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Posts Tagged ‘Sean Pryor’

2010

CONTENTS

Preface

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”

Essays

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”

Departments

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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2007-2009

(publication date 2010)

CONTENTS

Preface

Essays

Robert Stark, “‘Toils Obscure An’ A’ That’: Romantic and Celtic Influences in ‘Hilda’s Book’”

Sean Pryor, “Particularly Dangerous Feats: The Difficult Reader of the Difficult Late Cantos”

Sarah Barnsley, “‘Sand Is the Beginning and the End / of Our Dominion’: Mary Barnard, H.D. and Imagism”

Aimee Pozorski, “Traumatic Survival and the Loss of a Child: Reznikoff’s Holocaust Revisited”

Patrick Barron, “Unmasked Representations of Space in Edward Dorn’s ‘The Land Below’ and ‘Idaho Out’”

Andrea Brady, “Making Use of This Pain: The John Wieners Archives”

Kaplan Harris, “Gender Performance, Performance Enhancement, and Poetry: Reading Ted Berrigan After Viagra”

Tony Brinkley and Joesph Arsenault, “‘This is where the serpent lives’: Wordsworthian Poetics and Contemporary American Poetry”

Reviews

Ronald Bush (Ezra Pound: Canti postumi, a cura di Massimo Bacigalupo)

Robert Kibler (Ernest Fenollosa and Ezra Pound’s The Chinese Written Character as a Medium for Poetry, A Critical Edition, ed. Haun Saussy, Jonathan Stalling, and Lucas Klein)

Mariacrstina Natalia Bertoli (Ezra Pound, Language and Persona, ed. Massimo Bacigalupo and William Pratt)

Joseph Conte (Anne Day Dewey, Beyond Maximus: The Construction of Public Voice in Black Mountain Poetry)

Justin Parks (Peter Nicholls, George Oppen and the Fate of Modernism)

Lara Vetter (Mark S. Morrisson, Modern Alchemy: Occultism and the Emergence of Atomic Theory)

In Memoriam

Paul Montgomery, 1936-2008 by Massimo Bacigalupo

Giano Accame, 1928-2009 by Massimo Bacigalupo

G. Singh, 1926-2009 by Massimo Bacigaluopo

Omar Pound, 1926-2010 by Tim Redman

Cover: William Aikman, Allan Ramsay. Courtesy Scottish National Portrait Gallery. The website of the National Galleries of Scotland includes the following caption beside this portrait:

Allan Ramsay began his career in Edinburgh as a wigmaker; he went on to become a bookseller, successful poet and an important member of Edinburgh’s literary and artistic circles. He was a close friend of the artist, William Aikman, and this portrait was owned by another friend, Sir John Clerk of Penicuik. Clerk wrote on the back of the canvas, imitating Ramsay’s verse: “Here painted on this canvas clout by Aikman’s hand is Ramsay’s snout.”

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