TABOO: THE ACTUAL MODERNIST AESTHETIC, MADE REAL A ...

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modernist poetry presented in 1930. Broadening our bibliographic sensibility to include Cunard‘s role in the symbolic and material construction of A Draft of XXX Cantos shows that Pound directly deploys: [T]he specific logic of symbolic alchemy that maintains that investments will not be recouped unless they are (or seem to be) operating at a loss, in the manner of a gift, which cannot assure itself of the most precious countergift, ―recognition,‖ unless it sees itself as without return; and – as with the gift that it converts into pure generosity by occulting the countergift to come – it is the interposed time interval which forms a screen and which obscures the profit promised to the most disinterested investments. (170) Pound‘s concern to give credit where he finds it due disallows acceptance of the miracle-making function time gives to those objects it allows the screen of cultural value to obscure and call ―art.‖ What ―counts‖ as apt, in this materialist mode of criticism, is how the mode of production that foregrounds the tedium-laced caprices of actual archival work shapes poetic meaning. Cunard‘s voice, recorded in this essay‘s title, deserves to be remembered, then, for how it co-authored Pound‘s Italian Renaissance. While Rainey‘s attention to the role of the institutions – printers, agents, publishers – that created modernism is spot-on, it misses the way Cunard‘s involvement in the Malatesta Cantos went far beyond the ‗normal‘ institutional relationship that obtains between poet and printer. Rainey‘s treatment, like Bornstein‘s, is partial in that he leaves out of the ―symbolic alchemy‖ by which these Cantos are created, an important element in the story of their material transmission. Ironically, it is with a story about ‗transmission‘ itself that Pound chose to end his engagement with the Italian Renaissance and the Malatesta Cantos. By listening closely to this story we learn how the symbolic alchemy of the production of A Draft of XXX Cantos speaks to a form of depersonalized production that allows an alternative 151
view of Pound‘s political beliefs to be remembered. The fate to which that commitment has been heretofore ascribed deserves to be measured against the personal names of Pound and Cunard in their joint production of that book. 152
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TABOO: THE ACTUAL MODERNIST AESTHET
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Christopher David Chapman practice.
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CONTENTS PREFACE ..................
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objectification, while titles are a
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ACKNOWLEDGMENTS I would like to ack
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taboo, as the following remark indi
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emind us too hastily only of Benjam
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e renewed in philosophical contempl
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the word “Title.” I do this out
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where fate - the agent of nature‟
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Cantos with Nancy Cunard. The final
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come into their meaning through the
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meaning in the words he appoints to
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―The Role of Language in Trauersp
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God‘s genetic ―pure word,‖ re
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conceived of as a pantomime where t
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ensnared within post-lapsarian syst
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aspects of his linguistic theory th
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decision-making powers, we can demo
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him to transpose arguments about th
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Caesar‖ is an obvious case in poi
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eath of this world, and from it the
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magnanimity wins out in dire and pa
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elegated to the setting in which th
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Notes 1 In an early, unpublished, t
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every locution being, in essence, e
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CHAPTER TWO: LONG SERIES OF TRANSLA
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dramatic monologue, a feat he would
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terms that this chapter wishes to c
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structural factitiousness that the
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is implicit to baroque criticisms o
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meaning of the poems it collects. P
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Pound's fragments as commentary on
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Few critics read these poems in the
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a diorama booth in which his hero a
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the genetic milieu into which it be
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In fact, two complaints can be hear
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while keeping lines that praise Bro
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Cantos deliver a poetic condition i
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Quia Pauper Amavi, and, after McGan
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George Steiner uncovers the ramific
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to register history differently to
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commitment to past modes of critica
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modern poet. Pound exhorted Barry t
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the case, is deliberately making ou
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Pound's genius was to see Propertiu
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delineate Pound's portrayals as fai
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presence of a continuous patina of
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described by Christine Brooke-Rose.
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10) of their rows over fidelity. Fo
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obsessive desire most critics find
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passing from hand to hand, becomes
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Propertius as Propertius once had C
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saw no viable future for his own ex
Page 109 and 110: then, these imaginary aesthetes wer
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Page 115 and 116: itself a Western bourgeois assumpti
Page 117 and 118: subject. Deleuze's 1977 discussion
Page 119 and 120: his subjectivity as a blend of fact
Page 121 and 122: eak occurs in the poet's mind as th
Page 123 and 124: dogmatic binding and over which to
Page 125 and 126: Pound‘s impersonality, to use the
Page 127 and 128: Mill, Jackson notes, finds the conc
Page 129 and 130: apostrophe to ‗Misery‘ performa
Page 131 and 132: ―Mauberley,‖ the poem‘s narra
Page 133 and 134: to posit a fictional author being n
Page 135 and 136: neither Rainey‘s Institutions of
Page 137 and 138: y Piero della Francesca. Pound was
Page 139 and 140: E gradment li antichi cavaler roman
Page 141 and 142: that have not traditionally been co
Page 143 and 144: The library of the dukes of Milan w
Page 145 and 146: Rainey‘s disdain for bourgeois hi
Page 147 and 148: Bornstein, for example, is interest
Page 149 and 150: the meaning of Pound‘s text by co
Page 151 and 152: Do come, do come. I can see us at B
Page 153 and 154: the political implications of that
Page 155 and 156: the winners of its game (148). Beca
Page 157 and 158: iography and how he can be seen to
Page 159: to him is plain: ―News of Nancy?
Page 163 and 164: which to describe the force of natu
Page 165 and 166: interrogation of that two-word theo
Page 167 and 168: elationships that they believed to
Page 169 and 170: commemoration is to writing (Derrid
Page 171 and 172: knowable “as a combination of ato
Page 173 and 174: new‖ emerges: ―it is a movement
Page 175 and 176: ejects any teleological argument fo
Page 177 and 178: Ontologies, such as those that belo
Page 179 and 180: this mystery could only be experien
Page 181 and 182: attention to the way names effect t
Page 183 and 184: Adorno acknowledges that Kant‘s w
Page 185 and 186: understanding how de-personalizatio
Page 187 and 188: Fate becomes a term that Benjamin i
Page 189 and 190: WORKS CITED Arkins, Bryan. ―Pound
Page 191: The New Age. 27.26, 1919. Ovid. The
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