Posts Tagged ‘Richard Sieburth’




Portfolio for Mary’s LXXXVth

Richard Sieburth, “Introduction”

“Mary de Rachewiltz in Conversation with Richard Sieburth”

Gais, the Beauties of the Tyrol by Maria Pound
Richard Sieburth, “Introductory Note”
Facsimile Reproductions:
Original Typescript [Italian]
English Translation by Ezra Pound
Japanese Translation from Reijoki

Mary de Rachewiltz, “Chronicle: The Brunnenburg Tapestry”

Cat and Salamander: A Tale in Six Captions by Ezra Pound
Siegfried de Rachewiltz, “Salamander Days”
Facsimile Reproduction (Illustrated by Boris de Rachewiltz)

Ezra Pound, “From Father to Daughter: Selected Letters” (ed. Richard Taylor)

The Rais Uli Myth
Richard Sieburth, “Introduction”
Ezra Pound, “The Rais Uli Myth / Being Tangier in Dry Point”

Gregory Merrill Harvey and Emily Mitchell Wallace, “Mary Rudge de Rachewiltz: SOme Photographs from Her 80th Birthday Party”


Evelyn Haller, “Shadows on the Rock: A Book in American English Ezra Pound Gave to His Daughter That She Might Learn His Mother Tongue”

Sean Pryor, “‘How Will You Know?’: Paradise, Paintingm and the Writing of Ezra Pound’s Canto 3”

Jeffrey Westover, “‘My Sense of Property’s / Adrift’: Attitudes Toward Land, Property and Nation in the Poetry of Lorine Niedecker”

Joshua Clover, “‘A Form Adequate to History’: Toward a Renewed Marxist Poetics”


Mary Bamburg, “Report on the 3rd International Conference on ‘Modernism and the Orient'”

Emily Mitchell Wallace, “In Memoriam: William Frank McNaughton”

Front Cover: Tyrolean mask from the cover of Tiroler Masken by Mary de Rachewiltz (Milan: All’Insegna del Pesce d’Oro, 1960). Ezra Pound: “where the masks come from, in the Tirol, / in the winter season / searching every house to drive out the demons” (Canto 74).

Back Cover: Cover of January 1939 issue of Reijokai (Young Ladies’ World), a Japanese girl’s magazine. A Japanese translation of “Gais: The Beauties of the Tirol,” written in 1937 by then-twelve-year-old Mary de Rachewiltz, was published in this issue.

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Laura Cowan, “Preface”


John Gery, “Casting No Shadow: Incarcertation, Architecture, and Love in Canto 90”

Robert E. Kibler, “Finding China in Our Own Time: Legge, Waley, and Pound Translate a Fertility Ode from the Chinese Shi Jing

Alec Marsh, “John Quincy Adams and/or Martin Van Buren: Cantos 34 and 37”

Mohammad Shaheen, “The Reception of Pound in Arabic: Immature Response of Gibran and Bayyati”

Dana Cook, “Meeting Ezra Pound”


Tributes to Carroll Terrell

Tributes to Hugh Kenner

Donald Davie, “The Universe of Ezra Pound: Review of The Pound Era (from Paideuma 1.2)


Ira B. Nadel (Poems and Translations of Ezra Pound, ed. Richard Sieburth; and Ezra Pound, The Pisan Cantos, ed. Richard Sieburth)

Alec Marsh (Vincent Sherry, The Great War and the Language of Modernism)

Guiyou Huang (Ezra Pound and China, ed. Zhaoming Qian; and Eric Hayot, Chinese Dreams: Pound, Brecht, Tel Quel)

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FALL and WINTER 1994


The Periplum

Songpin Jin, “Observation of Natural Scenes: Ta Hsüeh and Pound’s Later Cantos”

Fan A. Shen, “Yijing and Pound’s Cantos (1) and (2)”

Xiaomei Chen, “Rediscovering Ezra Pound: A Post-Colonial ‘Misreading’ of a Western Legacy”

Christine Syros, “Beyond Language: Ezra Pound’s Translation of the Sophoclean Elektra

Jonathan Brewer, “Practice, ‘Taught and the Not Taught,’ in The Pisan Cantos

Piotr Parlej, “The Provence of the North: Pound’s Poetics of Tension”

Peter Crisp, “Pound as Gnostic? Creative Mythology and the Goddess”

Ethan Lewis, “Super-Position: Interpretive Metaphor”

The Explicator

Songpin Jin, “Flowers, Wings, in the Garden Enclosure”

Martin Scott, “The Transcendental Ideogram: The Influence of Emerson on Ezra Pound’s Ideogrammic Method”

Omar S. Pound, “Canto LXXV: Clement Janequin & Arrangements of His Text: ‘Canzoni di Li Ucelli'”

Douglas Bruster, “Pound, Frost, and ‘Literary Integrity’ at Harvard”

The Vortex

Yorio Hirano, “Report of the 14th Annual Conference of the Japan Ezra Pound Society”

Shinji Watanabe, “Report on the Fifteenth Annual Meeting and Conference of the Ezra Pound Society of Japan at Rikkyo University, October 30, 1993”

The Reviewer

Timothy Materer (Leon Surette, The Birth of Modernism: Ezra Pound, T. S. Eliot, W. B. Yeats, and the Occult)

Robert Spoo (A Walking Tour in Southern France: Ezra Pound among the Troubadours, ed. Richard Sieburth)

Tony Tremblay (Gail McDonald, Learning to Be Modern: Pound, Eliot, and the American University)

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The Periplum

Douglas Thompson, “Pound and Brazilian Concretism”

Jo Brantley Berryman, “The Art of the Image”

M. L. Rosenthal, “Pound at His Best: Canto 47”

The Explicator

Akiko Miyake, “A Note on So-shu”

Franz H. Link, “A Note on Samothrace”

The Documentary

Ben Kimpel and T. C. Duncan Eaves, “Sources of Cantos XLII and XLIII”

Carroll F. Terrell, “A Couple of Documents”

The Biographer

Richard Sieburth, “Ideas into Action: Pound and Voltaire”

The Vortex

Diana Surman, “Report on EP Conference”

Mohammed Shaheen, “Pound in Arabic”

Burton N. Hatlen, “Report on Works in Progress”

The cover features the head of John Quincy Adams by Guy Davenport.

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FALL 1976


The Periplum

Dennis Klinck, “Pound, Social Credit, and the Critics”

Mark Turner, “Propertius through the Looking Glass”

The Explicator

Ernest Griffin, “EP Ode Pour … and Max Plowman’s The Right To Live

David Gordon, “A Place for Buddhism in Canto 99”

The Documentary

Ezra Pound, “Letters to Natalie Barney, Edited with Commentary by Richard Sieburth”

The Bibliographer

Vittoria Mondolfo, “Annotated Bibliography, 1918-1924”

The Biographer

Henry Swabey, “A Page without Which”

David Seed, “The Ezra Pound Convention at Sheffield”

This cover is of a monastic craftsman making books. The first stage in the manufacture of a book is shown on the left, in the second circle from the bottom, where a monk is preparing parchment. In the scene opposite he cuts the skin to size. The next part of the process is illustrated in the top left-hand circle, where a monk is cutting his pen from a goosefeather, and in the top right-hand one he has finished writing, placing the pen out of the way behind his ear, and is busy painting the manuscript. The monk below is binding the book, and the two to the left and right at the bottom are making the covers and metal clasps to hold it shut. In the center another monk proudly thrusts the finished book out beyond the frame of the medallion, and in the center at the bottom the volume can be seen in use. The remaining circle shows an artist at work on a diptych. In the central panel another paints an architectural structure, perhaps a shrine. The Archangel Michael, the patron saint of the abbey of Michelsberg, where this drawing was probably made, presides over all activity. The drawing dates from the first half of the twelfth century.

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