A late, revised edition, 3rd impression, of Pound’s first book of prose, upon the poets & playwrites that inspired him in Romance languages. Printed with spacious margins begging to be scrawled in. Jacket spotted & lightly stained, book fine within. Missed by Gallup, otherwise under A5.

Pound’s offering to those who want to know more by the age of fifty than he knows “today”. A few pencil notes in the margin by David Moody. Jacket lightly spotted with edge-wear; book fine within. Fourth impression, so stated on front flap, also not in Gallup, otherwise A45.

“The Analects… are the oddments which Kung’s circle found indispensable, and for 2,500 years the most intelligent men of China have tried to add to them or to subtract… Aristotle OR Plato, as if there were no other roads to serenity.”
  — Procedure, p.7

First English edition, reprinted. One or two pencil annotations by David Moody near the start. A fine book; jacket with minimal wear. Not in Gallup.

A later publication of the 1954 edition; 305 Confucian poems translated into English by EP. Slight wear / creasing to the wraps, but fine inside. Detailed under Gallup A96b but not indexed.

A fourth reprinting after additions of Faber’s paperback Selected Poems, with David Moody’s brief pencil annotations to the contents pages noting Cathay as “complete” and denoting the order of appearance of the poems in Personae, 1908, 1909, 1910. Fine save discolouring and light creasing to the spine. This printing too late for Gallup, but otherwise A97b.

Second edition of the Posthumous Cantos, vis-à-vis Italian translations presumably by Massimo Bacigalupo. Occasional ingiallendo to the edges, top right corner bumped, but overall very nice. Much too late for Gallup.

French translations of select cantos from XXX to Thrones, by five translators. Scarce pocket edition. A very good copy slightly browned at the edges of the paper. Too late for Gallup.

First Japanese translation of Pound’s first book of poems. With a small white postcard and two price lists laid-in. Inscribed to A. David Moody by the translator on second ffep (leafing right to left), dated October 1990. A small break to the tissue on (back to) front cover. Too late for Gallup.

First French translation of Pound’s essay, I Gather the Limbs of Osiris, containing Pound’s early scholarly method, Luminous Detail, first appearing in the New Age, Nov. 1911 to Feb. 1912. Inscribed to A. David Moody by Jean-Michel Rabaté on the ffep, dated Dijon, March 1991. With David Moody’s occasional pencil inscription and a handwritten note laid in. A further postcard announcement laid-in from the publisher. Some light sunning at edge of spine, and a light crease to spine. Too late for Gallup.

Three essays of Pound’s written between 1933 and 1944, all composed originally in Italian, being Lavoro ed Usura (consisting of: Oro e Lavoro, L’America, Roosevelt, e le cause della guerra presente, Introduzione alla natura economica degli S.U.A), L’Economia Ortologica and Nuova Economia Editoriale. Third edition after Pesce d’Oro’s 1954 and 1972 editions, with an added preface by Paolo Savona, Italian economist and politician. A fine copy. Too late for Gallup (give us Henderson!).

A selection of 9 letters from Pound to Louis Untermeyer, with reproductions of the originals. First & sole edition, mostly fine save spotting to top-edge, in the original acetate wrapper with two tape repairs to rear and well preserved. Gallup A81.

The last edition of letters, together with those to William Borah and Bronson Cutting, to make up the largest corpus of correspondence between Pound and American politicians. Letters concerning Pound’s anti-Roosevelt campaign, opportunities found in Tinkham to withold America from the League of Nations, and preparations for Pound’s visit to America in 1939. A fine copy, the spine faded, with a few pencil marks by A. David Moody to the introduction.

The first volume in The Correspondence of Ezra Pound series by New Direction, letters of EP to JJ with Pound’s essays on Joyce. Edited by Forrest Read, author of the megalithic ’76: One World. First English edition, published one year after the American. A mostly fine copy, slight shelf-wear at top & tail of spine, and a smudge on the copyright page. David Moody’s occasional pencil marginalia throughout. Gallup A88b.

Joseph Darling Ibbotson (1869-1952), or “BIB” to Pound, was a Professor of English Literature, Anglo-Saxon & Hebrew as well as Librarian at Hamilton College, and one of the three faculty members who influenced Pound’s career and remained friends for life. Pound’s photograph in the 1905 Hamiltonian is captioned “Bib’s pride,” and as Pound wrote to Prof. Harold W. Thompson of Cornell, “The CANTOS started in a talk with BIB.” These 36 letters, all from EP to Ibboston, with the occasoinal from DP, begin in 1935, with Pound in Rapallo, and end in 1952 on Ibbotson’s death. With scans of the originals. One of 400 copies, with the publisher’s errata slip laid-in. With pencil annotations by David Moody. Jacket lightly foxed, blooming on flaps, top-edge lightly worn; top-edge of leaves spotted. Gallup A102.

The second instalment in The Correspondence of Ezra Pound series by New Directions, this here the first English edition published concurrently with the American. Very occasional symbolic pencil annotation by David Moody in the margins. Light wear to fore-edges and spine of jacket. Too late for Gallup.

Paige’s attempt to document Pound as the seminal modernist whose exchanged letters with the most influential and successful artists of his day, often aiding in their success. Edition for those who prefer a paperback. Could even be shelved outwards. A little streaking to spine & spotting to edges; covers gently opening. Too late for Gallup, otherwise A64.

Letters from 1914, commencing with the editing of Blast, till Wyndham Lewis’s death in 1957. First English edition, concurrent with the American. With the occasional pencil annotation by David Moody, and a small note in ink laid-in. Jacket with a little light, inconsequential wear. Too late for Gallup.

    and the hostess grinned: Eso es luto, haw!
mi marido es muerto
    (it is mourning, my husband is dead)
when she gave me paper to write on
with a black border half an inch or more deep,
  say 5/8ths, of the locanda

of which was sent to Viola Baxter, who met Pound at a Hamilton College dance, in May of 1909 from Alcazar. A tale or two of Pound’s touristic trouble with the locals, against good hospitality & his travelling forth. One of 500 copies printed in celebration of Pound’s 100th birthday, with colour reproductions of the letter and envelope. Fine in the original card and clingfilm packaging.

Letters between Pound and fellow poet and protégé Louis Zukofsky. The fifth volume in The Correspondence of Ezra Pound series by New Directions. First English edition, concurrent with the American. With the very occasional symbolic pencil annotation by David Moody (circles and arrows). Head of spine a little pressed, otherwise fine. Too late for Gallup.

A collection of letters and essays documenting Pound’s involvement in art, literature, and culture in Japan, extending from 1911 to 1968. First edition. Jacket a little scuffed at the top of the spine. With the occasional pencil annotation from David Moody. Too late for Gallup.

The sixth volume in New Direction’s series The Correspondence of Ezra Pound. Mostly Pound’s letters to Anderson, concerning the promotion of Joyce, Hemingway and Breton. David Moody’s very occasional pencil annotation, and photocopies of two pages of Margaret Anderson’s My Thirty Years’ War laid in to front, annotated in ink. Too late for Gallup.

Pound’s letters to John Quinn, American lawyer and patron of the arts who defended the editors of The Little Review when charged with publishing obscene content, being Joyce’s Ulysses. Illustrated and annotated. With small pencil marginalia by David Moody, and a few notes in ink laid-in. A very near fine first edition. Too late for Gallup.

Previously unpublished letters between Pound and the editors of The Dial, Scofield Thayer and Sibley Watson, showing Pound to be responsibly for practically all the foreign contributions published. Includes holographs of the original letters. With very occasional pencil marginalia by David Moody, as highlight, reference, or correction. A mostly fine copy. Too late for Gallup.

Hunders of letters between EP and e.e. c. who met first in Paris in 1921, starting from 1926 when Pound was in Rapallo. A very near fine copy; top edge of jacket slightly folding outwards. Too late for Gallup.

Selected letters between these lifelong friends and fellow poets, who first met while at the University of Pennsylvania together; from 1907 to 1963. First edition, with gift inscription from Hugh Witemeyer to David Moody, the very occasional pencil annotation in David Moody’s hand, and a scan of a letter from David Moody to Hugh Witemeyer laid-in at front, dating November 1996.

  Dear Hugh,

  I am at work here in the HRC, till mid-December, Pounding as you might suppose -
  having pounded for five weeks at the Lilly in Bloomington…

One of the most important sets of Pound’s letters. Olivia Rossetti Agresti was a British-born Italian loyal citizen, a sympathiser of Fascist ideals, and a critic of Mussolini’s politics. Their correspondence began in 1937 and continued throughout Pound’s incarceration at St. Elizabeths. A fine copy, annotated quite extensively in pencil by David Moody. Too late for Gallup.

A blitz of letters from Pound to Borah to take your breath away, as Holmes puts it, in simultaneous reverence and insult. Borah (1865-1940) very occasionally responds, cordially, but never engages EP. Unlike the Cutting letters, which show a great collaboration, these letters reveal more exclusively Pound’s own economic and political ideas measured against the contemporary stage. A fine copy, the jacket lightly lifting; David Moody’s very occasional pencil circles in margin. Too late for Gallup.

“SIENA MI FE, DISFECEMI MAREMMA”

  Among the pickled foetuses and bottled bones,
  Engaged in perfecting the catalogue,
  I found the last scion of the
  Senatorial families of Strasbourg, Monsieur Verog.

  For two hours he talked of Gallifet;
  Of Downson; of the Rhymers’ Club;
  Told me how Johnson (Lionel) died
  By falling from a high stool in a pub …

  But showed no trace of alcohol
  At the autopsy, privately performed—
  Tissue preserved—the pure mind
  Arose toward Newman as the whiskey warmed.

  Dowson found harlots cheaper than hotels;
  Headlam for uplift; Image impartially imbued
  With raptures for Bacchus, Terpsichore and the Church.
  So spoke the author of “The Dorian Mood,”

  M. Verog, out of step with the decade,
  Detached from his contemporaries,
  Neglected by the young,
  Because of these reveries.

Monsieur Verog’s first book of verse, and in other faculties librarian at King’s College (1890-1896) and the Royal College of Surgeons of England (1897-1929) where he wrote the biographies of 300 Fellows of the Royal College of Surgeons. Plarr was a founding member of The Rhymers’ Club which had passed into legend by the time Pound arrived in London.
  First edition, with a contemporary ink gift inscription to half-title, “Charles Rosher / 25 Jan[uar]y 1897 / from M.S.R.” and with a further ownership inscription to rpd, “Charles Rosher / 6.3.27.” Charles Henry Rosher (1858-1936) was a poet and occultist, and “Magus of Fire” in the Rosicrucian Hermetic Order of the Golden Dawn whose members included Florence Farr, Maud Gonne, and William Butler Yeats.

Light shelf-wear and splitting of the paper over the bumped corners; a red (wax?) stain to front cover; light spotting to endpapers and pastedowns, otherwise fine throughout. With a small laid-in note from A. David Moody reading, “cf. ‘M. Verog’ in ‘H. S. Mauberley.’”

On discovering Imagisme in Poetry, Amy Lowell travelled to London with her partner Ada Dwyer Russell, where she invited EP to her apartment overlooking Green Park and, while driving him about town in her automobile, made various promises to fund anthologies of the Imagistes. Though Pound did not consider Lowell an Imagiste, her poem “In a Garden” was included under his editorial in Des Imagistes. By the time of the anthology’s first appearance in The Glebe, the group had already begun to disentangle. Pound, who refused to democratise criticsm, was forced out, declaring Imagisme dead, threatened to sue Lowell for using the anglicised term Imagism, and resorted to denunciations of Amygism. Imagism flourished after Pound, the three qualifications of Imagiste verse by Pound spreading into six, with verse as equally unpointed.

First edition, first printing, light marks to paper and cloth backing; label a little lost at the edges; spotting to pastedowns and endpapers but otherwise fine inside, and very good out.

F. S. Flint was a member, alongside Pound, of T. E. Hulme’s “School of Images.” Hulme, “wanting an intuitive poetry freed from cliché and from convention [called] for the abolition of metre and regular forms of verse; and [for] a language of direct visual images ‘which would hand over sensations bodily.’ And ‘the poet’, he argued, ‘must continually be creating new images’, because the life force in images quickly dies out as they become received associations.” (Quite Lucretian; Moody, Vol. I)
  In Poetry, March 1913 Flint and Pound published Imagisme and A Few Don’ts by an Imagiste, Flint later featuring in Pound’s 1914 editorial Des Imagistes; but by 1915 their friendship had soured, and Flint claimed Pound had contributed nothing to the discussions under Hulme but had stolen the whole school of Imagisme from the meetings.

  “You have not been a good comrade, violà!”

In 1915 Flint published his second volume of poetry, Cadences (London: Poetry Bookshop) whose cover image of a swan headed the renewal of his 1909 poem, “A Swan Song” into an unrhymed ‘cadenced’ version, the method of composition the collection was based upon. Flint found that an unformed verse whose thread lay in the cadence of words was a technique in poetry as old as Chaucer and Cynewulf which had been lost to dead formal variation, and claimed to not have discovered anything new except to have rediscovered a verse essentially human.
  This is Flint’s second book of cadences, and his third and final volume of poetry (Flint was to go on to become an economist). For poets who defaulted to formal verse at the time, Flint’s cadences may have been relieving, but to we who have seen what poetry is capable of it is little more than an unusual approach to the same pavement. Lacking for me is the thing, but this may be Flint’s rebellion, writing instead a rambling day.

First and sole edition. Light marks to the paper with two breaks along the front gutter; top corner bumped; endpapers browned but clean throughout.

The second of only three volumes of poetry to be published by Dunning during his lifetime and since. A Detroit native, Dunning (1878-1930) moved to Paris in 1905 where he dedicated his time to only a small group of poems, composed in the style of the late Victorian era, publishing his first collection of poems Hyllus: A Drama in 1910 (London: John Lane, The Bodley Head). Around 1924 Ezra Pound ‘discovered’ Dunning, a recluse and an addict, and ensured his publishing in the journals of the day; I have read even that EP supplied Dunning with drugs, which, considering Pound’s mansarde et potage, one might believe. After Dunning received the Helen Haire Nevinson Prize from Poetry, A Magazine of Verse in 1925 the literati of the Left Bank began to heatedly debate Dunning’s poetry. The push for vers libre, as had been happening for 20 years, had left the public finally numb to any vers à la Victorien; Dunning’s advance of a style yet older struggled to be received, though it reads with a precision worthy of the Ancient Mariner.

This book was the inaugural volume of The Black Manikin Press, one of the key expatriate presses of Paris in the 1920’s later to print Anaïs Nin, D. H. Lawrence, Djuna Barnes, Henry Miller and more. No. 80 of 500 copies all printed on Holland, the first fifty not for sale, with three illustrations by Howard Simon. Signed by Dunning on the limitation page and by Simon under the frontispiece. Spine mottled with a small break at top (nothing lost); light fading to the edge of the boards; endpapers browned spilling over to adjacent blanks where cut short; stock otherwise fine throughout. No bibliography has been composed for Dunning.

The third and final volume of poems to be published by Dunning before his death in Paris, 1930. A long-term opiate addict, Dunning was rarely seen in public, and only then at the busiest cafés with a glass of milk and book. His addiction caused an aversion to food, and though he was suffering from tuberculosis, Hemingway said of his death that he simply “forgot to eat.” After Rococo (a single poem), Windfalls was the release of years of poetry under a deathly susurrus.

  THE PENALTY

    Bleed, O my heart, bleed slowly but take care
    That no one hears thy bleeding. In the night —
    Let not thy bedfellow divine thy plight.
    Bleed softly, O my heart, and in the glare
    And heavy silence of high noon, beware
    Of good Samaritans — walk to the right
    Or hide thee by the roadside out of sight
    Or greet them with the smile that villains wear.

    Bleed slowly and bleed softly, O my heart,
    Go hide in nameless mountains of the north
    Or deep in the monstrous cities play thy part,
    O Bleeding Heart whereby the world’s aflood —
    But shun all congregations loving blood
    Lest some fool on a banner bear thee forth.

First edition, no. 106 of 500 copies (the first 25 on Japon). With a frontispiece portrait of the author by Polia Chentoff, printed by Martin Kaelin. Letter Press by Imprimerie Crété, “both of Montparnasse.” Beautifully clean throughout, with ten small pencil scores highlighting poems on the contents page, and slight printer’s shadow to the poem of p.11, Drowned. One section (from frontis to p.12) loosened off spine without damage. Front gutter cracked, the binding remaining sound. Boards lightly rubbed. Paper label on spine complete if a little rubbed. Again, I find no bibliographical records, and very little scholarship.

A personal portrait of EP by Bottome who first met him in pre-war London, and then again in Rapallo in 1935. An English novelist of Pound’s age, Bottome writes of Pound’s nervous energy as a youth and his critical facility which outstripped everyone elses, setting down three criticisms Pound gave her at the time which she says only grew more true. An active anti-fascist, when Bottome visited Pound in Rapallo she found him relaxed and even more appealing, with political solutions that she largely attributes to his upbringing as a single child, his isolation in Italy, and his being ‘fried’ by Mussolini.
  Together with similar essays on Alfred Adler, Max Beerbohm, Ivor Novello, Sara Delano Roosevelt, and Margaret MacDonald Bottome. First edition, lacking the jacket, with the ink ownership inscription of Rosalind Hesselberg (?) dated June 1945 to ffep. From the library of A. David Moody, with a small referential note of his laid-in to the essay on Pound.

A selection of essays by Orage, editor of The New Age and later the New English Weekly, starting with Orage’s many-parted Art of Reading. Pencil ownership inscription from previous owner to ffep, and occasional marginal notes throughout. Light foxing, light rubbing to the boards, but all very good.

“He was, in the true sense, a man of action; and his works follow him, even if nobody thinks of them as literary works—which they were.”
  — G. K. Chesterton, Introduction.

A memoir of this well respected and slightly shadowed figure who often published his diagnoses anonymously, and cultivated action rather than style, by Philip Mairet, a colleague of Orage’s during his last years as editor of the New English Weekly. First edition; a little dark stain top and tail of the spine, and at the bottom of the front-cover, but overall a nice, clean copy.

Reminiscences and Reflections by Selver, a translator of Slavic poetry who published in the New Age for many years. With a “full-length portrayal of Ezra Pound,” who approved of Selver’s translations of the Czech poet Petr Bezruč, the first contribution of Selver’s to the New Age, and the cause of his introduction to Orage. Selver found himself among EP’s les jeunes, an evening gathering of Imagistes (H.D., Aldington, Flint), but, having missed the Imagiste memo, his own recital failed. As Selver says, “[I] came to pray and remained to scoff.”

  These twain are Shakespeare’s equal. O blessed are the meek!
  For Pound has little Latin, and Aldington less Greek.

First edition, a fine copy with an old bookseller’s label of Henry Sotheran’s to fpd. Jacket lightly worn.

“He did more to feed me than anyone else in England.”
  —EP

Orage developed the periodical as a mediator between specialised subjects & public understanding, encouraging the relationship between literary tradition and literary experimentation, publishing Shaw, Wells, Beloc & Chesterton, as well as Pound, Flint, Hulme, Mansfield, W. Lewis, and Richard Aldington. Described as “the left-wing paper” of the day by Margaret Cole, Orage, alongside his contributors, diverted from the ‘collectivist premises’ of Socialism to develop Guild Socialism, publishing C. H. Douglas and later Pound on Douglas.

First edition, with numerous illustrations including, among other charicatures, a drawing of EP by Tom Titt. Dust-jacket lightly rubbed, else very nice.

Poems by A. O. Barnabooth, one of Valery Larbaud’s (1881-1957) pseudonyms. Pocket edition, with a new preface by Robert Mallet. Clean throughout with grubbied covers.

As TSE describes him, Harold Monro was “One of the few poets [that cared] more for poetry in general than for their own work.” Monro played a vital part in London (“DEAH OLD London, [the] place for poesy” — EP to WCW, 1909) at the time, founding & running the Poetry Bookshop which published Pound’s Des Imagistes anthology, and volumes of Imagist poetry by Aldington & Flint, passing, however, on Eliot’s Prufrock. First edition, a fine & tight copy in a v.g. d.j. with a little foxing to the flaps.

A composition of Brigit Patmore (1888-1965)’s papers, which she was encouraged to write by bookseller Betram Rota, by her son Derek Patmore (1908-1972), full even in his introduction of all the names of the age whom Derek had known as a child. Brigit Patmore, Richard Aldington, EP, and H.D. once “made a four [who] would go around together most afternoons.” After Aldington and H.D.’s divorce, Patmore lived and travelled together with Aldington. First edition, a fine copy, the spine of the jacket sunned, with the very occasional pencil note by David Moody.

A collection of Olson’s writings on EP, during Olson’s visits to Pound at St. Elizabeths from 1946 to 1948 when Olson was at the start of his career as a writer. Olson’s writing is typical of a student fighting against the rhetoric of their teacher, and a great document of what it is to evaluate Pound personally. First edition. A very good copy with the edges of the jacket folding outward slightly.

A young writer in Paris of the 1920’s, a journalist teaching at Harvard, Librarian of Congress under Roosevelt, a liberal accused of fascism by communists & of communism by Senator Joseph McCarthy, but above all a poet (who won the Pulitzer price thrice), these 400 letters, the editor’s best, make up an autobiography of this important and widely achieving man. Included are efforts by MacLeish to get EP released from St. Elizabeths, though Pound disdained MacLeish’s poetry, and MacLeish Pound’s politics. First edition, mostly fine in a slightly worn dust-jacket with one tear at the front of the spine.

Memoirs of Mary Barnard who, after graduating from Reed College, sent off six poems to EP in 1933 who kept up correspondence with Barnard for years, encouraging her to the use of ancient Greek verse forms and translation in English lyric, culminating in her 1959 publication Sappho: A New Translation which has been hailed “the best Green translation in American literature.” With further letters from W.C.W. and Marianne Moore. First edition, with a few marks in pencil by A. David Moody. A fine book; one tape repair to the jacket, sunned to spine.

JGF’s Autobiography, accounting for his days in London among Orage, Pound, Gaudier-Brzeska, the Imagistes who appealed in vain for his inclusion in Des Imagistes, his success with Amy Lowell, a detailed account of the imagist dinner at the Dieudonné, 1914, where EP presented the group with a bathtub, announcing imagists nageists, after Lowell’s “In a Garden,” and on. New edition, after the 1937 first, with the added introduction; a fine copy.

Bacigalupo, a tennis champion in his youth, an accomplished doctor, and a local Rapallese describes the many (mostly) foreigners who gravitated to the coastal town, including EP as tennis champion in his own right, and James Laughlin flirting by the sea. The chapter on EP annotated in the margin by David Moody. With an exhibition leaflet, Il mondo di Giuseppe e Frieda Bacigalupo, Cultura internazionale a Rapallo 1912-1999 a cura di Massimo Bacigalupo e Carlo Vita, 7 dicembre 2012 - 11 gennaio 2013 laid in.

First French translation of Mary de Rachewiltz’s account of her childhood and life with her father. A fine copy.

A biography of Iris Barry, one of the first intellectuals to perceive and promote film as an art-form. First edition, with numerous illustrations including portraits of Barry by Wyndham Lewis, with whom she had 2 children. Near fine, the occasional pencil jot in the margin by David Moody.

A brilliant biography of “J”, who founded New Directions after Pound’s suggestion on Laughlin’s leaving the Ezuversity (Rapallo, 1934), poet, and skier; both extensive & intimate. First edition, generally fine save a little edge-wear to the jacket, with the occasional pencil score in the margin by David Moody.

For one whom EP dismissed, after a term at the Ezuversity in Rapallo around 1934-5, as hopeless poet (but hopeful publisher), this heavy volume stands testament to Laughlin’s lifelong walking “a long corridor of closed doors.” A style we might attest more to W.C.W. than EP, who encouraged Laughlin to compose later on in life. First clothbound edition. A fine copy in a lightly bumped jacket.

A biography of de Roux, writer, publisher, and editor of the EP Cahiers de L’Herne. With one chapter given over to de Roux and Pound’s first meeting in 1963. A good copy a little grubby on the extremities.

A collection of essays by Dominique de Roux, in French, on EP; with foreword by M. de R., translated to French by Philippe Mikriammos; a further essay by the editor, a calendar of the encounters between D. de R. and EP by Mikriammos, and a small amount of correspondence between D. de R. and EP and Olga Rudge. One of 300 copies “sur offset,” a further 33 were printed on vergé. Inscribed in ink to the ffep from Philippe Mikriammos to David Moody, “with best wishes for his grand oeuvre.”

A small book of poetic prose by de Roux upon two lost lives, Mao Tse-Tong & Ezra Pound, both poet statesmen; with a brief essay by de Roux on EP dated 1973, and a bibliography of the author’s works. Third edition, after a first in 1974 and a second in 1985. A very pretty printing with shining black ink.

“Shall two know the same in their knowing? Thought is a labyrinth.” Thus ends The Pound Era with two quotes, the first, of The Cantos, the second from a letter from Davenport to Kenner in 1963. These one thousand plus letters, with extensive endnotes, document the rare harmonising of two equally isolated thinkers. Together Kenner & Davenport liberated each other into publishing works composed as they had learned to from the modernists, and not as the universities then expected them. A fine set, in the original slipcase.