There is also the fact that Pound gave a complete description of the whole
evolution of that little poem, from 30 odd lines down, till it was a work
of first intensity. But try telling that to our academic equivalent of an
unprepared boy scout.
From: Francis Gavin
To: [log in to unmask]
Sent: 12/31/03 2:55 PM
Subject: Sufi, Dufy 'n' Goofy / Re: E Pound as A Dervish???
A nice tight strapped-down little package, Richard. Except that's not
way it happened, at least as Pound is quoted by Kenner in THE POUND ERA.
Pound said that he was standing at a stop in the metro and he looked
him, at other people, also standing and waiting and he saw first one
beautiful face, then another and another. When he wrote it down, (the
as depicted in these metaphors,)it appeared as a perfect synergy, a
vortex. All of the other words he had thought of using or tried to use
Not unlike Michelangelo's description of finding the statue that hid
in a block of stone. As for all of those thawed out cave-dwellers down
in the wilds of the Southwest who shrink back from the devil-box of
television and run in terror from the growling iron wagons that need no
horse, perhaps it's time you took a safari (with a hearty Southwest
flavor) among the savages and taught them of the brave new world.
on 12/31/03 10:55 AM, Richard Seddon at [log in to unmask] wrote:
> (I have used Pound's original word spacing not the usually printed
> The reader reads the poem is confused, goes back to the title and says
> hah, the train has just passed through a station and in the momentary
> of light the author has seen several faces almost like a strobe
> "Ah hah" is the moment of the Image. The complex being exercised by
> Image is present in any person who has ever ridden a subway. To many
> Southwest the poem would be meaningless.