Ezra Pound’s reputation “enjoys a state of considerable volatility”1¹ notes Mark Byron in the introduction to The New Ezra Pound Studies (2019), making a supposed luxury of its unevenness: the recent Ezra Pound and the Career of Modern Criticism (2018) asks us to “misread him in new ways.”2² His legacy is unsettled and unsettling. Those who knew him found it no easier to fix their account. Lyndsey Stonebridge’s compelling description of End to Torment, H.D.'s 1958 memoir of Pound, notes she cannot find the “right word” to summon him and his work into being so must delay, defer, and hedge.3³ “Visits to St Elizabeth’s,” Elizabeth Bishop’s famously reluctant poetic commission on Pound in the asylum, is happier to list and point at a series of nominal relations (“This is the man who”)4⁴ than describe the prompt for her visits: its world of “books gone flat” has an anonymous center. Daniel Swift suggests “it is not possible to be a casual reader of the Cantos,”5⁵ and yet Pound’s poetry often professes to be singularly uncommitted (“How do I know?”6⁶ shrugs an early villanelle). The gap between Pound’s incarceration, the views and broadcasts that precipitated it, and the rag-bag openness of his work yawns wide. Pound makes possible much of modern poetry, yet his legacy makes discussion of him seemingly impossible.

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“建造者的异想天开”：磅，伦理学和异想天开的诗人

埃兹拉庞德的声誉“使人处于极大的动荡状态” 1 ¹注意到马克·拜伦在《新埃兹拉庞德研究》（2019）的导言中指出了其不平衡的奢侈：最近的《埃兹拉庞德和现代批评的职业》（2018）要求我们“以新的方式误解他。” 2 ²他的遗产尚未解决，也未解决。那些认识他的人发现修复他们的帐户并不容易。的Lyndsey石桥的令人信服的描述完折磨，HD 1958年的回忆录镑，笔记，她无法找到“合适的词”给他和他的作品召唤应运而生所以必须延迟，延迟和hedge.3 ³伊丽莎白·毕晓普（Elizabeth Bishop）关于庇护所里庞德（Pound）的著名诗情画作委员会“圣伊丽莎白的访问”，比列出来访的提示更高兴地列出并指出了一系列名义关系（“这是那个人”）4 ⁴：其“书本平淡”的世界有一个匿名中心。丹尼尔·斯威夫特（Daniel Swift）提出“不可能随便读读Cantos，” 5 ⁵，但是庞德的诗歌常常自称是单身未犯的（“我怎么知道？” 6 ⁶耸了耸肩。庞德的监禁，引起监禁的观点和广播与他的作品的破烂不清之间存在着巨大的差距。庞德使现代诗歌成为可能，但他的遗产使对他的讨论似乎不可能。