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Ezra Pound and Dorothy Shakespear, Their Letters, 1909-1914
"'Ezra.' Listen to it--Ezra! Ezra!--And a third time--Ezra!... Some people have complained of untidy boots--how could they look at his boots, when there is his moving, beautiful face to watch!" These words from the notebook of Dorothy Shakespear, dated February 16, 1909, record the entry into her life of the energetic young American, recently arrived in London, who was to become her husband--Ezra Pound. Their correspondence, begun the following year, extends over more than six decades, until the poet's death in 1972. All of these letters are of unusual literary interest, but those from before their marriage in April 1914 have a special importance, since few from this period have been publish...
Some Knots
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Ezra and Dorothy Pound
These fascinating letters capture the most traumatic experience of Ezra Pound's life, when he was incarcerated at the end of World War II and indicted for treason. Omar Pound and Robert Spoo have collected and edited the unpublished correspondence between the poet and his wife, combining itwith military and FBI documents, previously unknown photographs, and an extensive, insightful introduction, to create the definitive work on this period of Pound's life. During his incarceration in a U.S. Army detention camp outside Pisa, Pound was allowed to write only to his wife, so these letters afford a unique look at a painful yet highly productive period, when Pound wrote his acclaimed Pisan Cantos ...
Dorothy Pound Letter, from Brunnenburg, Tirolo, Merano, Italy, to Thomas Rogers
Concerns an illness of Ezra Pound.
Etruscan Gate
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Pound, D. Mss
Additions to the collection consist of pocket diaries and daybooks, 1903 and 1922-1973, of Dorothy Shakespear Pound, 1886-1973.
Shakespear's Pound
Ezra Pound was undoubtedly one of the most influential and controversial figures in twentieth century poetry. His brilliant yet obscure encyclopedic epic poem Cantos explored the history of civilization, his hatred for war and his disappointments in man's imperfection. This limited edition has been designed by the LaNana Press' printer, Charles Jones, and it reflects the style and generosity of materials and processes that were the hall mark of private press publishing in 1920s and 30s. The book has a large page format (318 x 241mm) with the text set in type faces designed by Eric Gill: Gill Sans light and Joanna. Charles Jones has printed 200 copies on a Vandercook Universal III press, on Magnani Biblios mould made white wove paper. The edition is hand bound in Harmatan's tan leather with Japanese bookcloth overboards and slipcased. Each copy of the book is numbered and signed by Omar Pound and Charles Jones.
