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• W2929891105 abstract "MAKING “CONNECTIONS” : MEDIEVAL MASTER-NARRATIVES AND EZRA POUND’S FASCISM LE SL E Y HIGGIN S York University IVLany modernists cherished their “mythic methods,” so let me begin by suggesting that Ezra Pound is the Minotaur of modernism, the quintessential problem child. Turn which way you will in the labyrinth of modernist culture, and you inevitably encounter Pound. Monstrous at close view — but from afar, an elusive and charismatic figure. He is truly a hybrid child: his mother, aristocratic European culture, and his father, the more rough-and-tumble nobly-savage America. His realm is a prison of cunning artifice and hate, an empire of words gone awry. The unsuspecting reader enters the labyrinth simply by trying to complete the following sentence: Ezra Pound was a _________ _ A what? A genius? An “enabler of genius,” to quote Susan Sontag’s pithy phrase? A poet? A poet who somehow got lost in the maze of his own thinking and ended up flirting with totalitarian ideologies? Or, a virulently anti-Semitic fascist who somehow also managed to help instigate and shape modernist culture? Ezra Pound was all of those things, and more. He was the consummate chameleon of letters, acting out roles as diverse as troubadour-adventurer, Confucian minimalist, public censor, Whitmanesque bard, and Unappreciated Writer in Exile. Paradoxically, in his ceaseless quest to “make it new” (and that “it” could be poetry, economic policy, or Western culture in general), Pound invariably turned to the old — myths, texts, models of creative and spiri­ tual conduct that he found in oriental and occidental sources. Traditional histories of modernism praise Pound for excavating the past and then rean­ imating it within a contemporary milieu. Yet one could just as easily think of him as a cultural imperialist — annexing and appropriating other cultures and their artistic productions as it suited him. Chief among his conquests, so to speak, were Confucianism and medievalism. Pound was a man of remarkable intellectual resources— but he was also arrogant, unduly impressed with his powers of synthesis, slipshod as a re­ searcher, and likely to exaggerate his command of a subject. He would happily comment about books he had never read, Robert McAlmon recalled, because “years before he had made the statement in print that one need not have read a book or an author to have a fairly clear idea about a book’s quality” (258)-1 The latter practice may be harmless enough if the author English Stu d ie s in Ca n a d a , x v iii, 4, December 1992 is Cavalcanti, but dangerous, to say the least, if the author is Mussolini or Hitler. The intellectual genealogy sketched in my title may seem far-fetched or attenuated — but my unimpeachable source is Ezra Loomis Pound. ‘“ One day,’” an Italian friend of his recalls, “ ‘[Pound] explained to me that Fascist doctrine had its origin in Confucius, passed by way of Cavalcanti, Flaubert, the German ethnologist Leo Frobenius . . . directly to Mussolini, Hitler and Oswald Mosley’ ” (Torrey 139). This paper will try to account for the medieval-to-Mussolini branch of this bizarre family tree in the following stages: first, by discussing the Poundian way of reading a text or culture; secondly, by tracing the meaning of medievalism in Pound’s reconstructed mythos, with special emphasis on Dante; and finally, by sketching “Muss” or II Duce as Pound saw him. Neither the fact of Pound’s embroilment within fascist ideology nor the function of a medieval ideal in Pound’s canon is en­ tirely new to readers. What has not been fully adduced, however, is the way in which the discursive formation of Pound’s medievalism enabled him to construct a personalized and fertile fascistic discourse. The contracted genitive in the title, “Ezra Pound’s Fascism,” signals that my concern is not the intricacies of Italian totalitarianism as practised be­ tween the early 1920s and 1945, but Pound’s ideological construct: a muddle of theory, misinformation, and hero-worship characterized by the same “gen­ eral indefinite wobble” that Pound found rampant in “Mitteleuropa” ( Cantos 172) in the 1930s. The original fasces or fascio were the bundles of birch rods carried by ancient Roman lictors as emblems..." @default.
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• W2929891105 date "1992-01-01" @default.
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• W2929891105 title "Making “Connections”: Medieval Master-Narratives and Ezra Pound’s Fascism" @default.
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• W2929891105 doi "https://doi.org/10.1353/esc.1992.0006" @default.
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