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.

A Reprint of Poetry and Prose for Book Lovers, chosen in part from scarce editions and sources not generally known

The Bibelot was a monthly publication of literature curated by Thomas B. Mosher, each issue given to a single work or author, and generally of the highest quality. Volume 1, for example, contains Lyrics from William Blake; Ballades from François Villon; Fragments from Sappho; Hand and Soul: D. G. Rossetti, and so on. Running from 1895 to 1914, for a total of 20 volumes (all present), Ezra Pound was surely a subscriber to the magazine, receiving monthly recommendations and reading from the editor. Before leaving America for Italy in 1908, Pound approached Mosher with some fourty poems, hoping for publication. Mosher never printed Pound, those fourty later becoming A Lume Spento, but Pound, later recording his early reading and influences, wrote, “One was guided by Mr. Mosher.”

These are all first editions, as opposed to the 1925 Testimonial Edition reprint one will find more commonly on the market. The most original are the two volumes of individual monthly issues, which are Vol. XIV (1908) and Vol. XVI (1910). These, as noted, were Sold by Subscription only, thus available only to subscribers. Inside these issues can be found adverts for “Bound Volumes… 4to, antique boards,” which are what these other volumes are, not subscriber material but back-ordered. These 18 Bound Volumes are each year’s monthlies bound together, with volume-specific paper wraps enclosing the issues. The issues in the Bound Volumes, unlike in the monthlies, do not have their wraps bound in, nor their adverts, order forms, etc., but are simply divided by their half-titles. Thirteen of these Bound Volumes have retained their dust-jackets, two are accompanied by their slipcases, though the slipcase to Vol. VII needs repair, and that of Vol. IX has lost its top and bottom parts. Volumes XVIII and XX have been rebound, the first in an attractive green patterned cloth, the latter in red leather, both with gilt to spine, each without the printed wrappers; Vol. XX with the bookplate of Eleanor R. Brankin to fpd; Vols. VII, VIII & IX also with the bookplate of John Aldred to fpd. The condition of all is generally very good, some volumes, including the monthlies, are stunning; some with foxing or mild water damage (the minority); dust-jackets generally with minor edge-wear and the occasional break to spine, some cut short; some openings occasionally uncut, including in monthly issues. Without the index issue, but with a photocopy as replacement. With a note by A. David Moody laid into Volume VIII at the Essay on Percy Bysshe Shelley by Robert Browning.

A true source of Pound’s.

Our contact with oriental poetry begins with Fitzgerald’s Rubáiyát.
  — EP, How to Read

Fitzgerald’s translation from the Persian of Khayyám, a poem on dust, drink and death, made famous by D. G. Rossetti after his purchasing a copy from Bernard Quaritch. Its poetic qualities aside, the Rubáiyát has since performed as fodder in the book trade, with umpteen editions existing, variously bound and illustrated; it was a jewel clad copy designed by Sangorski & Sutcliffe that went down with the Titanic. This copy comes with a nice Poundian assocation, being published by Thomas B. Mosher (“One was guided by Mr. Mosher,” EP), who published The Bibelot and whom Pound tried as publisher for some fourty poems written in 1903 and 1904 before leaving for Venice where he would extend the collection into A Lume Spento.

Fifth edition on Van Gelder paper, one of 925 copies. With a neat, contemporary ink ownership inscription to title-page. Fine throughout, light rubbing to the front cover; spine darkened, with streaks resulting from leafing.

  With an air of Clara d’Ellébeuse,

    — Canto XXVII

Clara d’Ellébeuse wakes up yawning against her naked arm, eternally young and already dead; at 16 she commits suicide, an imitation & repeat of a family fate, driven by love and curiosity. A little music, Pound’s choice, as compliment. Possibly the first edition, a very French publication, pocketable in yellow wraps, but in rather fragile condition with the binding only just holding and significant chipping from the paper on the spine. With a small handwritten note laid-in from A. David Moody noting other works in which Jammes mentions Clara.

A collection of French poets, including Remy de Gourmont, Arthur Rimbaud, Jules Laforgue, and so on. Published originally in paper wraps, this set rebound into three quater leather somewhat worn. With a pencil score toward the end of the inclusion from Francis Jammes in Volume 1, wherein are found mention Clara d’Ellébeuse.

  I have said:
  ‘Here such a one walked.
  ‘Here Coeur-de-Lion was slain.
  ‘Here was good singing.
  ‘Here one man hastened his step.
  ‘Here one lay panting.’

    — Provincia Deserta

One of the two books, alongside Justin Smith’s The Troubadours at Home, that directed Pound’s 1912 walking tour of Southern France; the Baedeker particularly used to plan his routes. Fifth edition, with 33 maps and 49 plans; some light wear to spine.

First English translation of Salomon Reinach’s popular History of Art, with a postcard to A. David Moody laid-in, dated Crete 14.9.73, “to greet you with a sense of things Greek & peaceful,” from Joe Oldroyd, with the same illustration of a “Young Cretan Girl” found as a fresco in the Palace of Cnossus. Cloth to spine broken at the bottom, but otherwise a good copy.

Sixth edition, in the original French. A very good copy, some marks to the boards. The naming of this book, Apollo, is a reference to an earlier text of Reinach’s, Minerva, but the content explores English, French, Italian and German art too.

  Turned from the “eau-forte
  Par Jaquemart”
  To the strait head
  Of Messalina:

  “His true Penelope
  Was Flaubert,”
  And his tool
  The engraver’s.

    — 1920 (Mauberley)

A later edition of the Édition Définitive (first in 1872) which carries this eau-forte by J. Jacquemart. With a note in pencil by A.D.M. to the title page to this effect. Lacking the front cover; some loss to the paper covering the spine, but sound. In a paper envelope with a note in ink referencing “Mauberley 1920.”

A collection of 71 poems by 23 poets from the Tang and Song dynasties, first published in 1867 by Judith Gautier, daughter of Théophile, painted by Sargeant, and inspiration for Wagner’s Tristan und Isolde. Hugh Kenner suggests Gautier might have been the first European to suspect that “there might be in Chinese modes of poetry never so much intuited by the West.” Contains translations before Pound of Li Bai’s “The Jade Staircase” and “Taking Leave of a Friend.” Split to the spine, resulting in the two parts of the book shifting a little, but sound and otherwise a nice copy with a little foxing.

“The brief, crisp lyrics of the Sappho volume almost certainly contributed to the aesthetic and practice of Imagism.”
  — D. M. R. Bentley, Minor Poets of a Superior Order

First published in 1904, Carman’s translation, which involved imagining greater poems from fragments, was an influential volume on modernist poets. The “brief, crisp lyrics,” without ornament, as D. M. R. Bentley, Professor in Canadian Literature at the University of Western Ontario, believes “almost certainly contributed to the aesthetic and practice of Imagism.” New impression, a fine copy in a lightly worn dust-jacket with an unfortunate stain to front cover. With an unascribed Christmas letter laid-in.

“Mr. Ezra Pound is the onelie begetter of this book. He suggested it, and he read the first part with Odyssean patience; his trenchant comments, well deserved, gave me the courage of my convictions, and I hope he will now find it a readable story, that is, a story which can be read aloud and heard without boredom.”
  — W. H. D. Rouse, p. v

Rouse’s modern prose translation of Homer’s Odyssey. First edition. A fine copy in a faded and spotted dust-jacket with a little edge-wear. Contemporary ink gift inscription to ffep. A number of contemporary newspaper clippings laid-in to the front and back of this book, each relating to either this translation, Rouse’s Story of Achilles, or other Homeric publications.

“Most of all they [EP & HD] read Balzac’s Swedenborgian romance Séraphita, about bringing the human soul fully alive by teaching it to see through earthly things to the divine goodness and beauty behind and beyond them. There may have been as much of Swedenborg as of Rossetti [La Vita Nuova and “The Blessèd Damozel”] behind ‘Hilda’s Book’. For Hilda, Ezra was at that time the very image of ‘adolescence in its Ariel, or Séraphita stage’.”
  — A. David Moody, Ezra Pound: Poet, Volume 1

English translation, mass market paperback. With a laid-in note from A. David Moody referencing his own biography, and H.D.’s End to Torment.

An easy & enjoyable biography of Pound, profusely illustrated. First English issue, with Thames and Hudson’s price sticker to the rear, and their publisher’s logo in gilt to the front of the cloth. A touch of foxing to the title page, otherwise near fine. With the very occasional marginal symbol from David Moody, in one place correcting a reference.

A walk through Pound’s poetry from Personae (1909) to Draft & Fragments (1970). A study on The Cantos via the earlier poetry, and how Pound’s epic grew out of those poems. Annotated by David Moody with small pencil marginalia throughout, highlighting, questioning, disagreeing or correcting the text; marks of great erudition. Review copy, with the publisher’s slip laid-in. Light foxing around the prelims, but otherwise fine.

Bacigalupo’s study of the Pisans, Rock-Drill and Thrones for those for whom these cantos divert too greatly into Cavalcanti’s “dove sta memoria” — Pound’s repeat, recontextualised, teaches by the same method we learn language (credit due). Annotated thoroughly, if often symbolically, by A. David Moody throughout; another great example of scholars reading scholars. With an ADDENDA & CORRIGENDA photocopy (or fax?) laid-in, footed “M.B., April 1981.” Dust-jacket a little worn with one tear.

An Italian lens on the poetry, and the poem’s lens on Italy, by the Rapallese scholar and Pound expert Massimo Bacigalupo. First edition (only hardback edition), a fine copy, as new.

A detailed account of New Directions’ marketing of Pound. First edition, a fine copy; the spine sunned to white. Annotated lightly throughout by A.D.M.

Walter Baumann’s seminal study of Cantos IV and LXXXII, and The Cantos under the Odyssean guise. Baumann explores both the divisibility of the poem into inter-referential fragments, and the availability of more singular aspects of the whole. First edition. A touch of pencil to each cover; light foxing to first and last few pages; some light wear to the wraps, otherwise nice.

In Pound’s final semester at Hamilton College, he studied Old Spanish, Old French, Old Provençal, Old English, German, and Physics; the last being a college requirement, and maybe this education also stuck. Critic as Scientist is a study of the scientific vocabulary and method EP harnessed in his work as critic of the arts. With chapters of geometry, laboratories, vortices, and memories. First edition. Light foxing to endpapers, spine of jacket sunned.

Bernstein, “Far from being absolutely autonomous and divorced from daily reality, the “tale of the tribe” is intentionally directed towards reality, and is expressly fashioned to enable readers to search the text for values which they can apply in the communal world. The ideal relationship between history and the tale, therefore, is one of perfect interpenetration.”

On Pound’s Cantos, Williams’ Paterson, and Olson’s Maximus Poems. First edition, paperback issue, a “Limited Paperback Edition” which the publishers deem to be “too specialized to be issued in the larger quantities that are ordinarily required.” A largely fine copy, spine presumably sunned (not green).

The unorderly student’s guide to Pounding, and an energetic entry (angle of entry, not first time encounter) to EP. First edition. Jacket very lightly worn, a little sunning to spine; some foxing around the first few pages, otherwise very nice.

An attempt at non-interpretive annotation to Pound’s poems, being a selection from Personae, Ripostes, Lustra, Cathay, Sextus, Selwyn, and The Cantos. With marginalia from A. David Moody particularly to The Cantos, often corrections. First edition. A fine copy save a small nick to the top right of the jacket.

A broader study of the genesis of Pound’s Cantos, not by just the early poetry but by painting, music, economics and history. First edition. A fine copy save a little edge-wear to the jacket, with a handful of marginal notes by David Moody.

Nigh 1000 pages of Poundian biographical study, with the occasional marginal note by David Moody. Reprint, after the 1988 first. Wraps a bit worn.

A study of the translation, history, and the political and religious setting of Pound’s Confucian translations, with a further chapter on “Confucianism in The Cantos.” First edition, a fine copy; the dust-jacket folding outwards slightly; with a couple of marginal notes by A. David Moody.

First edition. A near fine copy, the top edge a little bumped. With annotations and corrections by David Moody, from around the middle of the book on.

Cookson’s blurbs and annotations to The Cantos. First edition, paperback, published simultaneously with the hardback. A near fine copy. With a few corrections by David Moody, and a cutting of the TLS September 5 1980 laid-in featuring a letter to the editor, signed William Cookson, commencing, “Sir,— A. D. Moody is right to argue (August 15) that The Cantos…”

Documents and letters relating to, and a full transcript of Pound’s trial, “by the Defendant’s Lawyer.” First English edition, in a lightly worn jacket. Regularly annotated by David Moody, with a couple of laid-in notes, and a modern photocopy of a letter from Cornell to Dr. Wendell Mucie, dated 1945 (reproduced in full on p.29).

Davie’s first book on Pound. First edition, published concurrently with an American edition. Spine mottled with a small hole in the cloth; clean inside. With A. David Moody’s pencil ownership inscription to ffep.

Davie’s second book on Pound, a bus book. Stock browned, with the very occasional note by ADM.

K.D.’s influential formal hypothesis upon The Cantos. A wonderful copy, with the occasional positive annotation by David Moody, though starting on p.1 with “!x How can she be so wrong?” A fine copy, first edition, paperback issue.

Dekker’s study of The Cantos, with exegetical intent but much a close reading. First edition, the jacket a little split at the top of the spine but overall a beautiful copy. With A. David Moody’s pencil ownership inscription to ffep.

An analysis of Pound’s translation for their feng and cheng (that is, their right wind and its correcting effect). First English edition. A fine copy in a rubbed jacket with “3 / Jan” written in pencil down the spine. A cutting of the TLS, April 2 1964 laid-in, featuring an unsigned review, titled “Translating the Wind,” of Dembo’s book.

“In true troubadour tradition Pound sings love, war, politics, and ideals all in one canto. The poetry indicates the potential fusion of the ideal lady and ideal city, but recognises that actual government and the ideal civilisation are not yet synonymous. The love ethos and visionary ideal contradict war ethics and are posited as a means of ameliorating culture.”

Dennis’s first book, presumably her thesis, a study of Provençal literature elucidating Pound’s own use, from the poems in A Lume Spento riding right up to the Pisan Cantos. Volume 21 in the Studies in American Literature series by The Edwin Mellen Press, dedicated, in print, to A. David Moody. First edition, back cover with one bit of damage. A very uncommon book, available at institutional prices from the publisher.

Described by Alec Marsh as a “lamentable book,” a glimpse into the scholarly prowess of the House of Lords. First edition, near fine.

John Driscoll’s thesis at Uppsala University, first edition, under the university’s press. Published in 1983, the same year as John Nolde’s Blossoms From the East, marking the advent in Poundian scholarship of studies dedicated to the China Cantos. A study of the process between poet and source, particularly on Pound’s use of de Mailla’s Histoire Génèrale de la Chine and the reflection of its form (vols. X and XI are composed by de Mailla and his editors from available contemporary documents, while I to IX are a direct translation of the Manchu text) in The Cantos. A very faint handling crease to the front cover, but a fine copy.

The first major gloss of The Cantos, grown out of an effort by Edwards & Vasse in The Pound Newsletter. First edition, review copy with the publisher’s slip pasted upside-down to rfep. With an unidentified ownership inscription in pencil to ffep, and the very occasional annotation by A. David Moody. Cloth slightly worn, in the original soapy jacket a little torn.

On the mutual influence of these modernists. First edition, with one reference resolved by A. David Moody. Very pretty out of its jacket, but also in a very nice jacket (a very small break top-back of spine).

The most popular study of Pound’s Hugh Selwyn Mauberley, first edition before the corrected (under Pound’s instruction) second edition. Light annotated by David Moody with three notes in ink laid-in. A fine copy.

On Le Testament and Pound’s lesser-known, later discovered Cavalcanti, as well as small fragmentary compositions and their musical, technical, and publication history. Fine in a near fine jacket, the spine sunned, with a few pencil annotations by David Moody throughout.

A study of Pound’s psyche from an early age, with emphasis on his reaction to the Abyssinian Crisis, his incarceration in St. Lizs, and his return to Italy. Staining to pages 221-224, otherwise a fine copy with David Moody’s occasional marginalia.

Sixth in the line of glosses to Pound’s poetry. With a brief study of the Women of Trachis. NDP548, light aging, with the occasional pencil by David Moody.

  But whats all this to us? The modern world ……… !”
  Here is your modern world, and I’m no Stendhal :
  “Napoleon lands from Elba, north upon Lake Come
  An ignorant boy sets out … how wild the fire ran,
  Fabrice, falls upon Waterloo, Chartreuse de Parme,
  the first eleven chapters.

    — EP, Canto IV mss., 1915

A study of the composition of The Cantos by its unpublished manuscripts, particularly that of Canto IV, the first completed. With interesting diagrams of variorum. First edition. A fine copy save one small tear to the jacket. Annotated throughout by David Moody.

From the Open University’s Open Guides to Literature series, a short introductory book covering Pound’s work up until 1920, the final chapter being “Approaching The Cantos.” With the occasional annotation by David Moody. First edition, a fine copy.

A study of Pound’s use of documents in The Cantos, passages often quickly dismissed for their lack of poetry, though as Furia argues they are the “luminous details” provided by EP. A fine copy, the spine sunned.

A biographical pass focusing on the politics and economics, mainly Italy on. First edition. Near fine, spine sunned. Annotated lightly throughout by David Moody.

A popular account of the young poet’s first five years in London. A good copy, head of spine bumped, jacket a little aged, otherwise clean & fresh throughout. With a photocopy of a printed letter from EP to Hutchins emphasising E.P.’s KENSINGTON, NOT London. “Was not in London. months , possibly years never east of Cursitor St.” Gallup B79.

The second gloss to The Cantos, building on Edward & Vasse’s and published just before Terrell’s. Not, for the most part, annotations, but instead short essays on meanings and contexts. First edition, a very good copy, the front cover lifting slightly, top and tail of spine lightly bumped. Fleetingly annotated by A. David Moody.

A small book on The Cantos, most useful for its last chapter which studies each of the poem’s “Representative figures,” Conf., Fen., Ovid, Erigena, Cavalcanti, Douglas, Adams, and Mus. First edition, a fine copy.

Kenner’s first book on Pound. First Kraus reprint edition, following the 1951 first edition. With A. David Moody’s neat pencil ownership inscription to ffep, his very occasional pencil annotation elsewhere; a large bottom corner of the ffep removed.

First English edition. Tiny bit of trouble to the top of the jacket’s spine, foxing to flaps, light foxing to endpapers, pencil scores to the bottom edge. With the neat pencil ownership inscription of A. David Moody to ffep, his further pencil annotations to pp. 151, 323, 351, 379, 391, 451, 453, 458, 468-9, 475-6, 495, and a photocopy of a letter from HK to EP laid-in.

On the friendship between EP and HD which lasted their lifetimes, and various parallels in their poems. First edition, the top edge of the jacket turning outwards slightly, otherwise fine, with a couple of pencil annotations by David Moody.

On Pound’s translations, the “Five Types of ‘Misreading’” there-in, and the political and spiritual readings of Kung-Pound. First edition, clothbound issue in dust-jacket, fine. With pencil marginalia throughout by A. David Moody.

The first of three “Portrait Books” by Levy, this split into five parts, a biography, a mosaic of quotes, an essay on “experiencing” EP, a bibliography (primary and secondary) and a chronology. With a couple of disagreements from David Moody in the margin. A fine copy.

Though he trapse through the mud, his mind is set on higher things. A study of the troubadours, their influences on Pound in his poems and earlier cantos, and Pound’s belief in the cult of Amor. First edition. A near fine copy with the occasional fox and a light wear to the jacket. With David Moody’s occasional pencil marginalia.

A commentary on Pound’s Cantos, from their preparations to their final fragments, followed by a short chapter on the trends in Poundian criticism over the years. First edition, with the errata slip bound before the contents page. A near fine copy, hardly opened though with the occasional pencil annotation by David Moody.

Marsh’s biography of Pound, with annotations by David Moody partly critical of the book’s political lean. First edition, a near fine copy.

Letters from Pound to Meacham, a sales manager, poet and critic, from 1957 to 1960, with commentary by Meacham and a little further correspondence from Archie MacLeish and a reproduction of a letter from Robert Frost, T. S. Eliot and Ernest Hemingway to the Attorney General imploring Pound’s release. With facsimiles of some of Pound’s letters, and portraits. First edition; a beautiful production, fine throughout; jacket a little nicked.

  « a maunderin tongue in a pounderin jowl »
    — James Joyce

A neat essay, or series, on Pound’s treatment of Chinese characters and how to read them. A rare and pretty book, fine.

The first volume of David Moody’s three part biography of Pound, the result of at least this entire library on offering. First edition. New.

The second volume of David Moody’s three part biography of Pound. First edition. New.

Biography of Pound, replete with criticisms and corrections by David Moody; another good document of professorial correctness. First edition, near fine.

With a particularly interesting chapter on “Critical Reception”. First edition, paperback issue. Near fine.

Part of the Ezra Pound Scholarship Series edited by C. F. Terrell. One of the two books on the China Cantos to be published in ’83, marking the advent of developed studies of that section. First edition. A fine copy with a little forward lean, in an unevenly sunned jacket with some edge-wear.

Biography of Pound to date, this one with divisions by relation, such as Pound and Yeats, Pound and Frost, Pound and Eliot, and a chapter given over to Pound’s 1939 visit to the USA. First edition, near fine with blooms of foxing to first few and last few pages, in a good jacket with one tear to the back of the spine. With the occasional factual correction by David Moody.

A study of Pound’s world view, political, economical etc. with “Points of View” by cummings, Williams, Zukofsky and more (contributed to the 1948 ed.), leading up to a number of chapters on Pound’s trial which are annotated by David Moody with one note laid-in. With a short advert for the book by Julien Cornell (Pound’s attorney) laid in at the half-title. An expansion on Norman’s 1948 book by the same name. A fine copy in a worn jacket.

One of the great works of Poundian scholarship (of its day; or at least, one of the few on the shelves at the London Library). A study of the coherence of the form of The Cantos with the Commedia, and Pound’s developing treatment of time throughout the poem. First edition, a fine enough copy with the very occasional tick from ADM.

  “For Professor David Moody,
    Who sowed the seed of
    this book 30 years ago!”

First edition, lightly read with David Moody’s annotations. With a gift inscription from the author to David Moody backdated to, one presumes, the sowing.

“My belief is that only a detour through Heidegger can permit one to understand the ‘foundational’ position of Pound as a poet.” First edition. A near fine copy with light shelf-wear and the jacket’s spine sunned. With David Moody’s light marginalia.

A megalithic piece of Poundian scholarship, and to me one of the finest for its divergence and (you might argue) delusion. Read argues for The Cantos’ coherence, discovering Pound’s plan to be based upon a Calendar he published anonymously in The Little Review, Picabia Number, the Seal of America, the Constitution & Declaration of Independence, and the Four Tuan. First edition, paperback issue, with light paperback-usual creasing.

A kind of biography of Pound, with a personal account of Reck’s knowing him at St. Elizabeths. Reproduces a letter from Pound to Reck (who was then in Japan with the Army) guiding his translation of the Women of Trachis into Japanese; and, interleaved verse by verse with Pound’s, Fenollosa’s translation of Li Bai’s “Exile’s Letter” (partial) and “The River Merchant’s Wife.” First English edition, one year after the American. A fine book with Moody’s occasional annotation in a very good jacket, a few scratches to the back cover and one small tear to the front. With a photocopy of Michael Reck’s Memoirs of a Parody Perry from the Appendix of Ezra Pound & Japan, pub. Black Swan Press 1987, laid in to rear, dedicated in felt from Reck to Moody, 1983.

On Pound’s support of the fascist regime, and how he got there, through Orage, Douglas, and Gessell. First edition, a fine copy in a near fine jacket suffering only from sunning and a little shelf-wear. With David Moody’s marginalia throughout.

Annotations, explications, and variorum for the poems in Pound’s Personae (1926). First paperback printing. Wraps faded, spine sunned, otherwise fine with the occasional annotation from David Moody.

For the 80 pages of Adams Cantos, Sanders provides over 500 in per-canto commentary, elaborating Pound’s selection of the diaries of John Adams etc. to guide the reader to the understanding of the American Revolution that Pound demands. First edition, a near fine copy in the original jacket, lightly annotated by David Moody.

A study of the influences of the cultures of poetry and philosophy on each other in the Modern era. First paperback edition, lightly read, the spine sunned, with annotations by David Moody and an ink dedication from the author to David Moody on the half-title reading, “To David Moody, / On the same trail, / Sandford Schwartz.”

As per Kenner, “One of the basic items of Pound scholarship.” A juxtaposition of de Gourmont’s and Pound’s works, revealing new aspects of Pound’s political ideas and the late cantos. First edition, a fine book in a lightly worn jacket.

  “Nor doth it follow, that they cannot speake, because we cannot heare, or that they want language, because we want understanding.”
    — Thomas Fuller, Ornitho-logie; or The Speech of Birds

A study of the sound and language of Pound’s poetry, from Hilda’s Book to The Cantos. Sole edition, a fine copy.

Stock’s first book on Pound, after a decade of collaboration and editorials (Edge, Impact, Love Poems of Ancient Egypt), composed using unpublished manuscripts at Brunnenburg. First edition, a fine copy save spotting on the edges (not the pages) in a very near fine & beautiful jacket, unforuntately price clipped (cutting out history).

Stock’s tour through The Cantos, preceding Drafts & Fragments. First English edition, one year after the American. A fine book in a very clean jacket with one small puncture.

Stock’s biography of Pound, composed in part using unpublished material housed at Brunnenburg. First edition, fine in a troubled jacket with a few tape repairs.

“Ezra Pound was born in Hailey, Idaho, in 1885, but he grew up in Pennsylvania.” Drawing from such a wealth of material that Stock thought this account worthy of a separate book from his Life of Ezra Pound. First edition, no. 533 of 1000 copies. A near fine copy, just a small nick to the cutaway framing Pound’s face on the front-cover. With the occasional marginal note from A. David Moody.

  “If Ezra Pound were a professor, there would be nothing left for him but suicide.”
    — W. G. Hale of The University of Chicago to Harriet Monroe, 1919

With the Latin & English vis à vis. First English edition, published one year after the American. A mostly fine copy, the jacket a little worn, the occasional marginal note from David Moody.

Surette’s third book on Pound, a study of the development of Pound’s economic theory (alongside those political and racial) from 1931 to 1936. Something of a development from Tim Redman’s Ezra Pound and Italian Fascism, extending the corpus of Pound’s correspondence to the previously unstudied letters with Arthur Kitson, Hugo Fack and E. S. Woodward, each anti-Semites. Surette characterises this period as Pound’s entry into confusion. First edition, a fine copy with David Moody’s marginalia throughout.

A set of essays by the great annotator on The Cantos. A chapter on “The Structure of The Cantos” presents venn-diagrams, wheels within wheels, traingles, and tetraktys arrangements for the China and Adams Cantos; the book not, however, including Forrest Read’s ’76 in its bibliography. Further essays on “Pound vs. Reductionist Orthodoxies,” “Debt-Free Money,” “The Divine Mystery,” a seminar-conversation student to expert, a review of EP and DS: Their Letters, Pound-Joyce, Pound and his silence, madness vs treason. First edition, lightly read with the top corner gently leafed; sunning to spine spilling over onto covers.

A biographical study of Pound marking the path that lead him to the Gorilla Cage and the bughouse. First edition, paperback issue. A fine copy with the very occasional annotation from David Moody.

Biography of Pound, with a critical note from David Moody laid-in, and his further pencil marginalia. First edition, a fine copy.

Wilhelm’s first book on Pound, a comparison between the two epic poets who, as Wilhelm identifies, are the only to write judgement at every step of the way. With due chapters on Guido Cavalcanti, mentor to Dante and mask to Pound. Readers may aso be interested to find Wilhelm’s Il Miglior Fabbro: The Cult of the Difficult in Daniel, Dante and Pound (1974). First edition, the spine sunned with a touch of shelf-wear, otherwise fine, lacking the jacket. The occasional pencil note by David Moody.

On Los Cantares and Drafts & Frags., an explication via Pound’s interests in Dante, Neoplatonism, Confucius, John Adams and Thomas Jefferson, Medieval Architecture, Byzantium etc. First edition, a near fine copy in a smart jacket.

A three volume biography of Pound by J. J. Wilhelm. The first part a climbing up Pound’s family tree, which Pound himself claimed stood for a miniature “social history of America”; the second part largely focused on Pound’s social circles, with incredible chronological research; the third on the remainder, as we all know, and composed in chapters given over to single years or small spans of years. First editions all (1985, 1990, 1994), each fine in near fine jackets (spines sunned, third with a mark to front cover), with occasional pencil annotations from David Moody and a number of notes in ink laid into the first volume.

An introduction to the life and works, with a little on the Italian Cantos. First edition, not terribly common, & mostly fine.

“Indispendable,” in Kenner’s words. A study of Pound’s poetry from ALS to HSM, including pieces unpublished. Inscribed to David Moody on the half-title, “with thanks for his hospitality,” dated 1984. The usual noughts and crosses in the margin from David Moody. First paperback edition after the 1969 first. Spine sunned from grey to green, touch of damage at top of spine, front cover lifting; with the occasional pencil from David Moody.

On Pound’s “temperament,” which is a nice word to use on the poet in his tent, watching wasps. First edition, a fine copy in a near fine jacket, the spine sunned. With a little pencil from David Moody.

Translations or translucencies; Yip’s deep dive into Pound’s highly influential Cathay (1915) and, given the influence Fenellosa had on Pound, a study of Pound’s lifelong poetic technique. First edition, near fine in a good price-clipped jacket, lightly browned along the top-edge, edge-wear at the top and tail of the spine, and a repaired break to the back. With one note in ink from David Moody laid-in.

A selection of material related to Pound’s reputation mainly in post-war America, with newspaper articles, medical reports, responses to the Bollingen Award, and reactions to Pound’s indictment. First edition, second printing, May 1959. Covers worn. With pencil annotations from David Moody throughout, and a newspaper cutting from The Guardian, Friday 11 April 2008, “Leader: Ezra Pound,” laid in.

Contents: “Citation with Honroary Degree from Hamilton College”; Nathaniel Weyl, “The Strange Case of Ezra Pound”; Time, “Treason”; Newsweek, “Impounded Records”; New York Times, ‘Pound’s Mind “Unsound”’; “Medical Report on Pound”; George Dillon, “A Note on the Obvious”; Book Review Digest, “Reviews of Cantos and Pisan Cantos”; Robert L. Allen, “The Cage”; David Park Williams, “The Background of The Pisan Cantos”; Library of Congress Press Release, “The Pisan Cantos Wins for Ezra Pound First Award of Bollingen in Poetry”; Dwight Macdonald, “Homage to Twelve Judges (an editorial)”; William Barrett, “A Prize for Ezra Pound”; W. H. Auden, Robert Gorham Davis, Clement Greenberg, Irving Howe, George Orwell, Karl Shapiro, Allen Tate, William Barrett, “The Question of the Pound Award”; Ray West, “Excerpts from a Journal: 1949”; Aline Louchheim Saarinen, “The State and Art”; Earle Davis, “Ezra Pound, Traitor and Poet”; Archibald MacLeish, “Poetry and Opinion”; Peter Viereck, “Pure Poetry, Impure Politics, and Ezra Pound”; David Rattray, “Weekend with Ezra Pound”; Jack LaZebnik, “The Case of Ezra Pound”; New York Times, “Ezra Pound May Escape Trial”; The Nation, “What the Pound Case Means (an editorial)”; New York Times, “U.S. Asked to End Pound Indictment”; Statement of Robert Frost; New York Times, “Court Drops Charge Against Ezra Pound”; New York Times, “New Canto for a Poet”; Washington Star, “Ezra Pound Still Sees Mad World Out of Step”; New York Times, “Pound to Live with Daughter”; New York Post, “Ezra Pound’s Canto to Run in Yale Mag”; Babette Deutsch, “The Teacher”; plus appendices, containing selections from cantos, from radio broadcasts, a primary and secondary bibliography, and research exercises for students.

A small but essential collection of essays of The Cantos. First edition, second printing and paperback edition, 1961. Lightly browned at page edges; wraps worn, the spine sunned, with a price sticker to front cover.

Contents: Hugh Kenner, “The Broken Mirrors and the Mirror of Memory”; Guy Davenport, “Pound and Frobenius”; Sister M. Bernetta Quinn, O.S.F, “The Metamorphoses of Ezra Pound”; Forrest Read, Jr., “A Man of No Fortune.”

A selection of literary criticism on Pound, with first class contributors. First edition, paperback issue. Wraps lightly worn, spotting along the edges of the text-block, but otherwise a nice, clean copy.

Contents: Walter Sutton, “Introduction”; W. B. Yeats, “Ezra Pound”; W. C. Williams, “Excerpts from a Critical Sketch: A Draft of XXX Cantos by Ezra Pound”; T. S. Eliot, “Ezra Pound”; F. R. Leavis, “Ezra Pound”; Hugh Kenner, “Mauberley”; M. L. Rosenthal, “The Cantos”; Forrest Read[, Jr.], “A Man of No Fortune”; David W. Evans, “Ezra Pound as Prison Poet”; W. M. Frohock, “The Revolt of Ezra Pound”; Harold H. Watts, “Reckoning”; Earl Miner, “Pound, Haiku, and the Image”; Murray Schafer, “Ezra Pound and Music”; J. P. Sullivan, “Pound’s Homage to Propertius: The Structure of a Mask”; George P. Elliott, “Poet of Many Voices”; Roy Harvey Pearce, “Pound, Whitman, and the American Epic,” together with a chronology of important dates and a selected bibliography.

A compilation of personal reminiscences, analyses and commentaries; a tribute for the poet’s eightieth birthday. First edition. With numerous illustrations, including a number of manuscripts and the front wrapper of Orientamenti (1944), “one of the rarest of all Pound’s books.” The very occasional marginal note, and a note in ink laid in to rear from David Moody, referencing “the custodian of Ezra Pound’s papers,” which was how Stock was described on the rear flap before that being blacked out. A near fine book in a very good jacket, with a little rubbing, a small tear to the back, and a little loss to the front.

Contents: Noel Stock, “Introduction”; Conrad Aiken, “Ezra Pound: 1914”; Herbert Read, “Ezra Pound”; Marianne Moore, “Tribute”; Hugh Kenner, “Leucothea’s Bikini: Mimetic Homage”; A. Alvarez, “Craft and Morals”; Peter Whigham, “Ezra Pound and Catullus”; Donald Gallup, “The Search for Mrs. Wood’s Program”; Allen Tate, “Ezra Pound and the Bollingen Prize”; Hugh Mac Diarmid, “The Return of the Long Poem”; Rabindranath Tagore, T. S. Eliot, Wyndham Lewis, James Joyce, Marianne Moore, Henry Newbolt, W. B. Yeats, Richard Aldington, W. C. Williams, F. M. Ford, e. e. cummings, “A Bundle of Letters”; William Fleming, “Ezra Pound and the French Language”; Ernest Hemingway, “A Note on Ezra Pound”; Christine Brooke-Rose, “Piers Plowman in the Modern Wasteland”; Tom Scott, “An Appreciation”; Wyndham Lewis, “The Rock Drill”; Joseph Fetler Malof, “Ez Pound, Inc.”; Denis Goacher, “BBC THIRD PROGRAM: Ezra Pound—Translations from the Chinese.”

A collection of essays from an A-list line-up, most in the manner of the review appearing here for the first time. First edition. Near fine. The very occasional pencil annotation from David Moody.

Contents: Eva Hesse, “Introduction”; Richard Ellmann, “Ez and Old Billyum”; N. Christoph De Nagy, “Pound and Browning”; Forrest Read, “Pound, Joyce, and Flaubert: The Odysseans”; Guy Davenport, “Persephone’s Ezra”; Boris de Rachewiltz, “Pagan and Magic Elements in Ezra Pound’s Works”; Donald Davie, “The Poet as Sculptor”; J. P. Sullivan, “Ezra Pound and the Classics”; Christine Brooke-Rose, “Lay me by Aurelie: An Examination of Pound’s Use of Historical and Semi-Historical Sources”; George Dekker, “Myth and Metamorphosis: Two Aspects of Myth in The Cantos”; Walter Baumann, “Secretary of Nature, J. Heydon”; John Espey, “The Inheritance of Tò Kalón”; Hugh Kenner, “Blood for the Ghosts”; Albert Cook, “Rhythm and Person in The Cantos”; Leslie Fiedler, “Traitor or Laureate: The Two Trials of the Poet.”

A collection of critical reviews to Pound’s editions, as detailed as to include publications such as Sonnets and Ballate of Guido Cavalcanti (1912) and Instigations (1920), commencing with a number of written portraits of Pound, then passing from ALS right up to Drafts & Frags.; the contents too many to list. A number of pencil annotations from David Moody, some notably more extensive. First edition. Foxing to the prelims, very light edge-wear to the jacket, otherwise fine.

A small collection of essays regarding Pound’s work in London, compiled from talks given at the first* Ezra Pound Conference, held in Sheffield 1976, at which an exhibition of materials was also shown, in collaboration with Omar Pound. First edition, a fine book in a near-fine jacket, and a beautiful production. With one ephemeral note in ink from David Moody laid into near the rear.

Contents: Eric Homberger, “Modernists and Edwardians”; William Pratt, “Ezra Pound and the Image”; Peter Makin, “Pound’s Provence and the Medieval Paideuma: An Essay in Aesthetics”; Donald Monk, “How to Misread: Pound’s Use of Translation”; Ian F. A. Bell, “Mauberley’s Barrier of Style”; Walter Baumann, “The Structure of Canto IV”; with a further “Catalogue of a Pound Exhibition (Sheffield University, 23 April 1976),” which, among other things, is a great resource for Pound’s trips to France at the time.

* The first actually seems to have been held in Orono, Maine, 1975, which Grover does not recognise.

Pound and [Poet]; essays relating Pound’s relationships to other poets, prior or contemporary. Occasional pencil symbol from David Moody in the margin. First edition, paperback issue. A fine copy.

Contents: George Bornstein, “Introduction”; Hugh Kenner, “Pound and Homer”; Lillian Feder, “Pound and Ovid”; Ronald Bush, “Pound and Li Po: What Becomes a Man”; Stuart Y. McDougal, “Dreaming a Renaissance: Pound’s Dantean Inheritance”; Hugh Witemeyer, “Clothing the American Adam: Pound’s Tailoring of Walt Whitman”; George Bornstein, “Pound’s Parleyings with Robert Browning”; A. Walton Litz, “Pound and Yeats: The Road to Stone Cottage”; Thomas Parkinson, “Pound and Williams”; Robert Langbaum, “Pound and Eliot”; Marjorie Perloff, “The Contemporary of Our Grandchildren: Pound’s Influence.”

Essays following talks from the 13th EPIC, “Pound and America,” held at the University of Essex, September 1989. With a contribution from Richard Dean Taylor who spent years in effort of constructing a Variorum for The Cantos (see The Tragi-Comical History of the Variorum Project and its Betrayal by Cambridge University Press here, and the prototype hypertext here). First edition, a fine copy in a near-fine jacket, back flap a little dirtied.

Contents: Maria Luisa Ardizzone, “Some Additions and Corrections to Ezra Pound e la scienza”; L. S. C. Bristow, “‘God, my god, you folks are DUMB!!!’: Pound’s Rome Radio Broadcasts”; Angelia Elliott, “The Eidolon Self: Emerson, Whitman and Pound”; Peter Makin, “Americanus Natione non Moribus”; A. D. Moody, “Composition in the Adams Cantos”; Eric Mottram, “Ezra Pound in his Time”; Nick Selby, “Revolutionary Figures in Canto XXXI”; Richard [Dean] Taylor, “Reconstructing Ezra Pound’s Cantos: Variorum Edition — Manuscript Archive — Reading Text”; Demetres P. Tryphonopoulos, “‘That Great Year Epic’: Ezra Pound, Katherine Ruth Heyman and H.D.”; E. P. Walkiewicz and Hugh Witemeyer, “Ezra Pound, Bronson Cutting and American Issues, 1930-5”; Stephen Wilson, “Pound’s American Revolutions.”

A large collection of essays on Pound’s use of Fenollosa and his love and work on Noh. A fine copy, with the publisher’s advertisment for “New Titles - Autumn 1994,” and a postcard from an exhibition, “V O U: Visual Poetry of the Japanese Avant-Garde from the collection of John Solt, January 22 - June 10, 1990,” featuring a work by Kitasono Katue (Kit Kat, to Pound), night of figure (1975) laid-in.

“This Cambridge Companion to Ezra Pound contains fifteen chapters by leading international scholars, who together reflect diverse but complementary approaches to the study of Ezra Pound’s poetry and prose. They consider the poetics, foreign influences, economics, politics and publication history of Pound’s entire corpus [!], and reveal his importance in developing some of the key movements in twentieth-century poetry. The book also situates Pound’s work in the context of modernism, illustrating his influence on contemporaries such as T. S. Eliot and James Joyce. Taken together, the chapters offer a sustained examination of one of the most versatile, influential and certainly controversial poets of the modern period.” First edition, paperback issue. A fine copy save the slightest edge wear to the back wrap. With the occasional pencil marginalia from David Moody, including lots of disagreement with Nadel’s Chronology.

Contents: Ira B. Nadel, “Introduction   Understanding Pound”; George Bornstein, “Pound and the making of modernism”; Hugh Witemeyer , “Early poetry 1908-1920”; Daniel Albright, “Early Cantos I-XLI”; Ian F. A. Bell, “Middle Cantos XLII-LXXI”; Ronald Bush, “Late Cantos LXXII-CXVII”; Peter Nicholls, “Beyond The Cantos: Pound and American poetry”; Richard [Dean] Taylor, “The texts of The Cantos”; Massimo Bacigalupo, “Pound as critic”; Ming Xie, “Pound as translator”; Reed Way Dasenbrock, “Pound and the visual arts”; Michael Ingham, “Pound and music”; Tim Redman, “Pound’s politics and economics”; Helen M. Dennis, “Pound, women and gender”; Wendy Flory, “Pound and antisemitism.”

A sweet little book containing essays in English and Italian on Pound’s economics, with political bent where applicable. A little aged but mostly fine.

Contents: Luca Gallesi, “Introduzione”; Giano Accame, “Attualità di Pound economista”; Giacinto Auriti, “L’anno sabbatico, valore indotto, valore creditizio e signoraggio”; Mary de Rachewiltz, “La virtù nell’economia di Ezra Pound”; Giorgio Galli, “Ezra Pound tra economia ed esoterismo”; David A. Moody, “Directio voluntatis. Pound’s economics in the Economy of The Cantos”; Tim Redman, “Opere recenti su Pound economista: Accame, Marsh e Surette”; Leon Surette, “A Dangerous Difference: Pound, Douglas & Proudhon”; Demetres P. Tryphonopoulos, “«The State Is Corporate / as with Pulse in its Body»: Ezra Pound’s Byzantine and Fascist Paradigms for an Economic Program.”

Essays after talks held at the 18th EPIC, Beijing, July 1999. A fine copy save a scratch to the back cover. With David Moody’s annotations to “Confucius and Confusion” and “Confucius Erased.”

Contents: Zhaoming Qian, “Introduction”; Ira B. Nadel, “Constructing the Orient: Pound’s American Vision”; Barry Ahearn, “Cathay: What Sort of Translation?”; Christine Froula, “The Beauties of Mistranslation: On Pound’s English after Cathay”; Peter Makin, ‘Ideogram, “Right Naming,” and the Authoritarian Streak’; Wendy Stallard Flory, “Confucius against Confusion: Ezra Pound and the Catholic Chaplain at Pisa”; Ronald Bush, “Confucius Erased: The Missing Ideograms in The Pisan Cantos”; Britton Gildersleeve, ‘“Enigma” at the Heart of Paradise: Buddhism, Kuanon, and the Feminine Ideogram in The Cantos”; Emily Mitchell Wallace, ‘“Why Not Spirits?”—“The Universe Is Alive”: Ezra Pound, Joseph Rock, the Na Khi, and Plotinus’; Patricia de Rachewiltz, Yang Lian, Kim Jong-Gil, “Poems”; Mary de Rachewiltz, “Afterword: Kung Is to Pound as Is Water to Fishes.”

A range of essays on The Cantos showcasing the numerous aspects by which the poem can be approached. With an unusual contribution against the Commedia as model. First edition, the only available in hardback. With a little light wear to the boards. David Moody’s annotations, mostly to Makin’s introduction.

Contents: Peter Makin, “Introduction”; Hugh Kenner, “Ezra Pound”; Guy Davenport, “Persephone’s Ezra”; Girolamo Mancuso, “The Ideogrammic Method in The Cantos”; Reed Way Dasenbrock, “Why the Commedia Is Not the Model for The Cantos and What Is”; Peter Makin, “History and Money, Fact and Hysteria”; Massimo Bacigalupo, ‘“Safe with My Lynxes”: Pound’s Figure in the Carpet?’; Kevin Oderman, “Extracts from Ezra Pound and the Erotic Medium”; Peter Nicholls, “A Metaphysics of the State”; Hugh Kenner, “Inventing Confucius”; D. S. Carne-Ross, “The Music of a Lost Dynasty: Pound in the Classroom”; Donald Davie, “Res and Verba in Rock-Drill and After”; Ronald Bush, ‘“Unstill, Ever Turning”: The Composition of Ezra Pound’s Drafts & Fragments’; D. G. Bridson, “An Interview with Ezra Pound”; Donald Hall, “Ezra Pound: An Interview.”

A three part collection being “Biography and Works,” “Historical and Cultural Context,” and “Critical Reception,” with contributions from a number of contemporary scholars. First edition, a fine copy in a near fine jacket, with a bookmark laid in at John Gery’s Venice.

Not of contributors, but Qian’s compilation of materials (mostly letters, annotated) relating Pound and his correspondents and colleagues in China. First edition. A fine copy, one bump to the jacket, with the occasional pencil and note laid-in from David Moody.

A four part compilation after talks given at the 22nd EPIC. First edition, a fine copy, and a beautiful production.

Contents: Part I, Pound in Venice: Tim Redman, “Mussolini’s First Years and Last Months: What Did Pound Know about Il Duce’s Beginning and End?”; David Barnes, “‘Ct/Volpe’s Neck’: Re-approaching Pound’s Venice in the Fascist Context”; Massimo Bacigalupo, “City vs. Country in Pound: Venice, Fortuna, and John Law”; Anne Conover, “Deliverance! Ezra Pound’s Last Days”; Part II, Pound’s Poetry: Réka Mihálka, “Appropriate Orientation: Whistler and Pound”; Peter Liebregts, “‘Bricks thought into being ex nihil’: Ezra Pound and Creation”; Helen May Dennis, “Primitivism in Poundian Poetics: The Modernist Quest for Ancient Wisdom”; Peter Nicholls, “Beginning the End: Ezra Pound and the Poetics of Survival”; Robert Rehder, “The End of The Cantos”; Part III, Pound’s Legacy: William Pratt, “Beyond Modernism: Pound as Vatic Poet”; H. R. Stoneback, “‘I Would … Be Hanged with You’: Ernest Hemingway and Ezra Pound”; Ian S. MacNiven, “Poetry and/or Publishing: Pound, Stein, and the Evolution of James Laughlin’s New Directions”; Peggy L. Fox, “Mission Impossible: James Laughlin, Ezra Pound, and the Founding of New Directions”; Part IV, Poems in Honor of Pound: Patricia de Rachewiltz, “Sumer 1958”; Robert Rehder, “Entropy”; Robert Rehder, “The Surface of the Water”; Biljana D. Obradović, “Lunch in Venice”; Biljana D. Obradović, “Evening Light”; Hoshang Merchant, “Tagore Meets Pound VIII”; Kevin Kiely, “Mary Pound de Rachewiltz”; John Gery, “Il Redentore”; John Gery, “Miracoli”; H. R. Stoneback, From “For EP: In Our Time”; Mary de Rachewiltz, “I Was There.”

A compilation of reviews, either from newspapers or little mags, of an amazing c. 37% of Gallup A items (later limited editions and Italian publications certainly omitted). Printed in an appeasing double-column format. First edition, without jacket as issued. A fine copy save a couple of spots of white paint on the back. A couple of marginal notes from David Moody.

Volume 4 in the The Ezra Pound Center for Literature Series, edited by John Gery. A selection of essays on a range of Modernist writers in their relation to China. First edition, an uncommon publication. A fine copy, the front cover slightly lifting.

Contents: Zhang Longxi, “Elective Affinities? On Wilde’s Reading of Zhuangzi”; Sabine Sielke, ‘“Orientalizing” Emily Dickinson and Marianne Moore—Complicating Modernism?’; Daniel Albright, “The Flute—East/West—in Modernist Music and Poetry”; Christine Froula, “Proust’s China”; Qiping Yin, “Chu Shi and Ru Shi: Robert Frost in Taoist Perspective”; Ira B. Nadel, “The Modernist Page: Joyce and the Graphic Design of Chinese Writing”; Fen Gao, “Virigina Woolf’s Truth and Zhenhuan in Chinese Poetics”; Christian Kloeckner, “Re-Orienting Impersonality: T. S. Eliot and the Self of the Far East”; Ronald Bush, ‘“Young Willows” in Pound’s Pisan Cantos: “Light as the Branch of Kuanon”’; Zhaoming Qian, “Mai-mai Sze, The Tao, and Late Moore”; Richard Parker, “Louis Zukofsky’s American Zen”; Tony Lopez, “The Orient in Later Modernist English Poetry.”

An ecclectic and modern compilation of essays in relation to Pound and contemporary British poets, a sequel to Sons of Ezra: British Poets and Ezra Pound (McGonigal and Alexander, ed., 1995). First edition, review copy with an A4 folded leaf from the publisher laid-in. A fine copy. With a number of pencil highlights in the margin from David Moody.

Contents: Richard Parker, ‘“Here’s Your Fucking Light Shithead”: Ezra Pound and Contemporary British Poetry”; Keston Sutherland, “In Memory of Your Occult Convolutions”; Amy Evans, ‘“So I think a beginning has been made”: Ezra Pound, Robert Duncan and Eric Mottram”; Eric Mottram (ed. Amy Evans), “Pound, Olson and The Secret of the Golden Flower”; Robert Hampson, ‘Eric Mottram and Ezra Pound: “There is no substitute for a life-time.”’; Alexander Howard, “Compacts, Commerce, and a Few Remarks Concerning Andrew Crozier”; Mark Scroggins, ‘The “half-fabulous field-ditcher”: Ruskin, Pound, Geoffrey Hill’; Josh Kotin, “Blood-Stained Battle-Flags: Ezra Pound, J.H. Prynne and Classical Chinese Poetry”; Ryan Dobran, “Myth, Culture and Text: Ezra Pound’s Homer and J.H. Prynne’s Aristeas”; Gareth Farmer, ‘“Obstinate Isles” and Rhetorical Sincerity: Veronica Forrest-Thomson and Ezra Pound”; Laura Kilbride, ‘“Real Games With Books”: On Anna Mendelssohn and Ezra Pound”; Allen Fisher, “Atkins Stomp”; Juha Virtanen, ‘Allen Fisher Reading: Facture, “Atkins Stomp” and Ezra Pound’; Gavin Selerie, “Pound and Contemporary British Poetry: The Loosening of Form”; Gavin Selerie, “Poems from Hariot Double”; David Vichnar, “P.S.: Pound and Sinclair’s Intertextual Ley Lines”; Harry Gilonis, “Second Heave — Fracture Syntax”; Tony Lopez, “Darwin in Rome: Pound and Stein”; Tony Lopez, “From Darwin, a section of Only More So”; Robert Sheppard, “The Li Shang-yin Suite”; Sean Pryor, “Some Thoughts on Refrigiration”; Danny Hayward, “Or Storming the Shopping Centre: Poetry, Competition, Pound, Quid”; Alex Pestell, ‘“All in for folly and mustard”: Pound, Zukofsky and Word is Born”; Tim Atkins, “Happiness / The Art of Poetry Being a translation of the 10 Buddhist Ox-Herding Poems.”

Essays upon Pound’s relevance Today (2016). First edition, a fine copy, with David Moody’s marginalia to the introduction.

Contents: Part I, Pound’s Methods: Charles Altieri, “Why Pound’s Imagist Poems Still Matter”; Josephine Park, “Not-So-Distant Reading”; Aaron Jaffe, “Paleolithic Media: Deep Time and Ezra Pound’s Methods”; Part II, Pound’s Worlds: Christopher Bush, ‘“I am all for the triangle”: The Geopolitical Aesthetic of Pound’s Japan’; Jean-Michel Rabaté, “Ezra Pound and the Globalization of Literature”; Christine Froula, “Ezra Pound and the Comparative Literature of the Present, or, Triptych Rome/London/Pisa”; Part III, Pound’s Values: Paul Stasi, “Ezra Pound and the Critique of Value”; C. D. Blanton, “Ezra Pound’s Effective Demand: Keynes, Causality, and The Cantos.”

Two books from the Major C. H. Douglas, economist and pioneer of Social Credit, fostered in A. R. Orage’s New Age magazine, both of which highly influenced Pound’s early economic theories and which he reviewed, promoted, and suggested were translated into French in an article for Les Ecrits Nouveaux titled “Le major C-H Douglas et le situation en Angleterre,” 1921, lated reprinted by Piere Aelberts as Être Citoyen Romain / était un privilége / Être Citoyen Moderne / est un calamité, Gallup A84.

First editions each, both with identical contemporary ink ownership inscriptions. Both near fine, spines sunned and a little aging.

Douglas’s treatise on Social Credit, of which Pound was a proponent despite a tetchy relationship with Douglas himself. Third (revised and enlarged edition; May 1933), after the 1924 First, fourth reprint. Near fine in a wonderfully preserved original jacket.

A survey of economic interests at the time of the declaration of independence, including studies of each of those members of the Constitutional Convention, hand-numbered in ink in the margin in this copy, totalling 51. Reissue (1935) with a new introduction, third reprint (Pound himself had a copy of the second reprint, see Tim Redman’s cataloguing of Pound’s Library). A very good copy save for the loss of a certain amount of cloth to the spine.

Letters (many father from son), as well as a number of diary entries; a volume James Laughlin would’ve benefitted from owning. First edition, one flap of the dust-jacket printed to fpd; spine dust-soiled, otherwise very good.

First Scribner edition, after the 1928 Longman first. Spine faded with a little of shelf-wear, clean throughout; generally a very good copy.

A complete, four volume set of the Diary and Autobiography of John Adams as edited by L. H. Butterfield. First edition, each in their original jackets. Fine copies bar foxing to endpapers and pastedowns. Each jacket very good to near fine, with surface wear and occasional chips to spines, and a stain to the jacket of the first vol.

Fourty years of letters between the second president and his wife, with insights into the drafting of the Declaration of Independence and the raising of president-to-be JQA. First edition. A fine copy of a fine, illustrated production.

A quality tome of some of the most significant correspondence in American history. Reprint after the 1959 first edition. A fine copy in fine jacket.

Letters not only of farm problems, gardeners & french horns, but also of political affairs both sides of the Atlantic. A fine copy in the original jacket rather edge-worn with a loss top & tail of spine. With a Suggestion Form from the University of York Library for a copy of James Parton’s Life of Thomas Jefferson, Da Capo 1971 laid into rear, dated 14-8-75, unascribed but David Moody’s.

Containing his Autobiography; A Summary View of the Rights of British America; Notes on the State of Virginia; Public Papers; Addresses, Messages, and Replies; Miscellany; Letters. First edition, first printing, on India paper with a map of north-eastern America inserted at rear. A fine copy in a lightly worn jacket.

First edition, fifteenth printing. Near-contemporary ink gift inscription verso of the frontispiece. Spine-side sunned with a small loss of cloth at bottom of spine. Pages of the prologue torn without loss.

The third and final biography by Bowen, following Justive Oliver Wendell Holmes and John Adams, giving the history of American independence; Coke providing the English background to the Constitution. Reissue after the 1957 first edition. Light crease to front cover.

Facsimile reproductions of seven publications held at Goldsmith’s Library of Economic Literature from A Brief Account of the Intended Bank of England (1694, the year of the bank’s establishment) to critical observations in as late as 1804. First edition, second impression after the 1968 first. A mostly fine copy.

Reprint after the 1885 first edition. With one ink ownership inscription to the fpd, and another pencil of George Kearns, Pound scholar, to ffep. A fair copy, generally clean but with some staining to the pastedowns and a little ripple to the first twenty pages suggesting light but not debilitating water damage. Cloth rubbed on edges.

A survey of the development of money and monetary systems. Two of del Mar’s books, Roman and Moslem Moneys and Barbara Villiers: A History of Monetary Crimes were included in Kasper & Horton’s Square $ Series, Pound’s six must (but hard to) have books. A facsimile reprint of the 1896 first edition, published under the directorship of Carroll F. Terrell; a rare edition. Lightly aged.

Facsimile reproduction of the second part of Sir Edward Coke’s Institutes of the Laws of England being an argument on the limits of royal power (Coke in trouble with King James), which was used again by John Adams during the American Revolution. Rare Omni edition. Wear to the spine; the first two gatherings disbound (the binding only glue). With quotes from T. S. Eliot and (anonymously) Pound to the wraps.

Or An Expose of our Banking and Currency Monstrosity—America’s Most Reprehensible and Un-American Racket

On the history of the banking system in America and its manipulations in favour of the few, with accusations against the Rothschilds family. With such tales as the founding of the Bank of England as we read elsewhere in Pound. The Rare Omni Publications edition (spiritual successors to Kasper & Horton’s Square $ Series), undated after the Meador Publishing Company first edition, 1941(?). Slight fading at edges to back cover and spine, otherwise as published.

Pound and Williams in the Jeffersonian tradition, and the divergent effects on Paterson and The Cantos. First edition, a fine copy. With David Moody’s extensive pencil marginalia throughout.

Thursday 3 May, 1944, EP is collected from the house at Sant’Ambrogio by two ex-Fascist crooks hoping to make a buck by handing him in to the Americans. They walked him down the hill to Rapallo, this footpath the salita, to be driven on to Zoagli; during which descent EP stopped to collect a dried eucalyptus pip from beneath its tree.

Curious, is it not, that Mr Eliot
has not given more time to Mr Beddoes
  (T.L.) prince of morticians
 where none can speak his language
centuries hoarded
to pull up a mass of algae
    (and pearls)
or the odour of eucalyptus or sea wrack
 cat-faced, croce di Malta, figura del sol
 to each tree its own mouth and savour
 “Hot  hole  hep  cat”
or words of similar volume
  .  .  .  .
the cat-faced eucalyptus nib
  is where you cannot get at it
  .  .  .  .
so that leaving America I brought with me $80
 and England a letter of Thomas Hardy’s
 and Italy one eucalyptus pip
from the salita that goes up from Rapallo
     (if I go)
  .  .  .  .

        — Canto XXX

A home recording of Ezra Pound: American Odyssey (1985), a film documentary on the life of Ezra Pound. Untested. A home recording from the first broadcast, thus preceding the Mystic Fire Video Voices and Visions: Ezra Pound (1995) re-release by ten years. Playtime c. 55 mins. Light aging to the slipcase.

A radio play about Pound in Venice in the 60’s, his friendship with his gondaliere Mr. Greenhill (i.e. Monteverdi), his visiting by a young fan whose belief in Pound’s economics creates tensions with his father, a sly pair of journalists, an amusing Allen Ginsberg, and a protective Olga Rudge. Brilliantly researched, voiced and performed; one of the very best dramatic pieces after Pound. Home recordings from the BBC Broadcast, 2 March 1997. Unavailable till now, here.

A radio documentary on Olga Rudge, her career as an internationally renowned violinist, secretary of the Accademia Musica Chiggiana, and her dedication to Ezra Pound. CD, from the broadcasting house. Annotated in ink, “£70”. Title and credits attached by two pieces of tape, otherwise an anonymous disc in anonymous case. Unavailable till now, here.

A look at Pound’s politics of the 30’s and 40’s, his trial, the public’s reaction, and his release. Interviews with Mary de Rachewiltz, David Moody, Helen Dennis and Bernard Kops, a number of audio clips also included from his play Ezra. A home recording after the original BBC Radio 3 broadcast, Sunday 20th July 2008. Unavailable until now, here.

A BBC Radio 4 production, first broadcast 2 December 2012. On Pound’s Imagiste doctrine, in discussion with a number of poets on their relationship with Pound’s Don’ts, as well as David Moody in interview. CD from the broadcasting house. Unavailable until now, here.

Selections of Pound’s compositions in the main from Le Testament (1923, E3h), Fiddle Music (1923-33, E3d) and Cavalcanti (1932, E3a). Conducted by Robert Hughes, one of the great Poundian musicologists who visited Pound in St. Elizabeths in 1958 and composed a number of pieces after Pound’s poetry (listen to The Music of Robert Hughes and the Poetry of Ezra Pound here). CD and case in fine condition. Booklet sunned to spine; errata slip laid-in, occasional pencil annotation from David Moody. Slipcase with one scuff to bottom corner of spine and a little wear on the fore-edge, mostly fine.

A ticket to the joint piano and violin recital held at the Salle du Conservatoire (or Ancien Conservatoire; photos), Paris, Tuesday 11 December 1923 by Olga Rudge and George Antheil. Pound met Antheil in the June of 1923, of which Antheil wrote in his autobiography, “Ezra asked me to get some of my music and go with him to the home of a friend who had a piano. I did so, went with him, played for hours, and Ezra seemed very pleased with it.” This friend was Olga Rudge, whom Pound had met the previous autumn. As Conover writes (Olga Rudge & Ezra Pound), ‘Olga suggested Pound’s initial interest in her was her mother’s piano—for Ezra, she insisted, work came first. Antheil soon set to composing a violin sonata for Olga, determined to make the music, he wrote to Ezra, “as wildly strange as she looked…”’ Pound at this time was also composing music. On his first visit to Olga’s home on the rue Chamfort, he brought with him the score of his Testament de Villon, and in 1923 was both transcribing a twelfth-century air by Gaucelm Faidet, “Plainte pour la mort du Richard Coeur de Lion,” and composing an original work, Sujet pour Violon (Resineux), (Gallup E3g) both of which, interposed by a Gavotte by J. S. Bach, were performed by Rudge as the opening to this concert. To follow was a “Première Sonate pour Violon et Piano” (Antheil), “Concerto en la majeur” (Mozart), and a “Deuxième Sonate pour Violon et Piano” (Antheil) each performed by the both, with, as reported by Irvinge Schwerke in a review dated December 15, EP turning the pages. A scarce item, with only two copies appearing in institutional holdings (both at the University of Indiana, vide); Yale appearing only to have the programme (here). Ticket numbered No. 21 of around a potential capacity of c. 750 audience members, and presumably one of 150 in the stalls. Faint suggestion of a vertical fold in middle, similar to top left corner, a little brown around “Decembre” in the left column (stub part); mostly fine.

A programme to accompany the “Settimana Mozartiana,” three evenings of Mozart’s Sonatas for violin and piano, performed by Olga Rudge (violin) and Gerhart Munch (piano), held at the Teatro “Reale” (“the local cinema house” — Schafer), Rapallo, June 26-28 1933. The first of the Rapallese Concerts organised by Pound, who composed the copy on this programme, of which there were around forty between 1933 and 1939. The entirety of Mozart’s sonatas for violin and piano were performed around this time, the further twenty-two “done privately so that a few of us heard the whole set,” Pound seeking to understand “what Mozart meant by the form or what the form meant to him.” (See Pound to Tibor Serly in Paige’s Letters, p. 442, and Schafer’s EP and Music, p. 331). With prices advertised for Boxes, First Seats, and Second Seats, taxes paid. “Sotto gli auspici dell’Istituto Fascista di Culture.” Lightly folded in four, as published; a few spots around Wednesday’s progamming, the left edge darkened with a small stain at bottom.

A memento from The Ezra Pound Centennial Conference, 19-22 June 1985, held at the University of Maine at Orono. Canto printed offset from a New Directions edition, with page number at bottom, spilling over from the leaves and concluded verso of the rear cover. Very near fine; bottom corner of rear cover lightly creased. Too late for Gallup.

Promotional ephemera from Swedish publisher Bo Cavefors Bokförlag who published a number of translations of Pound’s works between 1959 and 1972. Each a small piece of plain paper with monochrome printings of photographs of Pound post St. Elizabeths, by an unknown photographer but possibly Olga Rudge, with text verso. The photograph of EP aside the sculpture by Gaudier-Brzeska features adverts for six Swedish editions of EP published by Bo Cavefors Bokförlag, and quotes by Artur Lundkvist, Bengt Holmqvist and Göran Palm in a second column, aside the publisher’s vertical fold. The books advertised were published 1959-1962, and an announcement for an upcoming translation of The Spirit of Romance by Alex Holm for 1964, which was actually published in 1965; hence my estimated date of these items at circa 1964. The photograph of EP in the park features an Italian announcement verso that Pound has been waiting nine years to return to Italy where he will finish his 100 Cantos, otherwise he will never write verse again (from the Appunto biografico in Tre Cantos tradotti da Mary de Rachewiltz in collaborazione personale con l’autore, All’Insegna del Pesce d’Oro, 1954). Both quite fine, a little age.

The later advertisement leaf for the Square $ Series’ publication of The Unwobbling Pivot & The Great Digest; together with Ernest Fenollosa’s Essay on the Chinese Written Character, ([1951]). “(From Introduction)” is taken from Pound’s Note to The Great Digest, p.29. Price given as “One Dollar, Postpaid” in coherence with the name of the series. With Pound’s Introductory Text-book printed overleaf, signed Rapallo 1938, originally privately printed by Bonner and Company, London in 1939 (see Gallup E2r, and for other appearances of the Introductory Text-book: E2s, C1511 and C1724). This appearance recorded by Gallup under E2r who gives the date as late 1950s. Contary to Gallup’s find that ‘at least some copies with a typed statement added along the lefthand side: “Lincoln was shot for understanding what Jeff wrote to Crawford in 1816” (see B36a note)’, this copy has two amateurish typewritten notes, the first a simplified statement, “Lincoln shot for / understanding Chap II,” the second, “History profs who do not understand bearing of [this] are nearly as low as psychiatrists.” A wonderful rare piece of ephemera and given the whim of the type, possibly unique (possibly even Pound’s type?). Three light horizontal folds, otherwise quite fine.

An advertisement for the six books of the Square $ Series, Pound’s requirement on anybody “allowed into Congress [or] to vote” (Interview with D. G. Bridson, 1959). Reproduces a blurb for the series, “American writers who can hold their own…” anonymously written by Pound, which first appeared on the back flap of the sixth and final book of the series, del Mar’s Roman and Moslem Moneys. No mention of this leaf in Gallup or much anywhere else. Post-dating at least the publication of Roman and Moslem Moneys, with a Washington address possibly concurrent with the Washington P. O. Box given on the rear cover of Roman. The absence of Kasper, i.e. the contact given as T. D. Horton, Publisher, may be of some use dating this. Very near fine, a faint, dark stain top left; paper cut at slight skew to the text-block.

Catalogue to an exhibition of Poundian Editions held at the Azienda Autonoma di Soggiorno, Merano, 30 October - 16 November 1958. A very well supplied exhibition with texts ranging from A Lume Spento (A. Antonini, 1908) to two copies of John Rodker’s Draft of Cantos 17-27 (one of four on vellum, and one of five on Imperial Japan, 1928), an undated and unplaced Ninth Canto, and later ephemeral publications and foreign translations. With further artwork from Gaudier-Brzeska, Lewis, Martinelli, a photocopy of a declaration by the people and Mayor of Rapallo that EP has never carried out fascist or antisemitic activities (1948) and a death mask of EP made in 1921 by Nancy Cox MacCormack. A fine copy.

A Christmas card printed by Paideuma for C. F. Terrell, addressed in hand from Carroll F. Terrell to A. David Moody, with two fragments of Canto 76 printed. With an illustration of a Guanyin (or Bodhisattva) to the front cover, undated but probably contemporary with Paideuma Vol. 5 No. 1, Spring 1975 whose front cover, printed in a duller green, reproduces a stone Sakyamuni flanked by four disciples and two Bodhisattvas, reproduced courtesy of the Exhibition of Archeological finds of the Peoples Republic of China at National Gallery of Arts, Washington, D.C.; thus 1974-5. Fine.

An announcement from The Ezra Pound Association requesting for donations for the purchase the place of Ezra Pound’s birth, 314 Second Avenue South (or 314 Second and Pine Street), Hailey, Idaho, where the Pound family resided till 1887. In Indiscretions (1923) Pound wrote that the Hailey experience “enriched his parents’ table talk for life” and through them Idaho left its mark on him (see this Idaho Heritage Trust article). 314 Second and Pine is registered as The Homer Pound House on the National Register of Historic Places. It was gifted to the Sun Valley Museum of Art in 2005 and is used today by them for local cultural events (see here). With an article on the possible use of the house as an arts center to rear, from The Times-News, August 18, 1997. Together with the original envelope with The Ezra Pound Association’s header printed, addressed in hand to A. David Moody, opened cleanly along the top edge. Fine.

Namely a maple in the garden of Via Cavallotti 83/B, Venezia Mestre, on which on the 25 April 1989 a number of Venetian and local poets hung poems; after which the address received thousands of works to be hung, often just addressed to L’Albero della Poesia. The Tree assumed a number of locations, a number of trees over the next twenty years, in 1997 shortly before the 17th EPIC, held at Brunnenburg, becoming the maple standing tall in the courtyard of Brunneburg, from which Pound used to tap syrup. The artists featured here were all members of the Hyperspatialist Movement (Iperspazialismo), who signed their Hyperspatialist Manifesto in the previous year (1996). Both Iperspazialismo and L’Albero della Poesia were (or became) Mail-Art movements (whose International Union still exists today). An apt, then, postcard from the 1997 residency of The Tree at Brunnenburg, in fine condition with one corner so lightly bumped.

An invite to a Pound conference held on a Saturday, 12 July 1986 in the Palazzo Ancaiani, Spoleto, organised by three bodies, the Comitato per Ezra Pound, the Comitato per il Centenario di Ezra Pound, and the Comitato Umbro per il Centenario di Ezra Pound. The conference featured an afternoon of talks, as well as concerts and the exhibition of Poundian material, and a seminary with Olga Rudge as guest. Near fine; a little age mainly exhibiting light foxing to the outer pages.

An pamphlet to accompany the Celebrazioni Poundiane held at Vercelli, 18-26 November 2005, under the title, “Ezra Pound, l’artista sociale,” organised by the Associazione culturale “Il Testimone” in collaboration with the Città di Vercelli, the Provincia di Vercelli and the Università degli studi di Vercelli on the occasion of Pound’s 120th birthday. Pound’s links with the city mainly resting upon his friendship with Vercellese painter Edgardo Rossaro, who alongside Pound signed the manifesto, “Scrittori del Tigullio” in 1944 (see Gallup C1668), reprinted by Pesce d’Oro in La repubblica italiana delle cosche: la decapitazione dello stato (1984), and Pound’s contribution of two economic articles to “la Provincia Lavoratrice,” a paper of the Federazione repubblicana di Vercelli (Gallup C1663 and C1667). The celebration commenced on the evening of Friday 18, hosted talks from a number of scholars held on one day, Saturday 19 November, being concluded by Mary de Rachewiltz, there followed by a “Rappresentazione Teatrale di Vertex Teatro” in the Teatro Civio, while the exhibiton of Poundian material, bibliographic and artistic, continued till 26 November. In fine condition.

Guide leaflet to accompany the exhibition, Prince Meinhard II.’s Dream - That Will Be Tyrol’s, printed in both Italian and German, held at Schloss Tirol (the castle above Brunnenburg) 13 May - 31 October 1995. Meinhard II received the County of Tirol in 1271 when dividing possession of lands with his brother Albert (whose line was lost by 1500), and successfully ruled and promoted Tyrol, together with his wife Elisabeth von Bayern, till his death. With lay-in, reminding visitors to not forget the adventure area! Near fine, a very little wear at folds and edges.

An invitation to the third British Ezra Pound Conference, to be held 9-12 September 1977 at University College, London. The weekend programme saw a “minute study of Cantos 90 & 91 and Cantos 106 & 107,” together with sessions on Pound’s Propertius and Pound’s economics, an exhibition entitiled “Motz el son” and a tour of Pound’s London. Lightly aged, but mostly fine.

An ephemeral reprint of Pound’s “Religio, or The Child’s Guide to Knowledge,” originally appearing in the New Freewoman I. 9, 15 Oct. 1913 (Gallup C106a) and later in Pavannes and Divisions (1918, Gallup A15). Here preceded by an extract from The Marriage of Heaven and Hell (1790) by William Blake, signed W. B. A rare item with only three recorded institutional holdings. Abides by Gallup E2zf, if Gallup hadn’t seen the envelope. Fine, the envelope with countable spots to the back.

Opening with a poem by Cima (in Italian, on Pound and Venice), then with Pound’s essay I livelli di Venezia (dug up by Mary de Rachewiltz), and 10 photographs by Walter Mori of Pound in Venice, some across double-page spreads, one of Pound reading The Scrolls and Christian Origins. A fine copy save a small, light crease to the front cover. One of 3000, and No. 13 in occhio magico (Serie fotografica). Too late for Gallup.

“Against the granite acridity of Catullus’ passion, against Ovid’s magic, and Ovid’s sense of mystery, Horace has but the clubman’s poise and no stronger emotion than might move one toward a particularly luscious oyster. His jibes at old women are like petty personal fusses lacking the charm of Palladas’ impartial pessimism or the artistic aloofness, the Epicurean and really godlike impersonality of Catullus’ poem containing the phrase, ‘habet dentes’, which is the first Wyndham Lewis drawing, perhaps the only Wyndham Lewis drawing, in literature.”

An Italian translation of Pound’s “Horace,” originally published in The Criterion, January 1930, printed vis-à-vis the original English. The English was also reprinted in Arion, Summer/Autumn 1970 (see Gallup C756), and was translated into French by Michel Beaujour for Les Cahiers de L’Herne (1966, Gallup D23r) and into Japanese by Ryozo Iwasaki (Gallup D173a). First Italian edition thus. A fine copy, save for light creasing at the gutters as the covers open, as expected. With a frontispiece portrait of Pound (also included in reflection to rear), possibly by Arnold Genthe.

“… but among the fields to be especially drained there is Latin literature that should be revived, and ploughed once again by a Latinist such as Pelo Pardi. (Writers from the little salons do not know Pelo Pardi? What a pity.) Also America went into putrefaction when the presidents were no more able to draw the plough as, on the contrary, J. Q. Adams knew how to do.”
  — Ezra Pound, “I classici dell’avvenire,” Meridiano di Roma, September 1940.

An English translation of Pound’s “Revisione dell’antica storia” by Flavia Sabina Molea, originally published in Il Meridiano di Roma, 4 October 1942, not included in Gallup (though would reside between C1640 and C1641) nor in the Contribution to Periodicals. Pelo Pardi, a contemporary of Leo Frobenius, was an agriculturalist and inventor (of a “universal plow” among other things) who in similar vein to Frobenius, “was driven to his inventions by his classical studies.” In the 1950’s Del Pelo Pardi and his son collaborated with Pound’s son-in-law, Boris de Rachewiltz on a archaeological survey of the ‘cunicoli’ of the Latium region (cf. Cantos 101 & 116). Further discussion throughout the O. R. Agresti letters. First edition. A fine save the light fold from the front cover from reading. With one jot pencil marginalia from A. David Moody. With numerous illustrations to rear.

Announcement leaflet for a celebration of EP held 75 years after his graduating from Hamilton College in June 1905, at the age of nineteen, with a Bachelor’s of Philosophy. “The Occasion of the 75th Anniversary of His Graduation,” April 25-26, 1980. The celebration served as a chance for Hamilton to exhibit their extensive collection of Poundian material, which began under Walter Pilkington in the 1950’s, including a copy of A Lume Spento (A. Antonini, 1908), drawings of Pound by Wyndham Lewis, and a corrected typescript of Hugh Selwyn Mauberley (these latter two having been donated by Omar Pound, also a graduate of Hamilton). With a laid-in communication dated March 24, 1980. Some age and creasing.

A selected catalogue of the Pound collection at Hamilton, Pound’s alma mater. Manuscripts, correspondence, artworks, books owned by Pound, Poundian publications… many with illustrations. Showcase of an unbelievable collection; highlighting any single item would instantly require a slew of others. Many not in Gallup. “Selected” for convenience... e.g. 1200 items from Dorothy Pound unlisted. First edition, first printing, one of 500 copies. Front cover lifting, light fox on the fore-edge.