First edition, first impression, one of 425 copies. Written after Yeats stayed with Pound in Rapallo in the late 1920s, and containing Yeats’ famous attempt to recount Pound’s fugal plan for The Cantos. Slight discolouration to edge of boards; small stain to back of linen; little trouble to top of spine and label there. Beautiful condition throughout. Not in Gallup. Wade 163.

After over a decade editing for various magazines (Poetry, The Little Review, etc.), The Exile is finally Pound’s inevitable own child, and remarkable in that from it sounds his voice more clearly than in most of his published writings to date. Pound speaks freely and at length on legalities, injustices (in Vol. 4 he publishes the whole of Article 211), aesthetics and culture, as well as the other contributors, including Yeats, Zukofsky and Rakosi (together the Objectivists), W. C. Williams, McAlmon, Rodker, and more (though one should note this was a misogynistic magazine which refused to publish any women writers, save a set of reviews of Olga Rudge’s violin playing). This set contains all those issues published in America, for whom the magazine was intended, after Pound ran into problems importing Vol. 1, published in Dijon, with the U.S. tax authorities (who deemed Vol. 1 a “book”). All volumes very good or better; Vol. 3 has seen repair to the spine resulting in minor glue staining inside.

All six issues of Pound’s Money Pamphlets, being An Introduction to the Economic Nature of the United States, Gold and Work, What is Money For?, A Visiting Card, Social Credit: An Impact and America, Roosevelt and the Causes of the Present War, a collaboration between Peter Russell and Ezra Pound to communicate Pound’s ideas on economics, good judgement, and the political economy to the British public at an affordable price. Appearing, however, after Pound’s indictment for treason, each issue comes with an apology by Russell preceding; furthermore, the promised seventh pamphlet, Selected Radio Speeches, was not published.
  No. 1 is the first English edition, following an Italian publication in 1944 (Gallup A53a). No. 2 is the first English edition, following an Italian publication in 1944 (Gallup A52a), and is in the second, expurgated state with p.11, ll.40-41 and p.14, l.6 removed. No. 3 is a reprint of a short run first appearing in 1939 (Gallup A46). No. 4 is the first published English edition, following an Italian publication in 1942 (Gallup A50), with the publisher’s manuscript correction from “gain” to “grain” on p.18. No. 5 is a reprinting of the 1935 pamphlet published by London: Stanely Nott (Gallup A40). No. 6 is the first English edition, following an Italian publication in 1944 (Gallup A51). Note, then, through Pound’s continuing desire to educate, his shift from Italy as audience during the 1940’s back to an English (speaking) one.
  All issues in fine or near fine condition; the only comment to make is the small mark to the front cover of No. 1. With neat ownership inscriptions of William Kable (University of South Carolina) to Nos. 1, 2, 4 & 6. Gallup A53b, A52c, A46 (note), A50c, A40b (note), A51b.

Two essays by Pound, in their original Italian, both dated 1943, on the nature of money and the State-civilian relationship, both aimed to enlighten against a “regime of usurocratic capitalism.” Near fine; very slightly bumped top right corner, very minor sunning. Price to rear [L.] 1.500. Gallup A100.

A collection of essays on Pound by various authors edited by Peter Russell, publisher of the Money Pamphlets and Nine. One of the very few UK publications of Poundian material to be published at this time, effectually reopening the Pound ‘market’ after the war years; certainly a publication with some reputational bent. A remarkable copy, with a touch of browning to the top of the cloth and a fine jacket only lightly browned. Not in Gallup, being secondary.

Ana Eccetera was the self-managed, self-financed underground magazine of Anna and Martino Oberto, pioneers of the Italian post-war avant-garde. The two were influenced by the language theories of Ludwig Wittgenstein, the prose of James Joyce, and particularly the poetry of EP. Their work became core to the verbovisual movement (posia visiva) in Italy in the 60’s and 70’s, exploring the intersection between visual art and language.

Cantos 91, 96 [Ana Eccetera 0]: Excerpts from Cantos 91 and 96 translated into Italian by Enzo Siciliano. A tribute to Ezra Pound on his return to Italy, the first publication under Ana Eccetera, privately published and distributed di mano in mani, not for sale, in an edition of 500 (this no. 289). Two sheets folded and laid-in. Light wear to edge of wraps with a bump on the fore-edge passing from the front cover to p.2.

Ana Eccetera 1 (1959): The first of 10 numbered issues under Ana Eccetera. Puts forth the artistic use of methods under the metrical prefix ‘ana’, i.e. analysis, anapainting, anagraphy, anasophy (poetical philosophy)… of linguistic, philosophical, formalist interest; language as thought and, as Pound, art as reviver of extasis. Lightly ingiallito’d at edges, one small tear (no loss) bottom of first page. With a two page typescript translating selections from I & Supplement L into English.

Supplements: Three items (all parts) laid into a printed stiff paper folder. The first, Servizio di Comunicazioni is a collection of essays: «La Trahison des Clercs» by Vincent Miller (on Joyce, in English); Norman Holmes Pearson on the Square $ Series; Aberrations by Jurgis Baltrusaitis (in French); and two small pieces on Noel Stock’s Edge by Enzo Siciliano, in Italian. Light yellowing to sun and two folds to first page. The other two supplements, Supplemento A[rt] and Supplemento L[iterature] are both four page publications in stiff wrappers. A is Orazio Bagnasco’s Progetto di Pilotis, one print titled acciaio nero   lacca rossa. L is a short collection of quotations from Wittgenstein’s Philosophische Untersuchungen by Domenico Parisi. Both fine save light yellowing at edges.

First translation of The Pisan Cantos into German, by Eva Hesse, first edition. With an afterword and documentation on the DTC. Mostly fine, some sunning to the dust-jacket, but all very nice. Appears to have been missed by Gallup.

A selection of Pound’s essays On [His] Contemporaries, being Yeats, Joyce, Frost, Brzeska, Eliot, Dolmetsch, Lewis, Brancusi etc. from 1914 to 1937, translated into German by Eva Hesse, with photos of each (and their work, where applicable). A near fine copy; dust-jacket mildly sunned, tiny trouble at head of spine. Gallup D32.

First edition, first printing of this ‘collected’ edition that kept Pound’s poetry on the shelves for years to come. Includes a selection of poems from before 1908 up to Homage to Sextus Propertius and Hugh Selwyn Mauberley. A beautiful copy of this first printing; touch of shelf wear top and tail of spine; few light marks to cloth; page 91 partly torn with no loss; clean throughout. Gallup A27a.

First (American) edition of Pound’s first 30 Cantos; the first appearance following the Parisian publication by Nancy Cunard’s Hours Press. First impression, with a cancel leaf for pp. 61-62 omitting the ‘i’ in ‘shit’ (Gallup only located 3 unexpurgated copies). A second impression followed with the same expurgation bound without cancels. A very nice copy, printed on much better paper-stock than the Faber edition, and clean throughout with a neat gift inscription dated 1934 to ffep. Some light marking to the cloth. Dust-jacket price-clipped, spine sunned and some scratching to the rear. Gallup A31c.

Fourth American collected edition, thirteenth printing. The first paperback edition of The Cantos. Includes Cantos 72 and 73, the former in both the original Italian and in Pound’s English translation. Review copy with the publisher’s letters laid-in. Fine. Too late for Gallup.

Select annotation and short essay on every canto, “the product of a highly sensitized understanding,” with a Select Bibliography of Sources to The Cantos at the back. Second (revised) edition, expanded to include The Italian Cantos. Fine.

In Pharos, No. 4. First English appearance of Pound’s translations of The Unwobbling Pivot (in Italian 1945) and The Great Digest (i.e. Ta Hsio; in Italian 1942), two of the Confucian Four Books. A near fine copy, very light discolouration around spine, light crease on front cover light pencil inscriptions on pp. 34-45. Gallup A58a.

Contains An Encounter with Ezra Pound and A Lustrum for You, E.P. by Charles Olson, both published that same year in Charles Olson & Ezra Pound, An Encounter at St. Elizabeths (the former being published there as Cantos). With further contributions from Kingsley Amis, Louise Glück and Seamus Heaney. Fine.

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 fine copy in a jacket discoloured to the flaps and top-edge.

“But Ezra waved his affected stick somewhere towards it all in a vague helpless sort of manner. . . . He waved his somewhat Whistlerish stick towards the river, the bridge, the lights, ourselves, all of us, all that we were and wanted to be and the thing that I wanted to say and couldn’t say he said it before he dismissed me: “And the morning stars sang together in glory”. . . .
  — H.D., Some Testimonies to The Cantos.

Margaret Louise Cravens was to Pound a friend, confidant and patron. In 1912 she committed suicide with a shot from a revolver to the heart, shocking the scene, particularly Walter Morse Rummel, but most especially Pound, in whom Cravens had most confided. Letters from Pound to Cravens only (alongside letters to and from Pound, Dorothy Shakespeare, Rummel and A. C. Henderson) as Cravens requested Pound destroy all her letters to which he complied. First edition, all fine.

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. First edition, review copy with the publisher’s letter laid-in. Fine. Too late for Gallup.

Louis Dudek’s self-published correspondence with EP, scans of the originals, be they hand- or typewritten, with contextual notes by Dudek. First edition, fine. Printed in black, not brown, contra Gallup. Gallup A95.

Letters between Laughlin and Pound, documenting the development of their relationship as pupil-teacher to publisher-author, with a number also from Dorothy Pound to JL. Edited by David M. Gordon, who studied with Pound during his internment at St. Elizabeths. Fine.

Third edition of EP’s memoir to sculptor Henri Gaudier-Brzeska, as the second edition (which omits Praefatio from the first but introduces 3 new essays, Preface to the Memorial Exhibition 1918, Gaudier: A Postscript 1934, and Peregrinations, 1960, dated Brunnenburg, Tirolo, 1960), with a new brief Foreword to This Edition signed E.P. A lovely copy only lightly sunned to top edge of cloth and jacket, and to spine of jacket.

New (extended) edition (1952), first paperback issue, NDP 257, of Pound’s Kulch. Text clean throughout; wrappers worn with tape damage (no tears) to front and back covers, now wrapped in mylar; a commuter’s copy.

Davie’s brief introduction to Pound, observing his poetic influences and output, with chapters given over to Ideas and Rhythms in The Cantos. Sole edition. A neat and clean copy; light sunned on top of cloth with light browning to ffep. Jacket light rubbed, sunned to top edge and spine.

An exploration of Pound’s literary influences, reaching from Yeats and Eliot to further fringes (see front of jacket). First edition, second impression. A fine book in a price-clipped, clean yet partly discoloured jacket.

Twelve essays by Italian scholars translated into English for the first time. First edition, first printing, this copy distributed in the US. Fine throughout; some discolouration to the edge and spine of the wraps.

Containing a plethora of great pieces: a short story by Jorge Luis Borges, Funes The Memorious, in English translation; an excerpt from How It Is by Samuel Beckett; an interview on The Art of Fiction with Henry Miller; an interview on The Art of Poetry with Ezra Pound conducted by Donald Hall; a translation of Book Sixteen of The Iliad by Christopher Logue (later as part of War Music); and many further EP contributions including Two Cantos (from 115 and 116), A Prison-Letter (i.e. “Note to Base Censor” published here for the first time), An Autobiographical Outline (written by EP for Louis Untermeyer), a scan of page one of the Pisan Cantos in manuscript with annotations in Pound’s hand, and numerous scans of artworks depicting EP. Very near fine.

A collection of material, being essays, newspaper articles, letters (the M.D.’s to Justice Laws), reviews on The Pisan Cantos, the Citation to Pound’s degree from Hamilton College, the announcement for The Pisan Cantos’ winning the Bollingen Award, all purposed at an evaluation of EP as poet-traitor in the late 1940’s and 1950’s. First edition, second printing (May 1959), published with an awareness of Pound’s release from St. Elizabeths. With a decent bibliography of newspaper articles and exercises for students to rear. A worn copy with pencil swirl to front cover; perfectly nice inside.

A publication that may have learnt something from Pound’s criticisms, being printed front to back without any wasted space; no title page (printed on rear of front cover), no publisher’s page (printed on rear of back cover). Contains a facsimile reproduction of How I Began (from T.P.’s Weekly, June 6 1913), Canto CXIV, and René Crevel by EP. Light discolouration to wraps and creasing to spine from leafing.

New edition, review copy with the publisher’s letter laid in. A fine copy in a near fine jacket, small loss at top of rear. Not in Gallup, being Gallup.

A number of Pound’s ‘collected’ (but not completely) poems went under the title Personae over the years, their content ocassionally shifting. In this revised edition, Baechler and Walton Litz include only the shorter poems of Pound published up to 1926, reintroducing the poems published but omitted from Personae (1926) by Pound, which Pound called “soft.” Also includes In a Station of the Metro in the original form (rarely reprinted), and the Urcantos. A good copy, a little wear to the wraps and a streak of black marker pen to the bottom edge. Fourth printing. NDP 697. Too late for Gallup.

As above, hardback issue. First edition, first printing, review copy with the publisher’s letter laid-in. Fine save the slightest sunning to top edge.

A Poundian’s choice of this translation, elsewhere known as Shakespeare’s Ovid, with a quote from Pound to the front cover and an introduction exploring the text’s relationship to many poets, commencing with EP. First edition, first printing. A well designed text-block, with large type yet minimal margins, filling all the page with very few circumstantial line breaks. A good copy, wraps a little discoloured and worn, spine showing creasing, covers gently lifting.

Pound’s English translation of Enrico Pea’s lyrical novella. Set before the unification of Italy, Moscardino tells of the protagonist’s jealous love for Cleofe, a servant girl, and hatred for Don Lorenzo, a perverted abbé. As per Mary de Rachewiltz, “I think it’s fair to say that [my father] preferred novelists who at heart were poets.” No. 110 of 1000 copies. A very good copy, clean with some discolouration to spine, back cover, and lightly to the edge of the textblock. With ink ownership inscription of Morton S. Lebeck, “Firenze,” to ffep; Lebeck, together with his wife Anne, were brief correspondents of Pound during the St. Elizabeths years. Gallup A71.

A neat leaflet curated by New Directions (presumably James Laughlin?) published for Pound’s 70th birthday, containing a number of statements about Pound and his poetry. With a portrait of Pound by Sheri Martinelli to front cover. Small crease to top; smaller creases to spine. Not in Gallup, being secondary.

Contains Henri Gaudier-Brzeska by EP, and Vortex by GB, as well as a number of illustrations of including drawings and paintings by Gaudier as well as photographs of his sculpture. No. 322 of 1000 copies; 1-500 in English, 501-1000 in Italian (Gallup D66). No. 58 in the Pesce d’Oro Series Illustrata. Without the publisher’s correction on p.27. Near fine. Gallup A73.

Mary de Rachewiltz’s Italian translation of Pound’s essay on Brancusi which opened The Little Review’s Brancusi Number (Vol. VIII, No. 1, Autumn 1921). With numerous photographic plates. No. 822 of 1000 copies. No. 57 in the Pesce d’Oro Serie Illustrata. Tiny tear to top of front, with a couple of marks to the jacket. Gallup D65.

An anniversary reprint in miniature format to celebrate the 50th anniversary of the publication of Pound’s first book. Rather mixed contents, including Italian translations of Pound’s poems, facsimiles of A Lume Spento (A. Antonini, 1908) and photographs of Venice. This edition contained 2 previously unpublished poems, “Statement of Being” and “For Italico Brass,” both written in 1907 and presented here with reproductions of the original manuscripts. Small stain to rear of dust-jacket; slightly bumped at edges; spine faded. Gallup B64.

Contains Certain Poems of Kabir, translated by Kali Mohan Ghose and Ezra Pound, and Altre Poesie translated into Italian by Singh. No. 23 in Pesce d’Oro’s Serie Oltremare. A fine copy.

A selection and Italian translation by Mary de Rachewiltz of references to Pisa from The Pisan Cantos. With a note from the editor (V. S.); and an unpublished portrait of Pound by Giuseppe Viviani. A very near fine copy. Gallup D8il.

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 some rubbing to the rear fold of the dust jacket), one of 3000, and No. 13 in occhio magico (Serie fotografica).

An audiocassette containing Pound’s rrrecorded narrrrrations of Hugh Selwyn Mauberley, Cantico del Sole, Moeurs Contemporaines, Cantos I, IV, XXXVI, XLV, LI, LXXVI (second half), LXXXIV, XCIX, The Gypsy and The Exile’s Letter. 90 minutes. In original seal.