Reviewed by:

• Ezra Pound, Italy, and The Cantos by Massimo Bacigalupo
• Michael Kindellan

Among a fairly lengthy register of theoretical, interpretive, and aesthetic ideas, Ezra Pound once advanced (while working and living in Rapallo, Italy) what he called periplum and defined in his ABC of Reading as "correct geography; not as you would find it [on a] map," but as seen by someone in situ. Rather than an account distorted by abstract distance, a periplum, to Pound's way of thinking, is a rather faithful undertaking, an account offered by someone acquainted with the people, places, and things relayed. Massimo Bacigalupo, a Rapallo native, comes from a family with a long history of actual personal connection with the Pounds; as his new study both implicitly suggests and explicitly demonstrates, such intimacies are affective and meaningful. Ezra Pound, Italy, and The Cantos feels to me to offer a species of periplum, albeit of the literary-critical kind.

It goes without saying that in the schedule of Pound's polymathic interests, "Italy"—as both an imaginative ideal and a cultural, historical, political, [End Page 130] and economic reality—took precedence. It constituted the horizon of Pound's concern and formed the center of his creative and intellectual life. Bacigalupo is better placed than most to explore the implications of this fact. The work offered here, inflected by personal experience throughout, is intentionally restrained in scope (despite its 350 pages); it avoids the universalizing pretensions of certain literary-critical scholarship, focusing instead quite literally on relationships, correspondences, and associations. It turns out that many of the places Pound cared for, the people, the intellectual and emotional subjects that occupied him, are not (yet) particularly prevalent in Pound studies: Rapallo, Sant'Ambrogio, Eugenio Montale, Carlo Izzo, Enrico Pea, Douglas Fox, Sheri Martinelli. This work is broadly "Poundian," presenting "striking bits of information that illuminate the whole" (125).

Its demeanor, though refreshingly various, is overall more literary "appreciation" than "critique." I mention this only insofar as readers less fastidious about a division (however inchoate) between the man who suffers and the mind that creates might find Bacigalupo's political kid gloves a little too downy. (His magisterial The Forméd Trace: The Later Poetry of Ezra Pound, published by Columbia University Press in 1980, pulls fewer punches, and remains to my mind the account of record concerning Pound's later poetry. Readers interested in the political dimension of Pound's affiliations with fascism should consult instead Tim Redman's Ezra Pound and Italian Fascism [Cambridge University Press, 1991] and Catherine E. Paul's Fascist Directive: Ezra Pound and Italian Cultural Nationalism [Clemson University Press, 2016].) The "Italy" explored here is not a sociopolitical entity but a network of personal and artistic contexts. For Bacigalupo, Pound is a "poet of genius" whose work is fundamentally motivated by love, regardless of the meanness of its hates and the "bewildering violence" that ensued (270, 267). This study remains, as its title clearly states, about a person, place, and thing.

Bacigalupo shows Pound working in and through a multifarious and often counterintuitive set of circumstances, such as the fact that "Pound had little interest in and contact with prominent Italian writers of his time" (69); in retrospect, Pound's splendid isolation from things feels at once like both an alibi and an explanation. Bacigalupo sees Pound as part of a "Hellenic Italophile tradition" (20) and The Cantos as a poetic itinerary whose recurring patterns of experience and perception are as psychological as they are geographical. History, landscape, and ritual combine into literary mosaics (or cantos) that are part memoir, part travelogue, part guidebook, part reportage, part "autobiographical myth" (46). Though a fundamentally sympathetic reader, Bacigalupo offers honest appraisals of this deeply contradictory work, a poem that simultaneously protests against the "worship of texts" and concomitant authority (139), on the one hand, and demands this of its readers, on the other. The Cantos is read as a radically uneven work, a mixture of "disjointed notes" and powerfully "coordinated music" (66), and without cherry-picking lyric gems from more rebarbative contexts. Bacigalupo's study is...

审核人：

• Massimo Bacigalupo撰写的意大利埃斯拉庞德和Cantos
• 迈克尔·金德尔伦

在相当长的理论，解释和美学观念中，埃兹拉·庞德曾经（在意大利拉帕洛工作和生活期间）发展了他所谓的“ periplum”，并在他的阅读ABC中将其定义为“正确的地理；不是您会发现的” [在地图上]，但被某人在原地看到。与其说是抽象距离，不如说是一个骗子庞德的思维方式，是一项相当忠实的事业，是由熟悉人，地和事物的人提供的说明。Massimo Bacigalupo是拉帕洛（Rapallo）的本地人，来自与英镑有实际私人联系的悠久历史的家族；正如他的新研究隐含地暗示和明确表明的那样，这种亲密关系是充满情感和意义的。意大利的埃斯拉庞德（Ezra Pound）和坎托斯人（Cantos）在我看来都提供了一种折衷的方式，尽管这是文学批评的方式。

毋庸置疑，在庞德的多元利益计划中，“意大利”既是一种富有想象力的理想，又是一种文化，历史，政治上的“ [意大利]” [结束第130页]和经济现实-优先考虑。它构成了庞德关注的视野，并构成了庞德创造性和知识性生活的中心。比起大多数人，Bacigalupo更有条件探索这个事实的含义。此处提供的作品受到个人经验的影响，尽管有350页，但有意限制其范围。它避免了某些文学批评学术的普遍化主张，而是从字面上着重于关系，对应和联系。事实证明，庞德所关心的许多地方，人们，占领他的知识分子和情感主体在庞德研究中尚未流行（例如）：拉帕洛，圣安布罗焦，尤金尼奥·蒙塔莱，卡洛·伊佐，恩里科·皮亚，道格拉斯·福克斯（Douglas Fox），谢里·马蒂内利（Sheri Martinelli）。这项工作大体上是“庞德式的”

它的举止虽然令人耳目一新，但总的来说是文学上的“赞赏”，而不是“批评”。我仅在读者对受苦的人与所创造的思想之间的分歧（无论是多么早期的）不那么精打细算的情况下才提到这件事，这可能会使Bacigalupo的政治小孩手套有些过于柔软。（他的权威性形成的轨迹：庞德的后期创作，由哥伦比亚大学出版社于1980年出版，拉少拳，至今依然在我脑海中关于英镑的后期诗歌帐户记录的兴趣庞德的从属关系与政治层面的读者。法西斯主义应改为咨询蒂姆·雷德曼（Tim Redman）的《埃兹拉·庞德（Ezra Pound）》和意大利法西斯主义[Cambridge University Press，1991]和凯瑟琳·保罗（Catherine E. Paul）。法西斯指令：埃兹拉庞德和意大利文化民族主义[克莱姆森大学出版社，2016]。）这里探讨的“意大利”不是社会政治实体，而是个人和艺术环境的网络。对于Bacigalupo而言，庞德是一位“天才诗人”，其工作从根本上说是出于爱的动机，而不论其仇恨的卑鄙程度和随之而来的“令人困惑的暴力”（270，267）。正如其标题明确指出的那样，这项研究仍然是关于一个人，一个地方和一个事物的。

Bacigalupo展示了庞德在各种各样的，常常是违反直觉的情况下并在其中工作的事实，例如“庞德对那个时代的意大利著名作家几乎没有兴趣并与之接触”（69）；回想起来，庞德与事物的出色隔离既使人感到既是辩解又是一种解释。Bacigalupo认为英镑是“希腊Italophile传统”（20）和Cantos的一部分作为一种诗意的行程，其经验和感知的重复模式既具有地理意义又具有心理意义。历史，风景和仪式融合成文学作品（或赞美诗），它们是回忆录，旅行日记，指南，报告文学和“自传神话”的一部分（46）。尽管Bacigalupo是一位从根本上同情的读者，但他对这部极具矛盾性的著作给出了诚实的评价，这首诗同时抗议“文本的崇拜”和随之而来的权威（139），并在另一方面要求读者的这一要求。 。Cantos被认为是一种根本上参差不齐的作品，混合了“脱节的音符”和有力的“协调音乐”（66），并且没有从更具争议性的背景中挑选樱桃宝石。Bacigalupo'