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Ezra Pound as Literary Critic (Critics of the Twentieth by Emeritu Ruthven

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By Emeritu Ruthven

Bringing a few of the insights of contemporary severe concept to undergo on loads of information regarding Pound's actions as a literary critic (some of it made to be had purely recently), K.K. Ruthven presents a provocative re-reading of an incredible modernist author who ruled the discourse of modernism.

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Dolmetsch’ was to be in charge of Dance, and Photography would be taught by an American friend of theirs, Alvin Langdon Coburn, who turned photographs into ‘vortographs’ with the aid of a ‘vortoscope’ he and Pound had invented while pioneering a vorticist photography which would free the camera from the tyranny of representation. The Crafts department was still at the planning stage, it appeared, but Letters already had a staff of four. So in addition to learning Dramatic Criticism from a former drama critic of the New York Tribune, Cecil Inslee-Dorrian, and hearing (three years before the Revolution) about Russian Contemporary Thought from Zinaida Vangerowa, students could look forward to learning about Russian Novelists from the Russian-born John Cournos, who was to increase his credibility for the task by resurrecting the family name and operating as Ivan Korshune.

This move to situate criticism ‘inside’ poetry was done in the interests of keeping criticism solely in the hands of ‘creative’ writers, on the grounds that these are the only people with the 17 The academic critic necessary qualifications for the task. Once criticism is opened up as a separate discursive space, various people move into it who have no right to be there, like ‘the present Cambridge school of “critics”’, as Pound noted in 1933 with an eye on the Scrutiny group (SP 201). Unlike ‘literature’, which for Pound as for Horace is a monumentum aere perennius, outbraving the ravages of time, ‘criticism’ is regarded as something merely instrumental to a writer’s real work, and therefore of secondary importance.

For the war which was to have brought American students into the College of Arts also took away key members of staff like GaudierBrzeska, killed in action at the age of twenty-three on 5 June 1915, and Wyndham Lewis, who enlisted as a gunner in the Royal Artillery in March 1916. It survived, however, as an ideal university in which Pound’s various collections of critical essays, from Instigations (1920) onwards, were to find their place as textbooks. In these we can still find traces of ideal assignments set for ideal students challenged (for example) to ‘find a poem of Byron or Poe 29 The academic critic without seven serious defects’ (ABCR 64).

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