Pound's broadcasts--which were heard between January of 1941 through July of 1943--it   was not until 1978 that a full-length 465-page compendium of transcriptions of   the broadcasts was assembled by Prof. Leonard Doob of Yale University in association with aforementioned Greenwood Press. Published under the title "Ezra   Pound Speaking"--Radio Speeches of World War II, the volume provides the reader a comprehensive look at Pound's philosophy as it was presented by the poet him self in what Robert Walker, who wrote the foreword to the compendium, describes as "that flair for dramatic hyperbole." 

What follows is an attempt to synthesize Pound's extensive verbal parries. Most of what is appears here has never been printed anywhere except in the compendium of Pound's wartime broadcasts. Thus, for the first time ever--for a popular audience--here is what Pound really had to say, not what his critics claim he said. When he was broadcasting from Italy during wartime, Pound evidently pondered the possibility of one day compiling   transcriptions of his broadcasts (or at least expected--quite correctly--that one day the transcripts would be compiled by someone else). He hoped the broadcasts would show a consistent thread once they were committed to print. Pound recognized relaying such a massive amount of information about so many seemingly unrelated subjects might be confusing listeners less widely read than he. However, the poet also had very firm ideas about the need of his listeners to be able to synthesize the broad range of material that appeared in his colorful lectures.   

Pound was sure his remarks on radio were   not seditious, but were strictly informational and dedicated to traditional principles of Americanism--including the Constitution, in particular. In response to media claims that he was a fascist propagandist, Pound had this to say: "If anyone takes the trouble to record and examine the series of talks I have made over this radio it will be found I have used three sorts of material: historical facts; convictions of experienced men, based on fact; and the fruits of my own experience. The facts . . . mostly antedate the fascist era and cannot be considered as improvisations trumped up to meet present requirements. Neither can the beliefs of Washington, John Adams, Jefferson, Jackson, Van Buren, and Lincoln be laughed off as mere fascist propaganda. And even my own observations date largely before the opening of the present hostilities.   "I defend the particularly American, North American, United States heritage. If anybody can find anything hostile to the Constitution of the U.S.A. in these speeches, it would greatly interest me to know what. It may be bizarre, eccentric, quaint, old-fashioned of me to refer to that document, but I wish more Americans would at least read it. It is not light and easy reading but it contains several points of interest, whereby some of our present officials could, if they but would, profit greatly."   Pound's immediate concern was the war in Europe--"this war on youth--on a generation" --which he described as the natural   result of the "age of the chief war pimps." He hated the very idea that Americans were being primed for war, and on the very day of Pearl Harbor he denounced the idea that American boys should soon be marching off to war: "I do not want my compatriots from the ages of 20 to 40 to go get slaughtered to keep up the Sassoon and other British Jew rackets in Singapore and in Shanghai. That is not my idea of American patriotism," he added. In Pound's view, the American government alliance with British finance capitalism and Soviet Bolshevism was contrary to America's tradition and heritage: "Why did you take up with those gangs?" he rhetorically asked his listeners. "Two gangs. [The] Jews' gang in London, and [the] Jew murderous gang over in Moscow? Do you like Mr. Litvinov? [Soviet ambassador to Britain Meyer Wallach, alias Litvinov, born 1876.--Ed.]   "Do the people from Delaware and Virginia   and Connecticut and Massachusetts . . . who live in painted, neat, white   houses . . . do these folks really approve [of] Mr. Litvinov and his gang, and all he stands for?" There was no reason for U.S. intervention abroad, he said: "The place to defend the American heritage is on the American   continent. And no man who had any part in helping [Franklin] Delano Roosevelt get the United States into [the war] has enough sense to win anything . . . The men who wintered at Valley Forge   did not suffer those months of intense cold and hunger in the hope that . . . the union of the colonies would one day be able to stir up wars between other countries in order to sell them munitions."   

What was the American tradition? According to Pound: "The determination of our forbears to set up and maintain in the North American continent a government better than any other. The determination to govern ourselves internally, better than any other nation on earth. The idea of Washington, Jefferson, Monroe, to keep out of foreign shindies." Of  FDR's interventionism, he declared:   "To send boys from Omaha to Singapore to die for British monopoly and brutality is not the act of an American patriot." However, Pound said: "Don't shoot the President. I dare say he deserves worse, but . . . [a]ssassination only makes more mess." Pound saw the American national tradition being buried by the aggressive new internationalism. 

According to Pound's harsh   judgment: "The American gangster did not spend his time shooting women and children. He may have been misguided, but in general he spent his time fighting superior forces at considerable risk to himself . . . not in dropping booby traps for unwary infants. I therefore object to the modus in which the American troops obey their high commander. This modus is not in the spirit of Washington or of Stephen Decatur." Pound hated war and detected a particular undercurrent in the previous wars of history. Wars, he said, were destructive to nation-states, but profitable for the special interests. Pound said international bankers--Jewish bankers, in particular--were those who were the primary beneficiaries of the profits of from war. He pulled no punches when he declared:   Sometime the Anglo-Saxon may awaken to the fact that . . . nations are shoved into wars in order to destroy themselves, to break up their structure, to destroy their social order, to destroy their   populations. And no more flaming and flagrant case appears in history than our own American Civil War, said to be an occidental record for size of armies employed and only surpassed by the more recent triumphs of [the Warburg banking   family:] the wars of 1914 and the present one. 

Although World War II itself was much on Pound's mind, the poet's primary concern, referenced repeatedly throughout his broadcasts, was the issue of usury and the control of money and economy by private special interests. "There is no freedom without economic freedom," he said. "Freedom that does not include freedom from debt is plain bunkum. It is fetid and foul logomachy to call such servitude freedom . . .Yes, freedom from all sorts of debt, including debt at usurious interest." Usury, he said, was a cause of war   throughout history. In Pound's view understanding the issue of usury was central   to understanding history: "Until you know who has lent what to whom, you know nothing whatever of politics, you know nothing whatever of history, you know nothing of international wrangles. "The usury system does no nation . . .   any good whatsoever. It is an internal peril to him who hath, and it can make no use of nations in the play of international diplomacy save to breed strife  between them and use the worst as flails against the best. It is the usurer's game to hurl the savage against the civilized opponent. The game is not pretty, it is not a very safe game. It does no one any credit." 

Pound thus traced the history of the current war: "This war did not begin in 1939. It is not a unique result of the infamous Versailles Treaty. It is impossible to understand it without knowing at least a few precedent historic events, which mark the cycle of combat. No man can understand it without knowing at least a few facts and their chronological sequence. This war is part of the age-old struggle   between the usurer and the rest of mankind: between the usurer and peasant, the usurer and producer, and finally between the usurer and the merchant, between usurocracy and the mercantilist system . . . "The present war dates at least from the founding of the Bank of England at the end of the 17th century, 1694-8. Half a century later, the London usurocracy shut down on the issue of paper money by the Pennsylvania colony, A.D. 1750. This is not usually given prominence in the   U.S. school histories. The 13 colonies rebelled, quite successfully, 26 years later, A.D. 1776. According to Pound, it was the money issue (above all) that united the Allies during the second 20th-century war against Germany: "Gold. Nothing else uniting the three governments, England,   Russia, United States of America. That is the interest--gold, usury, debt,   monopoly, class interest, and possibly gross indifference and contempt for   humanity." 

Although "gold" was central to the world's struggle, Pound still felt gold "is a coward. Gold is not the backbone of nations. It is their ruin. A coward, at the first breath of danger gold flows away, gold flows out of the country." Pound perceived Germany under Hitler as a nation that stood against the international money lenders and communist Russia under Stalin as a system that stood against humanity itself. 

He told his listeners: "Now if you know anything whatsoever of  modern Europe and Asia, you know Hitler stands for putting men over machines. If  you don't know that, you know nothing. And beyond that you either know or do not know that Stalin's regime considers humanity as nothing save raw material. Deliver so many carloads of human material at the consumption point. That is the logical result of materialism. If you assert that men are dirty, that humanity is merely material, that is where you come out. And the old Georgian train robber [Josef Stalin--ed.] is perfectly logical. If all things are merely material, man is material--and the system of anti-man treats man as matter." The real enemy, said Pound, was international capitalism. All people everywhere were victims: "They're working   day and night, picking your pockets," he said. "Every day and all day and all night picking your pockets and picking the Russian working man's pockets." Capital, however, he said, was "not international, it is not hyper-national. It is sub-national. A quicksand under the nations, destroying all nations, destroying all law and government, destroying the nations, one at a time, Russian empire and Austria, 20 years past, France yesterday, England today." 

According to Pound, Americans had no idea why they were being expected to fight in Britain's war with Germany: "Even Mr. Churchill hasn't had the grass to tell the American people why he wants them to die, to save what. He is fighting for the gold standard and monopoly. Namely the power to starve the whole of mankind, and make it pay through the nose before it can eat the fruit of its own labor." As far as the English were concerned, in Pound's broadcasts aimed at the British Isles he warned his listeners that although Russian-style communist totalitarianism was a threat to British freedom, it was not the biggest threat Britain faced: You are threatened. You are threatened by the Russian methods of administration. Those methods [are not] your sole danger. It is, in fact, so far from being your sole danger that I have, in over two years of talk over this radio, possibly never referred to it before. 

Usury has gnawed into England since the days of Elizabeth. First it was mortgages, mortgages on earls' estates; usury against the feudal nobility. Then there were attacks on the common land, filchings of village common pasture. Then there developed a usury system, an international usury system, from Cromwell's time, ever increasing." In the end, Pound suggested, it would be the big money interests who would really win the war--not any particular   nation-state--and the foundation for future wars would be set in place: "The nomadic parasites will shift out of London and into Manhattan. And this will be presented under a camouflage of national slogans. It will be represented as an American victory. It will not be an American victory. The moment is serious. The moment is also confusing. It is confusing because there are two sets of concurrent phenomena, namely, those connected with fighting this war, and those   which sow seeds for the next one." Pound believed one of the major problems of the day--which itself had contributed to war fever--was the manipulation of the press, particularly in the United States: "I naturally mistrust newspaper news from America," he declared. "I grope in the mass of lies, knowing most of the sources are wholly untrustworthy." According to Pound: "The United States has been misinformed. The United States has been led down the garden path, and may be down under the daisies. All through shutting out news.

Pound, Jefferson, Adams e Mussolini

Pound, Jefferson, Adams e Mussolini

Autore: Giano Accame

Ex: http://www.centrostudilaruna.it/

 

È vero: siamo in tempo di crisi e accadono cose davvero sorprendenti. Anche nel movimento delle idee. Occupa appena una trentina di pagine il saggio di Ezra Pound su Il carteggio Jefferson-Adams come tempio e monumento ed è quindi motivo di un lieve stupore l’ampiezza dell’interesse che ha suscitato. Il 18 febbraio scorso si parte con un’intera pagina del Corriere della Sera per una recensione di Giulio Giorello, filosofo della scienza, ma anche raffinato lettore dei Cantos da un versante laico-progressista, che ha acceso la discussione a cominciare dal titolo: Elogio libertario di Ezra Pound. Scambiò Mussolini per Jefferson. Ma il suo era un Canto contro i tiranni. Di quel titolo il giorno dopo profittava Luciano Lanna per ribadire sul nostro Secolo: “Pound (come Jünger) era libertario”. Due giorni dopo (venerdì 20 febbraio) nelle pagine culturali del Corriere della Sera Dino Messina riapriva il dibattito : “Fa scandalo il “Pound libertario”, mentre il 21 febbraio il tema veniva approfondito da Raffaele Iannuzzi nel paginone centrale ancora del Secolo.

Ricordo ancora le critiche rivolte a Pound e a Giorello il 27 febbraio da Noemi Ghetti su LEFT. Avvenimenti settimanali dell’Altraitalia: era abbastanza facile indicare qualche contraddizione tra la censura fascista e lo spirito libertario, pur essendo altrettanto innegabile il durissimo prezzo pagato da Ezra Pound pacifista alla sua appassionata predicazione contro l’usura, la speculazione finanziaria internazionale e le guerre, con le settimane vissute in gabbia nella prigionia americana di Pisa e i dodici anni di manicomio criminale a Washington. Tuttavia nell’ampio dibattito di cui ho segnalato le tappe è comparso solo marginalmente il nome di Luca Gallesi (Antonio Pannullo lo ha però intervistato il 5 marzo in queste pagine sull’etica delle banche islamiche), geniale studioso di Pound cui si deve la pubblicazione del saggio su Jefferson, ma anche e soprattutto l’apertura di nuovi percorsi in una materia di crescente interesse quale è la storia delle idee.

Occorre rimediare alla disattenzione per l’importanza dei contributi che Gallesi ci sta suggerendo e per i risultati che nel campo degli studi poundiani sta raccogliendo con l’editrice Ares guidata da Cesare Cavalleri insieme alla rivista Studi cattolici, anch’essa molto attenta al pensiero economico di un poeta che sin dai primi anni ’30 aveva previsto lo spaventoso disordine della finanza globale e il dissesto con cui oggi il mondo è alle prese. Le Edizioni Ares avevano già pubblicato gli atti di due convegni internazionali curati da Luca Gallesi, prima Ezra Pound e il turismo colto a Milano, poi Ezra Pound e l’economia, e dello stesso Gallesi lo studio su le origini del fascismo di Pound ove dimostra che il più innovativo poeta di lingua inglese del secolo scorso era stato predisposto a larga parte dei programmi socio-economici mussoliniani degli anni di collaborazione a Londra con la rivista The New Age diretta da Alfred Richard Orage, espressione di una corrente gildista, cioè corporativa del laburismo. Dalla frequentazione della società inglese Pound si portò dietro anche alcuni trattati del tutto sgradevoli d’antisemitismo, che negli anni Venti salvo rare eccezioni erano ancora ignote al fascismo italiano. L’introduzione di Gallesi al breve saggio di Pound sul carteggio Jefferson-Adams punta a estendere agli Usa la ricerca già avviata in Inghilterra sulle origini anglosassoni del fascismo poundiano. Questa volta paragoni diretti tra i fondatori degli stati Uniti e il fascismo non emergono come nel più noto Jefferson e Mussolini ripubblicato nel ’95 a cura di Mary de Rachelwiltz e Luca Gallesi da Terziaria dopo che era andata dispersa la prima edizione per la Repubblica sociale del dicembre ’44. Di Jefferson e Adams da Gallesi viene ricordato l’impegno, da primi presidenti americani, nello sventare i tentativi di Hamilton di togliere al Congresso, cioè al potere politico elettivo, il controllo sull’emissione di moneta per delegarlo ai banchieri e alla speculazione attraverso la creazione di una banca centrale controllata, come nel modello inglese, da gruppi privati. Un’altra traccia innovativa per la storia delle idee è stata suggerita da Gallesi il 4 marzo sul quotidiano Avvenire segnalando il saggio dell’americano Jonah Goldberg, che stufo di sentirsi accusare di fascismo ha scalato i vertici delle classifiche librarie con Liberal Fascism, un saggio ove ha sostenuto la natura rivoluzionaria del fascismo, che durante la stagione roosveltiana del New Deal suscitò “negli Usa stima e ammirazione soprattutto negli ambienti progressisti, mentre all’estrema destra il Ku Klux Klan faceva professione di antifascismo”.

Una storia trasversale di idee al di là della destra e della sinistra che Gallesi si prepara a approfondire lungo l’Ottocento americano attraverso la secolare resistenza che da Jefferson in poi vide opporsi correnti legate allo spirito dei pionieri e delle fattorie alla creazione di una banca centrale, che avvenne solo nei primi del Novecento, alla speculazione monetaria e alla dilagante corruzione. Tutti contributi a una interpretazione di Pound, che senza indebolire le posizioni ideali a cui teniamo, risulterà più autentica, più ricca, più fuori dagli schemi, più prossima alla definizione di ”libertario” che della lettura poundiana di Jefferson ha ricavato Giorello.

E non so trattenermi dal riportare due frasi che avevo sottolineate un quindicina di anni fa leggendo la prima volta l’ancor più scandaloso confronto tra Jefferson e Mussolini. Una tesa a far somigliare i due leader nella lotta alla corruzione: “In quanto all’etica finanziaria, direi che dall’essere un pese dove tutto era in vendita Mussolini in dieci anni ha trasformato l’Italia in un paese dove sarebbe pericoloso tentare di comprare il governo”. E proprio alla fine del libro l’invenzione della settimana corta, per una gestione politica della decrescita economica che solo adesso assume aspetti marcati d’attualità: “Nel febbraio del 1933 il governo fascista precedette gi altri, sia di Europa che delle Americhe, nel sostenere che quanto minor lavoro umano è necessario nelle fabbriche, si deve ridurre la durata della giornata di lavoro piuttosto che ridurre il numero del personale impiegato. E si aumenta il personale invece di far lavorare più ore coloro che sono già impiegati”. Queste erano le soluzioni pratiche che piacevano a Pound, autore di solito complicato, ma reso a volte paradossalmente difficile per eccesso di semplicità.

* * *

Tratto da Il Secolo d’Italia del 28 aprile 2009.

Ezra Pound: The Liberty of Subsidy

The liberty of subsidy

Ex: http://rezistant.blogspot.com/

Liberty is defined in the declaration of the Droits de l’homme, as they are proclaimed on the Aurillac monument, as the right to do anything that ne nuit pas aux autres. That does not harm others. This is the concept of liberty that started the enthusiasms in 1776 and in 1790. I see a member of the Seldes family giving half an underdone damn whether their yawps do harm or have any other effect save that of getting themselves advertised. If you were talking about the liberty of a responsible Press that is a different kettle of onions, and is something very near to the state of the Press in Italy at the moment. The irresponsible may be in a certain sense "free" though not always free of the consequences of their own irresponsibility, whatever the theoretical government, or even if there be no government whatsoever, but their freedom is NOT the ideal liberty of eighteenth-century preachers. A defect, among others, of puritanism, or of protestantism or of Calvin the damned, and Luther and all the rest of these blighters whom we Americans have, whether we like it or not, on our shoulders, is that it and they set up rigid prohibitions which take no count whatsoever of motive. Thou shalt not this and that and the other. This is a shallowness, it is the thought of inexperienced men, it is thought in two dimensions only.

What you want to know about the actions of a friend or mistress is WHY did he or she do it? If the act was done for affection you forgive it. It is only when the doer is indifferent to us that we care most for the effect. Doc Shelling used to say that the working man (American or other) wanted his rights and all of everybody else’s.“ The party ” in Russia has simplified things too far, perhaps ? too far ?We have in our time suffered a great clamour from those who ask to be “governed,” by which they mean mostly that they want to run yammering to their papa, the state, for jam, biscuits, and persistent help in every small trouble. What do they care about rights? What is liberty, if you can have subsidy?

Ezra Pound, Jefferson and/or Mussolini. L´idea statale. Fascism as I have seen it.. Stanley Nott, London 1936.