The imagery, rhythm and diction are certainly Eliot's.
Still, without Pound's involvment would there have been anything?
----- Original Message -----
From: "Richard Seddon" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Tuesday, June 05, 2007 7:41 PM
Subject: Re: "Overall context" was The Yoruba and TSE
> I do not agree that Pound was the "primary writer" or that he extracted a
> poem from a "mass of material". At most Pound was an advisor and perhaps
> a rudimentary way an editor. He had filled this role many times with
> of the modernists as he recruited their work for American poetry
> The original and final art was TSE's. The final organization was TSE's.
> final editing was TSE's. The final decisions were all TSE's. Pound, not a
> reticent type and certainly not humble, never assumed any greater role
> that of friend and advisor. An argument can be made that the impetus for
> "The Cantos", what got Pound out of his dithering and thinking, was
> over what TSE had produced in TWL.
> I think that Pound's greatest contribution to TSE's art was the oft
> overlooked recommendation that "Gerontion" be left out of TWL. Again
> "Gerontion" was TSE's art and the decision to publish it by its self his
> alone. Pound treated "Gerontion" much like he treated the ocean scene in
> TWL manuscripts; as extraneous. TSE apparently did not accord the ocean
> scene the same approval he did "Gerontion".
> Pound, though never a "minimalist", always preached the use of the fewest
> but most meaning filled words available. He applied the same skills to his
> own poems such as "In a Station of the Metro".
> Rick Seddon
> Portales, NM
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