Ezra Pound’s daughter fights to wrest the renegade poet’s legacy from fascists

 “He made mistakes and we have to take the good part of him, just as he did with others.–Mary De Rachewiltz

“De Rachewiltz has since fought a lifelong battle to separate Pound the poet from Pound the fascist and antisemite, which is why the emergence of CasaPound – now boasting 5,000 members – is so painful.

She rebuffs the suggestion that CasaPound’s lionisation of him is no more than he deserves. “Pound just quoted what Mussolini said,” she said. “This organisation is hiding behind Pound’s name for intellectual cover,” she added. “He made mistakes and we have to take the good part of him, just as he did with others. He fell into certain antisemitic clichés that were rampant in Europe and the US at the time.”–http://www.guardian.co.uk/world/2012/jan/14/ezra-pound-daughter-fascism

Imagism in the Cantos and Vorticism in the Tate

“These lines are followed by a sequence of identity shifts involving a seal, the daughter of Lir, and other figures associated with the sea: Eleanor of Aquitaine who, through a pair of Homeric epithets that echo her name, shifts into Helen of Troy, Homer with his ear for the “sea surge”, the old men of Troy who want to send Helen back over the sea, and an extended, Imagistic retelling of the story of the abduction of Dionysus by sailors and his transformation of his abductors into dolphins. Although this last story is found in the Homeric Hymn to Dionysus, also contained in the Divus volume, Pound draws on the version in Ovid‘s poem Metamorphoses, thus introducing the world of ancient Rome into the poem.–http://en.wikipedia.org/wiki/The_Cantos

“Can you fell the force of the Vorticists?

by Brian Sewell.

Wyndam Lewis

Red: Wyndam Lewis’s Crowd of 1914-15. By early 1917 he had joined the Royal Artillery and was at the Front. He survived, most important male Vorticists did not.
Wyndam Lewis Wyndam Lewis henri gaudier brzeska Jacob Epstein
16 Jun 2011

A vortex, according to the Concise Oxford Dictionary I had at school, is a whirlpool, a whirling mass of fluid, fluid in rotating motion, anything whirling that is capable of swallowing all and everyone drawn into it.

As this definition goes on to discuss rings, spiral, arcs and curves, it might be reasonable to assume that a group of artists dubbing themselves Vorticists produced art that was certainly curvilinear and possible soft-edged, suggesting fluidity, rotation and other characteristics of the vortex, its depth and singular dedicated force. There was indeed such a group, but arcs and curves, though occasionally present, played surprisingly little part in their work; this, in painting, was for the most part hard-edged and rectilinear, jagged and fragmented as though by internal explosion, centrifugal rather than centripetal, rather than forced into a coherent design suggesting vortical compulsion.

If there is depth in it, it is the depth of shallow planes superimposed, or of low relief entirely subject to design, or of some architectural or mechanical construction often set, like an object of still life, against a flat ground. In painting, vertiginous rather than vortical forces are implied; in sculpture, either no force of any kind, just enclosed weight and form, as with Gaudier-Brzeska, or a force of entirely different character, that of the machine, as in Epstein‘s Rock Drill.

In 1914, the American poet Ezra Pound, his associate Thomas Ernest Hulme (always known as T E Hulme), a combative philosopher-cum-theorist-cum-critic, and a very small group of artists working in Britain chose the vortex as their emblem and dubbed themselves Vorticists. The term was far more logically first used in the 17th century of those who followed Descartes’ hypothesis that vortices of matter had determined the structure of the universe, and my hunch is that Pound, who re-coined the term in 1914, must have known Descartes’ considerations of cosmogony when he proclaimed the vortex to be “the point of maximum energy”. Wyndham Lewis slightly modified this view, arguing that “at the heart of the whirlpool is a great silent place where all the energy is concentrated. And there, at the point of concentration, is the Vorticist.” Hulme, who knew nothing of the creative processes of the painter and sculptor and whose head was full of the theories of his immediate contemporary and associate in Germany, Wilhelm Worringer, who had firm grounding as an art historian before he became a philosopher, introduced the notion that “the idea of machinery” would differentiate all that was then contemporary art, and particularly the Vorticists, from the long arm of an exhausted Renaissance. He who reads Worringer’s thesis, Abstraction and Empathy, published in 1908, need never read Hulme’s Speculations, published posthumously in 1924. Both men wished to clear away “the sloppy dregs of the Renaissance”, both offered a blueprint for a modern aesthetic and justification for all modern art movements, and both commended reference to the near abstract art of the far past (Egypt) and the primitivisms of Oceania and Africa, rather than the realism of the Renaissance which, they claimed, had weakened man’s capacity for abstraction. I suspect that Hulme had difficulty with the concept of abstraction – for “abstract” he substituted “geometric” and as the term empathy first entered the English language in 1912, he may not have known it and used “vital” in place of “in feeling”, the meaningless literal translation of “Einfühlung”.

One may reasonably argue that Hulme was an ass with influence far beyond his knowledge and experience of art. One may argue, with equal reason, that Pound too was an ass, a frivolous intellectual gamester whose knowledge of art reached no further back than Whistler, recently dead, whom he saw as a touchstone of aesthetic excellence, “the great grammarian of the arts” and, absurdly, as some sort of avuncular spirit for his “little gang” of Vorticists. They influenced each other’s thinking, yet for each behind the other’s back lay scorn and derision, Pound complaining of Hulme’s unintelligible lectures and loud-mouthed “crap”, while to kick Pound downstairs was often in Hulme’s mind. They are part of the history of Vorticism only because they were the pseudo-philosophical leaders of the little gang, but to it they contributed nothing but drivel and confusion. The one man who really matters is Wyndham Lewis.

According to Pound, in December 1913 the gang had been forming for five years. The minor figures drawn into the vortex and very rarely heard of in any post-Vorticist context were Malcolm Arbuthnot, an experimental photographer, Lawrence Atkinson, Jessica Dismorr, Cuthbert Hamilton, Frederick Etchells and Helen Saunders; the major figures, in addition to Lewis, were Henri Gaudier-Brzeska, William Roberts and Edward Wadsworth. David Bomberg and Jacob Epstein were closely associated with the gang, but neither joined it nor signed the manifesto issued in July 1914; nor was Etchells a signatory, but Pound and another poet, Richard Aldington (one of the Imagist group for whom Pound wrote another manifesto), were.
Christopher Nevinson drew close to Vorticism but was never quite sucked in.

A month later the First World War began. Gaudier-Brzeska was killed within 10 months; Hulme, an early volunteer to the Royal Marine Artillery, survived until September 1917 and was then killed within sight of Lewis, who had joined the Royal Artillery six months before; in November 1915 Bomberg enlisted as a sapper, and in April 1916 Roberts too became a gunner; Wadsworth joined Naval Intelligence in June 1916 and in the same month Jessica Dismorr went as a volunteer to France. Pound did what he could to hold the rest of the depleted and inactive little gang together and took on Alvin Langdon Coburn, an American and another experimental photographer, assisting him in the development of his futile Vortoscope for taking Vortographs (no, not to be found in Edward Lear’s little dictionary of Wurbl Inwentions) first exhibited in the London Camera Club in February 1917; these were superimposed exposures that rendered image and portraits semi-abstract.

….Please read the full article here:

Q is for Quotes: from Canto LXXXVII by Ezra Pound redirected to the World Banking Cabals of 2008.

Was De Molay making loans without interest?
Church councils bumbling, Fanatics do not understand interest.
infantilism increasing till our time,
attention to outlet, no attension to source,
That is: the problum of issue.
Who issues it? How?
“Pity to stamp save weight.”
Always the undertow,
gold-bugs against ANY order,
Seeking the common (as Ari says)
Practice for squeeze.
“Nowt better than a share (Mencius)
nor worse than a fixed charge.”
That is the great chapter, Mencius III, I, III, 6.
“but”, said Antonius, “Law rules the sea”.
“And that the state shd/ have benefit
from private misfortune,
…between the usurer and any man who
wants to do a good job (perenne) without regard to production — a charge for the use of money or credit.
not in my time, not under me.”

Quoted from Ezra Pound Canto LXXXVII.

LS is for Li Sao and Canto CXIII

for Bob.

“And the road upper apple-boughs

mostly grass-covered

And the olives to windward

Kalenda Maja

Li Sao, Li Sao, for sorrow

But there is something intelligent in the cherry-stone

–Ezra Pound, Canto CXIII.

LI SAO by Qu Yuan

I cultivate plenty of fragrant thoroughwort
And plant a multitude of orchid
With ligusticum and sweet grass on the ridges
And inter cropped wild ginger and dahurican angelica.
I wish they grew tall with luxuriant branches and leaves
That I can reap when they grow up.
I lament not that they may wither
But they go degenerated and mixed with disorderly weeds.
I am dressed in the garment
Made up of water cal trop leaves and lotus.
I won’t care if I am not to be understood,
So long as I remain lofty and honest.
Putting on a high official hat,
I adorn myself with long ornaments.
Even though the fragrant and clean
Are nowadays mingled with the filthy,
My moral characters are never harmed and corrupted
That are so perfect and pure!

Setting out from the Change Mountain at dawn I keep driving
Till I arrive in the middle of the Kunlun Mountains at dusk.
Here I want to have a stop
In front of the carved doors of Immortals’ Palace,
For the sun is soon setting.
I order Xihe, the chauffeur of god of Sun, to pull up his chariot
So it won’t come near to the Yanzi Mountain
Where the sun enters and sets.
Along the long and far-reaching road
Up in Heaven and down to Earth I will seek!

Qu Yuan

A is for Awake: FW title plays

Acrillic Figa
The following is a fresh poem i just spat out, which is fourteen anagrams of Finnegans wake. After that are quotes i collected and posted at maybelogic academy six months ago titled “3000 years of psychedelic poetry, Finnegans wake and the Cantos” Read them! And read them again…..

Finnegan wakes, awake eng finns,
finnegan askew, a fake news ginn,

Weaken gas finn, weakening fans
Nasa knife gwen, Anna fiske gwen

Fake anne wings, fake anna sewing
Ages waken finn, Sage waken Finn

Wake fang nines, fakes wang nine,
Insane fag knew: sneak fang wine,

Wage sneak finn, fang nina weeks
waking ann fees, wahe snake finn,

Fawn ask engine, fan wan seeking,
a swan gene fink, fawn sank genie

Gas ann week fin, fan as gene wink,
Gnaw as knee fin, nag as week finn

flynagains awake.

“This is bureaucracy, ” said dionysus, and he smashed his wine jug in anger; beside him, his lynx glared balefully. – Book four, the eighth trip, or Hod. (Telemachus sneezed) The Illuminatus Trillogy. “Illy Trilly.

“The resurrection and the life. Once you are dead you are dead. That last day idea. Knocking them all up out of their graves. Come forth. Lazarus! And he came fifth and lost the job. get up! Last day! – James Joyce, Ulysses, Page 87

“Section C: Re:volutions and Evolutions.
One of the greatest difficulties facing the world today is the passing from one historical era to another. – Count Alfred Korzybski, Science and Sanity, Page XXXVI

“In Tibetan the Kalachakra puja is called dam-jho which is particularly important during times of great difficulties – of wars and natural disaster’s. The Kalachakra is the mandala of the four door’s or Qing – Ghou.