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The Cantos have been called Ezra Pound's intellectual diary, composed over the course of sixty years. Long out of print as a separate volume―it was originally published in 1933―this epic of nine groupings of poems is available from New Directions.
An epic of great vision and complexity, Pound's Cantos addresses the profound human issues in history and in our time. Each of the nine groupings of poems can be seen as a fresh wave that swells out from and falls back upon the earlier cantos, extending them structurally, adding new layers of meaning. "A Draft of XXX Cantos" (1930), which introduces the work, thus anticipates the full Cantos' essential themes and provides the surest entry into Pound's encyclopedic masterpiece.- Sales Rank: #1968924 in Books
- Brand: Brand: New Directions
- Published on: 1990-05-17
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .50" w x 5.40" l, .35 pounds
- Binding: Paperback
- 160 pages
- Used Book in Good Condition
Review
Canto 1
Canto 10
Canto 11
Canto 12
Canto 13
Canto 14
Canto 15
Canto 16
Canto 17
Canto 18
Canto 19
Canto 2
Canto 20
Canto 21
Canto 22
Canto 23
Canto 24
Canto 25
Canto 26
Canto 27
Canto 28
Canto 29
Canto 3
Canto 30
Canto 4
Canto 5
Canto 6
Canto 7
Canto 8
Canto 9
-- Table of Poems from Poem Finder®
About the Author
New Directions has been the primary publisher of Ezra Pound in the U.S. since the founding of the press when James Laughlin published New Directions in Prose and Poetry 1936. That year Pound was fifty-one. In Laughlin’s first letter to Pound, he wrote: “Expect, please, no fireworks. I am bourgeois-born (Pittsburgh); have never missed a meal. . . . But full of ‘noble caring’ for something as inconceivable as the future of decent letters in the US.” Little did Pound know that into the twenty-first century the fireworks would keep exploding as readers continue to find his books relevant and meaningful.
Most helpful customer reviews
4 of 7 people found the following review helpful.
Good reading copy
By Dwight L. Cramer
This is a well constructed book of reasonable size and as such offers a good reading copy of The Cantos. The typeface is sensible and clear. It is a copy that can be stuck in a suitcase or satchel. Since it is hardbound, it is not lightweight or really intended for travel, but it is not a lavish collector's volume, so if it gets knocked about, so what?
I'm not going to comment on Pound's Cantos, his poetry generally or his role in 20th century literature. If you want an expert opinion, find yourself a copy of Hugh Kenner's The Pound Era. Pound himself was a complex man who left complex tracks. The Cantos certainly remain worth reading (IMHO, they are aging well, and reading them against the backdrop of the current financial nonsense is entertaining, but perhaps I entertain easily?).
9 of 12 people found the following review helpful.
Par Excelente
By Ryan C. Daley
The Cantos are great in what they do for the writer. "Elitism" is the nickname the idiot gives to the question. The Cantos include everything (yes, even Pounds' barbarisms). Man alive! Must I agree with the Bible to read it?
10 of 13 people found the following review helpful.
Ezra contemplating a bust of Dante
By A Customer
After mere squib praise, it seems better to speak to the work, rather than reactions to it. The Modern is the Victorian gone mad. Most especially in poetry. Compare this work to the attempts at all encompassing poetic works, works by Hardy, Tennyson, Browning - and it instantly becomes appearant for what it is. A work which attempts to encompass history as a prolegmania. All of the material of the past - language, history, literature - in every form - is taken as raw material for the poet. The point of this vast drawing of sources and references is to produce an expression of the inner narrative.
The Cantos are, then, the modern holding a mirror up to its origins. An obession of the modern indeed - to find the first man, the source of law, the begining of written history. Origins of its legal systems and its habits. Also of its consciousness.
In the west this search must return to one of a few figures - those who impelled the scientific revolution, such as Newton - or those who created the artist as hero - Dante, Beethoven, Shakespeare - or those who created the idea of people as hero - the Founding Fathers of the United States.
Pound attempts to combine the last of these two, with, himself, as the unseen artist hero. Where as for Dante the point of having an inner life - as rich as his was - centered on connection to the extrinsic divine, Pound encapsulates all activity into his personal commentary.
What makes this poetic work powerful is that it takes the logical extension of modern verse farther than any other poet. Modern verse obliterated the delicate matrix of prosody, in favor of lines being equivelent to those gaps in thought we experience in the stream of consciousness. This weakens the power of the poetic in itself, and thus yearns to be filled with every possible manner of material.
By weakening form, it allowed more and more dense communication of material. This obsession resembles Schoenberg's statement that as soon as one had a technique in music, one desired to say as much in as little time as possible.
This, not surprisingly, leads to the vast canvas of the Cantos, since, as noted before, the content which fills the void left by structure is any content from any past. The content is only present to focus the reader on the narrative of the self.
What this means is that creating the dense content is how the writer knows he is an active self. The density equates to greater activity. Only by the utmost concentration does the writer experience himself. Since the writer's thread of experience ends with the book, the book must be spun out to its utmost.
The same process occurs with the reader. He is as a being only so long as he is engaged in the parsing of meaning, and the more dense the meaning, the more aware of himself engaged in the act of being, that he can say he lives.
This knot - where parsing is being, and hence intensity of parsing is intensity of being - can be said to be the corner stone of the Modern sense of the purpose of art. The purpose of art is to create a vehicle by which the self experiences itself being.
No work in language presents this in as extended a fashion, with the possible exception of Joyce's Ulysses...
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