Peter, Bob Perleman's thesis is that certain Modernists employ an aesthetic of exclusion to certify their own genius, exemplified by the deliberate incomprehensibility of many of The Cantos. He notes that Pound often elides chunks of verbiage in his poems simply to make them incomprehensible. Diana

Date: Thu, 27 Sep 2007 21:02:59 -0800
From: [log in to unmask]
Subject: Re: OT Test
To: [log in to unmask]

Didn't Eliot say somewhere that modern poetry would be difficult.
Wer E & P trying to exclude that audience or introduce it to
new and difficult perceptivities?
 
Cheers,
Peter
----- Original Message -----
From: [log in to unmask] href="mailto:[log in to unmask]">Diana Manister
To: [log in to unmask] href="mailto:[log in to unmask]">[log in to unmask]
Sent: Thursday, September 27, 2007 11:21 AM
Subject: Re: OT Test


Dear Ken:
 
With Pound's poetry. Perleman's book is pretty much of a muddle. The trouble with genius writers according to him seems to be that they write as geniuses for other geniuses. Despite Pound's claim that his poetry was "the language of the tribe," Perleman says he depends on semantic opacity to exclude the masses who he describes in Canto 41 as a swamp. His analysis of banking in Canto 87 Perleman says are "incomprehensible to all but the specialist" and even they could find his explanation obscure: "Eliot's befuddlement with Pound's attempt to explain the good banking practices of the Monte dei Paschi demonstrates Pound's need to establish his authority by means of the reader's incomprehension."
 
Diana

> Date: Mon, 24 Sep 2007 16:02:22 -0400
> From: [log in to unmask]
> Subject: Re: OT Test
> To: [log in to unmask]
>
> Diana,
>
> At 10:14 AM 9/24/2007, Diana Manister wrote:
> I'm reading The Trouble with Genius by Bob Perleman, which so far has
> articulated all the reservations I've ever had with Pound's poetry and then
> some. Diana
>
> With Pound or Pound's poetry?
>
> Ken A.



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