The familiarity with dockyards and dockmen, which is such a striking feature of The Harbor, dates back to Mr. Poole’s boyhood.
Bibliography
- The Voice of the Street. 1906.
- The Harbor. 1915.
- His Family. 1917.
- His Second Wife. 1918.
- The Village. 1918.
- “The Dark People,” Russia’s Crisis. 1918.
- Blind. 1920.
- Beggar’s Gold. 1921.
Studies and Reviews
- Bookm. 41 (’15): 115 (portrait).
- Cur. Op. 58 (’15): 266 (portrait).
- Ind. 94 (’18): 229 (portrait).
- Mentor, 6 (’18): 7 (portrait).
- R. of Rs. 51 (’15): 631 (portrait).
- Unpop. R. 6 (’16): 231.
- World Today, 18 (’10): 232 (portrait).
- See also Book Review Digest, 1915, 1917, 1918, 1920.
Ezra (Loomis) Pound—poet, critic.
Born at Hailey, Idaho, 1885. Of English descent; on his mother’s side distantly related to Longfellow. Ph. B., Hamilton College. Fellow of the University of Pennsylvania. Traveled in Spain, in Italy, in Provence, 1906-7; lived in Venice, and finally made his home in England. London editor of The Little Review, 1917-9, and foreign correspondent of Poetry, 1912-9.
Suggestions for Reading
1. Mr. Pound is an experimenter in verse, who has come under many influences and belonged to many schools. His work should be studied chronologically to discover these changes in interest and relationship. To be noted among the influences are: (1) the mediæval poetry of Provence; (2) the Greek poets; (3) the Latin poets of the Empire; (4) among modern French poets, Laurent Tailhade; (5) the poets of China and Japan, whom he learned to know through the manuscript notes of Ernest Fenollosa; (6) the work of the English Imagists (cf. especially the poems of T. E. Hulme, published in Mr. Pound’s volume called Ripostes); (7) the work of the Vorticist school of poets and artists (cf. Blast, edited by Wyndham Lewis), and the more accessible periodical, The Egoist, of which Richard Aldington (cf. Manly and Rickert, Contemporary British Literature) is assistant editor.
2. Consider also this from his own theory of poetry: “Poetry is a sort of inspired mathematics, which gives us equations, not for abstract figures, triangles, spheres and the like, but equations for the human emotions. If one have a mind which inclines to magic rather than science, one will prefer to speak of these equations as spells or incantations; it sounds more arcane, mysterious, recondite.”