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 in
a rudimentary way an editor. He had filled this role many times with others
of the modernists as he recruited their work for American poetry magazines.
The original and final art was TSE's. The final organization was TSE's. The
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 than
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 jealousy
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 the
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".