PRESERVATION PHOTOCOPY: ORIGINAL MATERIAL IS RESTRICTED

February 28th, 1925

Ezra Pound, Esq.
70 bis rue Notre des Champs
Paris, France

My dear Mr Pound:

Perhaps you would be good enough to
help us out of a difficulty. Some time ago a
manuscript was sent to The Dial entitled The
Gilded Coach by Mr Frederic Manning. I under-
stand that you either suggested to Mr Manning
that he send the manuscript to us or that you
were in some way connected with it. The menu-
script was the first instalment or first part
of a longer work that was not yet finished. The
editors of The Dial kept the story in the expec-
tation of seeing the rest of the work before mak-
ing any decision on this part of it which we now
have in our possession. The remainder of the work
never was sent in by Mr Manning and we are now en-
xious to know his address so that we may return
to him the story.

We are now writing in the hope that
you may know where Mr Manning could be reached.
I hope very much that this is not troubling you
too much. We should very much appreciate your
help.

B.II

EZRA POUND

RAPALLO

VIA MARSALA, 12 INT. 5

14 Sept. 1925

Dear Miss Moore :

Thank you for your note of 2nd. inst.

There are two obstacles; one, that my connection
with the Dial terminated some time ago. I understand
that some changes have been made in its organism but
have not seen a copy of the review for two years
and dont know whether I should find in it reason for
changing my decision to abstain.

Secondly, I prefer to leave criticism
and prose in general to younger men or to those who
can do nothing else. Exceptional circumstances may alter
this feeling, as in the case of my note on Dunning
which is I think the only prose I have written during
the last two years. Stehdhal is in no need of introduc-
tion.

You might perhaps find place for a group of
Dunning's poems ? I find the young object to them
rather strongly on account of their form which is
no longer in fashion, but these fashions alter and
after a time one begins to take count somewhat of the
substance.

very truly yours

EZRA POUND

RAPALLO

VIA MARSALA, 12 INT. 5

13 Nov. 1925

Dear Miss Moore :

There are a number of reasons which
might, and ~~very likely~~ should deter me from writing
to anyone holding your present editorial position ; but
to the love of a fine performance in the arts ought, or
at any rate does take precedence over personal relations,
or relations containing a personal element.

Which being so, I think you would
do well to have a look at the mss. of Cheever Dunning's
"Four Winds" ; regardless of current fashions in verse.
After all, there was a good deal of fine poetry
written before newfanglenesse, before the appearance
of our friends Mssrs. Eliot and Cummings; and the
clarity of impact, the surety, the exact termination
of content with the termination of expression, the
originality, not wearing just the autumn's pet mode of
being original, are elements in Dunning's work
which can't be invisible to everyone save myself ; at
least I still credit the race with a few individuals
not wholly void of these perceptions ( absent though
they wd. seem to be from the "foreguard of rising talent."

s incerely yours

LITERARY ANNOUNCEMENT

A review, to be published three times a year and to cost fifty cents
(not $5) a copy, is planned for early in 1927. It will be edited by Ezra
Pound, who lives at Rapallo. No name has yet been chosen for it.

MSS. (for which the magazine will pay as much as it can), indications
of willingness to subscribe (at $1.25 a year), and words of encouragement
or derision should be sent to the American agent, John M. Price, care of
Herald Tribune, New York.

The review intends to print only excellent and genuinely original
writing--"preferably magnificent or unspeakable," says Mr. Pound.

December 8, 1925.

Ezra Pound, Esq.,
Via Marsala, 12 Int. 5,
Rapello, Italy.

Dear Mr Pound:

The "fashion of R. C. Dunning's poems in the April number of POETRY is very pleasing and we might care to publish something of his, but we should care yet more to publish some of your own poems. I very much regret that I have not seen your criticism of R. C. Dunning. However, despite the fact of your having written it, I wonder if you would not be willing to send us, to be published in connection with work by Dunning, an article upon him, or upon him and the work of others? The choice of the magazine for which one will write is second I feel, only to the choice of what one will write. So if you positively wish not to write for The Dial, we can but acquiesce; but I build upon the hope that your lack of interest is not fundamental.

The need for doing importantly, important work, has frequently brought you to my mind; Dr Watson was pleased last June when Mr Wescott asked if he might write upon your Cantos; and Mr Thayer wrote from Germany some time ago, suggesting that we ask you to write for us. (He had not known of Dr Watson's and my having asked if you would review for us, the Stendhal.) If our suggestion that you write for us a criticism of Ralph Dunning, of Ralph Dunning and others, or merely of others, is uncongenial to you, is there not some other subject of aesthetic import-- of Italian or general interest--upon which you will write for us? It seems to me as hazardous to entrust prose to "younger men" as it is to entrust to them, verse.

Sincerely yours,

RAPALLO

VIA MARSALA, 12 INT. 5

9 Feb. 1927

EZRA POUND

Dear Miss Moore :

I realize that in your position, and I now realize more fully that in Mr Watson's position life and perhaps even the expression of fact can not always be perfectly simple.

At the same time it wd. interest me to know by what process of psychology you arrive at the supposition that there is a process of psychology, and if so, WHAT process or what sort of process, that might have led me to the conclusion contained in the second or last paragraph of yrs. of 27th. ult.

Or to put it with even greater clarity : have you ANY knowledge of my experiences with the editors of the Dial who preceded you ?

yours very truly

B&I&I

April 26, 1927

Ezra Pound, Esq.,
Via Marsala, 13 Int. 5,
Rapello, Italy.

Dear Mr Pound:

In answer to your letter of February 9th, I may say that I have no precise knowledge of past correspondence between you and The Dial. Nevertheless I feel that the invitation that I extended to you was entirely supported by interest on Mr Thayer's part when he was in New York for a short time last fall, upon my proposing that we request poems from you. And before that, upon my coming to the office, Doctor Watson expressed interest in your poetry, and not long ago when he was in town, was again quite positive in his friendliness--from an editorial point of view.

Perhaps I am criminal in liking some things better than others--even by an author for whose work I have unqualified enthusiasm; and I feel that individuals may sometimes publish what magazines may not. But I have always read your work with delight, Accordingly to have none of it to publish since I have been associated with The Dial has been to me a real hardship.

MM:GS

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RAPALLO

EZRA POUND

VIA MARSALA, 12 INT. 5

26 Nov. 1927.

Dear Miss Moore :

I am send you herewith three
sets of verse by J.Bard. You will find some of
his criticsm in Harpers and Forum. He seems
intelligent. He is cotracted with Harper for a huge
work on The Mind of Europe, and seems to have some
sort of basis and reason for thinking he can tackle the
job.

You can communicate with him care of me here.
He is the last Hungarian. He might do you a rather
good article on Andreas Ady, who seems to have been
a very good poet writing in magyr. I dont know
that the debacle of Hungary, and the literary effects
of same have yet been treated in the U.S. -- or
well treated.

yours

RAPALLO

EZRA POUND

VIA MARSALA, 12 INT. 5

30 Dec. 1927

Dear Miss Moore :

I think the enclosed may have enough
it in it to justify its appearing apart from its
entire context.

It gets me out of spending six months
demoloshing Spengler; and I think perhaps some corrective
both to Spengler and to dear Wyndham's latest reprint
may be about due. But I don't want to mention either
of these authors, or to have them mentioned in editorial
notes, accompanying the commentary on Guido.

///

Sorry for messy state of the manuscript, but I have
been in hospital and it is not yet easy for me to
sit up at desk for more than a few minutes at a time.
So the compositor will have to struggle with the inkmarks

Might be well, if you can use the thing, to send me
proofs in good time.

L'élève/l'élève/l'élève

At my rate the notes contain enough live thought to
make 'em worth printing, and it is time some of these
assertions were made. The final pages are clear enough.

The others a possibly obscure from condensation, but
I want them to accompany the rest.... if only to
begin an attack of contemporary habit of shooting off
abstract statement WITHOUT definite basis.

January 19, 1928

Exra Pound, Esq.,
Via Marsala, 12 Int. 5,
Rapallo, Italy.

Dear Mr Pound:

MEDIAEVALISM AND MEDIAEVALISM
has reached us in time for the March issue
and will be included in it, and we shall
have it copyrighted as in the instance of
the CANTOS. We enclose a cheque for fifty-
five dollars.

We are sorry to know of your
having been ill, especially that you should
have had to be at your desk to revise this
manuscript. Our printers are most cooperat-
ing and will make no complaint I am sure.
Proof will be ready to send, in a week.

I feel very much the beauty of
the John Rodker announcement you sent me.
The interesting content bears conspicuous
presentment.

MM:GS

February 9, 1938

Estra Pound, Esq.,
Via Marsala, 12 Int. 5,
Rapallo, Italy.

Dear Mr Pound:

If you could be willing to submit to
Mr Loomis, suggestions which we are proposing and he
would approve, then, we should be glad to have
NORTH OF MULL and LANDSCAPES I and II.

We should readily confide in you, but that
we have no policy other than that which is apparent.
We have not felt the persons you mention, to be a det-
riment to The Dial. There are others we wish we had
room for, but we are not willing to displace certain
contributors that we have, and in respect to new ones,
feel we cannot refuse or accept work until we have seen
it. This, apropos of B.M.G.-Adams. Some time ago,
Louis Zukofsky offered us work--prose and verse--neither
being quite ready for publication. And work also has
been offered us by J. Cournos, both original and trans-
lation. Far from being unfriendly, we should like
again, to have something of his in The Dial. The last
work by him that I saw seemed to me as dictation, rigid
and unimaginative. I recall an article of his, that
I liked, in The International Studio--on Epstein--but
that was some years ago. A preface to Chekhov in col-
laboration with Richard Aldington I liked also.

We do thank you for the photograph of
Kiesler's Space Theatre. We shall not keep it very
long, but should like to delay returning it till Doctor
Watson has been able to see it.

I wish there might be a complete American
edition of your work, but I have small ground for be-
lief in a sacrificial scholarliness among American pub-
lishers. The Dial Press which might seem to be ourselves
is a separate organization with a trend, I infer, away
from poetics.

We received to-day the proof of Mr Bard's
AURORA MEDIOCRITAS and hope that your proof will come
by the next steamer.

Sincerely yours,

April 17, 1928

Ezra Pound, Esq.,
Via Marsala, 12 Int. 5,
Rapallo, Italy.

Dear Mr Pound:

Upon receiving your letter of March 31st I telephoned to Curtis Brown requesting the article by Max Beerbohm, but was told that it had been sent the day before to another magazine, in which it is shortly to appear. Needless to say, we are disappointed. Mr Thayer, and each other member of the staff has wished that we might have something by Mr Beerbohm. Upon first coming to the office, I wrote to him on my own behalf--but received no reply to my invitation. Should you feel inclined to speak to him in our behalf, we should be grateful in deed. As you know we have not special prices for special persons, and this face, with some, would be against us.

We have not received the poems by Mr Yeats which you thought of sending us.

And in respect to your own work-- review, article, or verse--may I say that material goes to press on the fifteenth of the month two months in advance of the issue named.

MM:GS

Dear Mr Pound:

We are most sorry to be returning THE CITY.
Arriving at our decisions as we do by consultation,
and being predisposed to publish anything you might
send us, we were loath to find THE CITY not really
homogeneous with our plan. We are returning with it
the two photographs and the photograph of Kiesler's
Space-theatre.

The Lermontov we are keeping with the under-
standing that we be permitted to defer publishing it
for a long time. The latter part of this week we hope
to send Mr Cournos in your care, a cheque for a hun-
dred and fifty dollars. Our rate of payment for verse
is twenty dollars a page and for translation, half
that so for fifteen pages payment would be a hundred
and fifty dollars.

If you would be so good as to write it for
us, we should like to have a review of IL LINGUAGGIO
SECRETO DI DANTE. Our reviews vary in length from two
to five Dial pages. If upon its appearing, the Cocteau
seems to you important and in the main pleasing, we
should welcome a notice of that also. Please speak of
anything that it would be congenial to you to review.
We are assuming that it is your feeling as it is ours,
to give space only to what is valuable. A "briefer
mention"--if you have a fancy for this condensed form,
and I have myself--may be from fifty to two hundred
words in length; payment for such a notice is, however,
but two dollars. I should think it might be more sat-
isfactory to you to give us a short long review of a
page or two pages. A Dial page averages four hundred
twenty words. A single, or two-page, review would,
mechanically be very helpful to us. Payment, as you
know, is at the rate of two cents a word.

We thank you for the notes on Scriabne
which we are giving to Mr Burke.

Sincerely yours,

April 7, 1928

Esra Pound, Esq.,
Via Marsala, 12 Int.5,
Rapallo, Italy.

Dear Mr Pound:

It is easier to feel that your trans-
lation is a triumph than that it could in any way
be deprecated. The regulating of emphases is,
independently and equivalently, a marvel.

Though we are accepting your permission
to omit the sentences marked by red dots, no sec-
tion seems dull or superfluous.

We plan to publish the manuscript in
the July issue, in this order:

the translation
the philosophic exposition
the original
notes on the form; and the consideration of
the sonnet

announcing them in the June issue.

"DONNA MI PREGA by Guido Cavalcanti,
with Translation and Commentary by Esra Pound; fol-
lowed by Notes and a Consideration of the Sonnet."
Is this satisfactory or ought the wording of the
announcement to be more explicit?

About the first of May we shall send
you a cheque for $120. (For the translation $30;
for the philosophic exposition, $35; and for the
other dimension $50.)

We are pleased that you liked Claud
Cockburn's contribution to the January issue and
I am giving you now his address, which I had it in
mind to send you when you first spoke of him:

c/o The Times,
Unter den Linder, 17/18,

Berlin, W. 8.

May 11, 1928

Ezra Pound, Esq.,
Osterreichischer Hof,
Vienna, Germany.

Dear Mr Pound:

We feel that we understand the corrections you make and have transferred them to our proof sheets, but are most anxious to have no mistake so we are willing to put you to the trouble of verifying the changes by your original. May we ask you to allow us to have both of them again as soon as you can?

We hope the Lermontov which we took the liberty of consulting you about has been forwarded to you from Napallo.

To what address shall we send your copies of the July issue?

MCCS

July 10, 1928

Ezra Pound, Esq.,
Via Marsala, 12 Int.5,
Rapallo, Italy.

Dear Mr Pound:

Absences of the staff have occasioned delay which we very much regret. May I now say that if you will translate Dr De Schloezer's article as you thought it possible you could, we should like to have it. The tendency of The Dial is so far from personal that I have wondered if the prefatory pages, and perhaps other parts, alluding to Dr De Schloezer's previous critical work might, in your judgement, be omitted? But it is better to have what you don't precisely want than to run any risk of spoiling a thing. The September issue is just about ready to go to press. As you know we go to press two months before the appearing of the issue. So it would seem that the article may appear abroad before we can present it. Our rate of payment in that case will be a cent a word to each to author and translator.

We should be glad to have a review of Richard Aldington's Selections from De Gourmont (Fascial CoviCi, two volumes) if you would care to write it. May we send you the books?

We are very happy in receiving your Exile.
I hope The Dial reaches you regularly.

To Dr Kellner and to Mr Dazzi each, the
two copies of The Dial were sent, as you requested.

MM:GS

August 22, 1928

Esra Pound, Esq.
Via Marsala, 12 Int.5
Rapallo
Italy

Dear Mr Pound:

If you will continue the translation of it we should like to have Dr de Schloeser's entire book, for we enjoy the English style of the present section; we need not see the French first; the foreword will appear in the October issue and we have sent you proof. We were most unlucky in having it go to you with certain errors which we had intended to obviate so we shall hold the press back until we receive corrected proof from you.

T. S. Eliot writes that you have given the present section also to him for the Criterion and that he would possibly wish to publish other sections. Of course the book will appear in France and we have decided that except for the present section we should like to permit the book to precede us in France and to permit Mr Eliot to publish it, or parts of it, as he may see fit simultaneously with The Dial.

We are happy to send you A VOTAGE TO PAGANY. Advance sheets have gone to you, and when we have it we shall send the book. We are hoping you will give us a critique of Dr Williams' work as a whole. I wonder if it would be convenient for you to give it to us for the November issue, that is to say by September 15th? We have a rather respectful caricature of Dr Williams which we may have if we can use it not later than the November issue. We are venturing to announce your article as A Critique of the Works of William Carlos Williams. Should this not be agreeable to you please be so good as to send us a deferred cable at our expense - Dialpubco New York.

res publica, the public convenience

EZRA POUND

RAPALLO

VIA MARSALA, 12 INT. 5

Ed. Dept. DIAL

Ladies :

Am cabling this a.m.,
DIALPUBCO Spell Schloemer nine one letter errors.

When you want me to cable re/ proofs, it wd. expedite
matters if you „d. send me a proof already corrected
by press or office.

I think all the nine errors and one or two minor
details of caps. or a bad letter cd. and prob. have
been discovered in N.Y.

especially the mis spelling of Schloezers name
which you obviously know, as you spell it with a Z.
in yr. letter.

Bog, matter was sent some time ago.

other pts. of yr, letter noted.

yrs.

3.

However, if you don't take this course, and if the Selections ( 2 vols. ) Are my legal property, will you please send 'em with my compliments to Louis Zukofsky

57 East 111 St., New York

He can lend 'em to Bill, and the general education of at least one section of the country can be promoted.

/////

Thirdly or fourthly, it is NOT convenient for me to give you the Critique of W.C.W. by Sept. 15 th. ( do be explicit ; Sept. 15 th. at port of expedition Rapallo, Venosa, New York ??????)

HOWEVER, I will do so; and if the Pagany arrives on time, in time, I will assume that you mean Sept. 15 in port of N.Y.; that is to say I will write one article on receipt of W.C.W.s proof sheets, and send it at once.

(( Conditions of News Paper journalism not of reflective solitude. ))

Fortunately I have the important books here, but several items are lacking, and it will therefore be an article with lacunae; I cant discuss Sour Grapes, or Kora, however, I dare say there'll be as much as the Dial wants, even if less than our unique friend deserves.

///

As to the note on Jean de Gourmont. Impossible to get
material or information here. No booksellers in Italy,

Aldington ed. have done the note ; out he left
England yesterday ; he may be back among his books by
Oct. 1.

I shan't be in reach of information till I
get to Paris in the Spring.

If I see Richard in Perugia this month
I might wangle something; or get him to send me the
necessary material;

that's as a last resort, if you
insist on it being me who does, is to do
the note on Jean, and if Spring wd. be too late.

Minor precision: I gave the 1st. chunk Schneezer to
Criterion, on condition that they write to you, and
ascertain whether you consented to their using it
simultaneously with Dial,

Re/ proofs first Schneezer, I cabled, so that you ed.
procede with printing 'em, were no errors save of
wrong letter here and there. ( however, our notes
on that subject cross.)

Will send on the article on Williams as soon as I get
the " Voyg. to Pag. " : delay of 24 hours for reading
same, and 6 hours for maturing thought (?) on relation
of this opus to rest of Wm. and his general relativity
to them onforchoonate States.

That seems to cover pts. raised in
yrs. of 22 ult.

September 17, 1928

Mr Eza Pound
Rapallo
Via Marsala, 12 Int. 5

Dear Mr Pound:

1. The Williams critique arrived Saturday (the 15th) and it goes without saying, will give pleasure; it is exactly what we want, if you can want what you couldn't have except as the device and gift of another. There is no half-nonsense in being hurried as you have been, to give us this article. I deplore it; I had the hope when you first mentioned the article that you had all the books but the PAGANY; perhaps that, in manuscript.

2. We shall send corrected proof to you to Perugia, Albergo Bella Arte - and shall again ask that you cable, but this time, only in the event that there need be a change; and please, if cabling is necessary, at our expence (Dialpubco, New York). That the de Schloezer proof went to you uncorrected was deeply regretted in the office. I was ill at the time but had asked that corrected proof go to you. In our corrected proof, however, there was one mistake. (If the Williams proof should reach you in ample time to be returned by post then we are of course not asking for a cable. We shall want to O. K. the issue on October 15th.)

3. We should earnestly request your continuing with the de Schloezer. It was

only with the expectation of your doing it
that we thought we wanted it.

4. Upon hearing from you that Mr Eliot might wish to use some of it, we cabled him at once that the first section had been included in the October Dial - that he might have as much time as possible.

5. Respecting a separate article on de Gourmont, we think it desirable that your note be lengthened - that is if you think best, added to. You understand, I am sure, that what is already set up ought not to be greatly altered. We also hope you will send us something on Jean de Gourmont. It may be a convenience to you to have a second proof of the Gourmont, so I enclose one and we can wait for the article until it is convenient to you to send it. Should you like to have another off-print of the DONNA NI PRENA article?

6. We are sending the SELECTIONS to Louis Zukofsky depending upon you to explain that they are a gift, (I had in the first place very nearly sent them to your father.) The Henry Adams was submitted to us by Mr Zukofsky this summer. He came for the manuscript in person, about a week ago - evidently willing to know more than I had said in my letter, and I told him in particular why we did not want it.

7. Your returning the duplicate proof sheets may mean a great deal to some one. We are forwarding them to The Macaulay Company.

8. We shall be sending to you to Rome two copies of the October issue. Other issues we shall hold until you send an address. And we should like to send two copies to Mr de Schlozer without your being at the expense of forwarding them?

9. We shall next week send you a cheque for eighty dollars ($80) for the critique, to Rome - Hotel Terminus.

10. Apropos of editorial obliquity, I all but out open the enclosed letter, and in accordance with the grasping tendency which prevails in these onfor-choonate States would have appropriated the stamps for Doctor William's children.

Sincerely yours,

P. S. "When a creative act occurs in America "no one" or at least very few people seem at all aware of what is occurring." We have ventured to send to press as follows: "When a creative act occurs in America "no one" seems aware of what is occurring."

October 24, 1928

Mr Ezra Pound
Via Marsala, 13 Int.5,
Rapallo, Italy

Dear Mr Pound:

Translating that you do, we look
forward to with pleasure for it is so
rare when translating has creative quality-
apart from the content, and you ought not,
if I may presume to say ought, to feel it.
slavery. We should like to publish this
next part in January; I should think that
would fit with Mr Eliot's plans, but may
we depend on you to confer with Mr Eliot;
that is to ask him to let us know by letter
or cable if we are not to include the section
in our January make-up, on November 15th?
The De Gourmont we shall be publishing in
that same issue for at the time we made up
the December issue we had not yet heard
from you.

We earnestly hope that there are
no errors in the Williams critique. We
have deferred our O K a week beyond the
time when the Dial should appear; I wish
we had sent a proof to Rapallo as well
as one to Hotel Terminus, but I know you
have an editorial understanding of such
mischance.

The off-print we are sending to
you and wish it were an omen of the ap-
pearing to your definitive edition.

EZRA POUND

RAPALLO

VIA MARSALA, 12 INT. 5

21 Oct. 1928

Edtr. The DIAL

Dear Miss Moore :

Who is reviewing Wyndham Lewis's
CHILDERMAS, or CHILDERMASS for you ?

As I shall, I suppose have to read it
sometime, I may as well review it. Might also stir
up a little liveliness if review comes at same time as
fr. trans. of Ulysses, at last announced as ready.

I dont mean, review the two, but the coincidence
( more or less ) of appearance offers sauce.

I enclose some matters not having direct
bearing on my report on it.

Edt. Dept.

Recl. 80 dollrs re/ artiel. on W. C. Williams
with yr. note of Sept. 20. Thank you.

Recd. 80 dollars, previously, which I hope I acknowledged.
re/ note on Aldington's Gourmont, and the Schloezer.

November 24, 1928

Mr Ezra Pound

Via Marsala, 12 Int. 5

Rapallo, Italy

Dear Mr Pound:

Enclosed is a cheque for one hundred and fifteen dollars ($115) seventy ($70) and forty-five ($45) in payment for the January and February portions of the Stravinsky. This part - with a certain intellectual starch or stringency is as delightful as the other; perhaps not quite, but that is not because of the rendering. The strict conclusion is much to my taste.

I have taken a liberty at two points. on page 7, three "varys" come rather close together and I have left out the one in "always very clearly accented." Page 7, "obviously he don't mean to adapt himself to his audience" I allowed to read, "obviously he means not to adapt himself to his audience" but respected your "don't" in "all of which faked archaism simply don't matter."

If you will write for us a long review of THE CHILDDEMASS we shall be glad to have it.

I shall yet later write you with regard to the LINGUAGGIO SECRETO.

Sincerely yours,

P. S. T. S. Eliot says he might care to publish a part of the de Schloezer in March, and I wrote that it is our understanding that we are to have the final part of the book for our March issue.

EZRA POUND

RAPALLO

VIA MARSALA, 12 INT. 5

31 Oet.

Dear Miss Moore :

If my note of Aldington-Gourmont hasn't gone to press already, you can add this as p,s, or as footnote. Krutch's somewhat ligneous article has just arrived. Kemy's///Abundant of Remy's vitality seems to disturb the éRev. Krutch

if inconvenient to add, it don't matter.

for public, the public convenience

EZRA POUND

3 Nov. 1928

Dear Miss Moore :

1. I didn't cable re/ article on Williams as you wrote : cable only IF something is wrong. There was nothing to cable about. save an omitted " the ", which was of no importance ; am about ready to drop the use of said article altogether save for cadential reasons.

2.

Re/ Criterion, my understanding was that Dial was to move at its own convenience, after the first installment.

I believe the Crit. is a quarterly ( have no definite evidence ), but any WAY, ce cher Eliot is so goltarnation slow that it wd. be follow to wait on his revolutions. Being ( as one supposes ) a quarterly I don't know that he has room for the entire Stravinsky.

Am tyring to apply his energies to getting the Guido PROPERLY done.

Have, nevertheless " conferred ", and you may hear from him, but if you don't, don't worry.

3. Will remit the rest of Schloezers Chap. II. in about 48 hours, or less. so that you can have the whole chapter for Jan. if you want it. personally I think it is so solid that it wd. prob. go better in two lumps. However, the reader may have less consequence of memory than I have,...

on other mit, IF he gets too big a wad of thought, it will stick in his craw.

EZRA POUND

RAPALLO

VIA MARSALA, 12 INT. 5

23 Nov.

Dear Miss Moore :

( Chap II, part 1. )
Schloezer proofs started west about an

hour ago.

I dont know what you will think of my efforts
to indicate the relative position of early tuscan poetry ;
and the rather strong measure of leaving the " Lady
thy beauty doth so mad mine eyes " , suspended in
air.

IF the reader wd. have a shot at it, he might
learn something about Elizabethanism, its limits, its
aptitudes .....

I mean rather more than if I had done
the job for him. Whether I have made the alternatives
clear enough in the dif. bet. G.Orlando poem, and
Cavalcanti's is also for you or someone else to judge.
I personally see a difference. Beyond which is the
Thing in se .

I suspect the passage of Eliot's is in
his preface to me, but haven't a copy here.

///

Yeats had a bad break down last week, " they "
( he and spose ) say they have already informed you that
he has not written anything. He is now reading my
august works, for whatever ultimate benefit the world
may derive from that phenomenon.

destined for his sisters press ( I believe the results are
" Cuala """ )

January 15, 1929

Mr Ezra Pound

Via Marsala, 12 Into 5
Rapallo, Italy

Dear Mr Pound:

We are indeed happy to have the
Guido, and wish all "efforts" were as pro-
ductive. Your renderings make one wish
Guido - possessed of English - could read
them. Such work is its own praise; one
would need achievement much less than this,
to be at ease in offering approbation.

I hope you could not feel it to
be a contradiction of what I say for us to-
ask the privilege of beginning at the top
of page two - omitting part of it, and page
three. And I am submitting to your requests
of my own with respect to certain other
pages. We shall of course do nothing un-
til we have your reply. I enclose a cheque
to take the place of the one for one hun-
dred and fifteen ($115) that you did not re-
ceive; also a carbon copy of the letter
that went with it. We are disappointed not
to have the de Schleezer for March, but
shall be happy to have it later.

We must not plan to use the SPANISH
EPITAPH. We sometimes use a brief poem,
though not in the sense of a filler, but do
appreciate your thinking of us in these vs-
rious respects.

I am sorry not to give you in this
letter our reply about Mr Aldington's essay.

December 4, 1938

Dear Mr Pound;

I hope you can bear with our short-
sightedness or wastefulness or whatever serious
inadequacy may seem to you responsible for our
not feeling ourselves able to publish SIG. LUIGI
VALLI'S VIEWS ON THE SECRET LANGUAGE OF DANTE.
The picture is beautiful and takes one back, as
you say, to the XIIIth century even more surely
than words. My interest in that period and in
this subject is so deep that it is with the
 greatest regret I realize the divergence of read-
er's interest, from ours.

I should not myself have been attrac-
ted to the Stokes, despite certain fine pages,
but anything that you would like to have us see,
we read with especial carefulness.

The foot-note I think I have already
written you about? It came after the January
issue had been made up. We feel it very gra-
cious of you to tell us you could condone our
omitting it.

For the parts of the Stravinsky thus
far received we have sent a cheque to M. de
Schloezer and a cheque to you.

EZRA POUND

RAPALLO

VIA MARSALA, 12 INT. 5

11 Dec. 1978

Edtr. Dial

Dear Miss Moore :

In my enc. proofs, I have deleted emendations where they seem to me to alter the sense, and to take the English away from De S's meaning, or angle of meaning.

"known to the world", "to the world", is more complicated than "existed", it is a cliché, and it is inexact. The trouble with cliché in general is its inexactness. Exact cliché is merely simplicity, and prob. a virtue.

Where punctuation, or points queered, is indifferent to me, I leave the queery, commas, or whatever, to your decision.

//

Why shd. "LONG" efforts mean "patient efforts" !!

Why not enraged, successively impatient efforts.

///

For " to be" or " to me", I must ask you to look at my mss.

I have unfortunately forwarded my carbon to Criterion, and the French text to my agent.

I think it was " to be".

One cant say " appears false", at least that distorts the meaning.

EZRA POUND

RAPALLO

VIA MARSALA, 12 INT. 5

What I mean is " the unity which appears or seems (superficially) real, shy. appear, ON EXAMINATION, to be false., not only shy. but does.

Not worth the elaboration. However, I think there is a difference in meaning; and even in that fraction of meaning which the reader may in rare cases ingurgitate from a phrase read.

///
met with, in :: much better as :: encountered
avoids the two prepositions *with in* .

///
end of that paragraph must stay as it is.

harmonic and rhythmic are different elements
not cumulative definition of one element or one set
of elements.

the paraphernalia, yet also a separate
affair.

You can put a comma after elements and before
the and,

sic elements. and

if you prefer. I don't think it necessary. I always use
as little punctuation as possible. Even so the
blame stuff accumulates.

EZRA POUND

3.

RAPALLO

VIA MARSALA, 12 INT. 5

On the whole this is the most important section, so far.
in re/ the actual thought and exposition. Fundamental
val. for literature (poesy) as well as music.

///

On Shd. I think you have me. I reckon thass' in the
( might excuse my grammar , on ground of
text books. element of sub-conscious volition in
the tendency to cry "EVEN IF" treason.

//

" for us " in a critique of Haydn. but ??

in a critique of that very modern sheeney Stravinsky ??

" up to " .

come a lei piace . we leave it to yr
discretion.

////

if there is space, you ed. correct it to

"we shd. find ourselves crying
treason "

V. Shd. prefer to leave " dragging " and put " which
differentiate " in line 4.
in line 1.

that leaves sense intact, and avoids the 2 participles.

I think old HAUPTMAN has
probably staged a come-back with his
EULEN SPIEGEL. At any rate
I shd. be interested in seeing a good
critique of it. Too long for
translation. ?? Cockburn, or an
unprejudiced german to write about it ??

EZRA POUND

RAPALLO

VIA MARSALA, 12 INT. 5

Dear Miss Moore :

I don't know what the market ratings
on this sort of thing are. Have just found it an
last years note book. Sort of thing used I believe,
to be in demand as "filler".

January 25, 1929

Mr. Ezra Pound
Via Marsala, 12 Int. 5
Rapallo, Italy

Dear Mr. Pound:

We must return this manuscript
of Mr. Aldington's - not that a verse es-
say is debarred. Thank you for having
offered it to us.

We hope to present as an adver-
tisement certain of the facts you have
given us about The Dolmetsch Foundation;
I shall be careful to return you the leaf-
let. Editorial comment on the English
Singers was coming out when we received
the information, and the best we can do
is to make mention of the Foundation in
the advertising pages. Inserting ad-
vertising as a favour is contrary to our
rule, but we greatly wish to honour the
Foundation.

I fear letters of ours may not
have reached you, and that the last part
of the de Schloezer perhaps has been lost,
but we are still hoping to receive it. A
duplicate cheque for one hundred and fif-
teen dollars went to you last week.

February 1, 1929

Mr Ezra Pound
Via Marsala, 12 Int, 5,
Rapallo, Italy.

Dear Mr Pound:

We have received both sections of
THE PROBLEM OF STYLE and enclose a cheque
for twenty dollars for the first pages and
one for forty dollars for the last; and we
are sending the same to Mr de Schloeger.

That you have been ill is bad news;
the personal handicap, I know from experience,
disrupts one's entire machinery and I beg that
you will not over-exert on our behalf.

These portions of the de Schloeger
are beyond measure of interest; the "curious
facts" about manner and style and the compari-
son of Stravinsky with Bach - more than matched,
if that's reasonable, by the translation.

Mr Gould tells us he has duplicate
booklets of what you have, and he was to offer
us something further as soon as he cared to -
in particular the part about his father's
death.

The only stories Robert McAlmon has
offered us had already been published. The
Dial permits no species of taboo, official or
personal.

Thank you especially for your men-
tion of Ramon Gomes de la Serna - though we
may not seem promptly to take advantage of it.

With respect to new material, we feel
an obligation to publish what we have, and what
we have arranged for, before inviting addition-
al contributions.

PRESERVATION PHOTOCOPY: ORIGINAL MATERIAL IS RESTRICTED
*res publica, the public convenience.*

EZRA POUND

As a man who has had no success but a steady career
of obscurity I think Monti might be a better bet
than some of the eyetalians who sold a few thousand
copies more and then sold out.

///

More interesting than to do another trans. of Moretti
whose stuff I sent on to Eliot; who pubd. a story in
the Crit. some years ago.

::::

There are 300 wops in N.Y. so dont tell me you cant
find a traducer.

February 31, 1939

Mr Ezra Pound
Via Marsala, 12 Int. 5,
Rapallo, Italy.

Dear Mr Pound:

THE PROBLEM OF STYLE we expect to print in April and May, and a CLASSIC ART in June and July and shall enjoy presenting them. Enclosed is a cheque for a hundred dollars, and to Mr de Schloezer we are sending a like amount. We are asking the privilege of delaying for a month or two, payment for the Guido but shall shortly pay for the Guevara review. You exhibit the book handsomely. We are loath to let pass anything of yours that we might have, but are perplexed to accommodate an enormous amount of work already set up and dare not plan for more just now; and the same must be said of a paper on Mr Gould, and of a story or stories from LA MISTICA STIRPE. We are returning the book to you.

We accede to your wish that the first half of the first page of the Guido be kept, and the lines about Keats and Shelley. In the final part of the de Schloezer, we are setting up the lines you questioned. Perhaps you will have become reconciled to them when you see them again.

The Dolmetsch leaflet I am enclosing and am sorry that it has suffered under respectful use.

We are glad to see another EXILE and to feel, in your comments there, that you think of us - that is, America.

RAPALLO

EZRA POUND

VIA MARSALA, 12 INT. 5

30 Jan. 1929

Dear M.M.

Yes; go ahead and edit as per your markings.
on p. 2.
The XXXXXX omission aids the unity of the discourse.

///

In one or two of the others I possibly incline to think
that you take into consideration the type of person who
prefers decorum to mental activity ; at least to the
point of being ready to sacrifice particles of mental
stimulus to lumps of decorum.

I think such person are usually a pest and
that they shd. whenever possible be kicked in the fyce.
But it wd. be fanatical to insist on such predelection
or to monopolize the mise en œuvre.

JJJJ

As for my opening paragraphs. You might reconsider ;
do as you like ; but admit that critics are mildly
treated by me. And the so called accepted critics
are infinitely worse than a bore. They are filth
or false
omination malie fahes thought barratry bestiality

If one believed in a foreseeing god one wd. certainly
curse him for tHEH permitting such organisms to
exist.

first half of the
At any rate have another look at the first paragraph
and consider it as a fundamental part of my belief
and consider these obese and prolific vermin

RAPALLO

EZRA POUND

VIA MARSALA, 12 INT. 5

as one of the chief diseases of what might be
contemporary mental life if they didn't so overwhelmingly
clot over the surfaces of the ponds and waterways.

The remarks on Landor ought; I dare say
to be made in a separate place.

AAA

Eats and Shelley have been called by these names so
often ?

?? out a footnote to that effect / sic

This is an alteration of text made by distressed edtr.
our incorrigible author has with dastardly malignity deformed
the patronymics of these two lofty respected poets.

///

Eats will be delighted at the omission of ref. to
test tube. Any ref. to science or to accurate thought
sends up his blood-pressure.

////

Thanks for chq. recd.

HHH NO. I can not be bothered to read Childermass
let alone review it.

Mr. Eliot may with all courtesy go hang. Don't worry
about what he prints or does not print.

There seems to be some ambiguity about a FINAL "
De Schloezer in March. . I am now in the middle
of Chap. IV. which is the final chapter. Am condensing
it rather vigorously.

::

If you have an office boy; it wd. probably be better

RAPALLO

EZRA POUND

VIA MARSALA, 12 INT. 5

to have him register letters containing cheques.

I know Mons. Watson is incurable in that
respect. But .... this is an old and curious country.

////

In place of the Childermass / I note there is a book
on Sculpture " Some Mod/ Sculptrs " by by S; Casson . Ox
=ford. which deals with Gaudier.

That might be a suitable thing for me to
review. and useful to have it reviewed by someone
who knows something about the subject.

170

THE THEATRE

that comes into Barbara's mind at the crisis, not "My Kingdom is not of this world." Had Shaw been able to create a character who could have understood that saying, his symposium would have been made immensely richer. The play has a dramatic defect. That lowbrow, Bill Walker, whom Barbara would have won out of mere brutal life if he had not seen Undershaft and Todger buy up salvation and the converted Snobby Price steal his money, is, for all his outward energy, an empty character: the scenes in which he figures with Barbara can have no vibration; these scenes let Barbara down at the very time when she should be rising to her tragic cry. What Winifred Lenihan puts into the part is an enthusiastic soul; what she leaves out is ringing command. "I who have worn a uniform now wear this," she says, but her eyes are melting, not flashing when she says it. Some of the minor parts were finely done: Maurice Wells as Stephen Undershaft was the young man of the English higher schools to the life—in dress, in manner of approaching an idea, in gentlemanly patronage of everything outside himself. The colourless Sara, the Dionysian Greek Professor, and Snobby Price were all well played.

The production of WINGS OVER EUROPE was a real theatrical triumph. In this play written by Robert Nichols and Maurice Browne there are no women: with five exceptions, the nineteen men in the cast are members of a British Cabinet Committee, and the scene of the three acts is in the Council Room of the British Prime Minister's house. The production must have been full of problems—how to characterize each man seated around a table, how to give a feeling of suspense with regard to an action so unbelievable as the destruction of the planet. The producer triumphed nobly over his difficulties. Out of the fourteen cabinet ministers seated around a table he made an entity—they were an organism, and by treating them as an organism he obtained his theatrical effects. When they were individualized, they became surprisingly individual. And when the organism broke under the pressure of terror, and member after member took to striding this way and that way about the room, we had something of the effect of the break-up of a world. The production was directed by Rouben Mamoulian and the setting was designed by Raymond Sovey. Sometime, I hope, Rouben Mamoulian will have the

April 17, 1929

Dear Mr Pound:

Since it was your wish that we keep the opening paragraph of the essay, we set it up, but I am wondering if your indulgence would not permit sacrifice of the last half? Your readers will have noted your view in HOW TO READ OR WHY, or previously; and though I couldn't ask it on this ground, I should be grateful if you could sanction the omission. (Enclosed with the proof which we are asking you to return, is a duplicate which it might be a convenience to you to have.)

After June first, we shall, I hope be sending you a cheque for seventy dollars ($70).

Thank you for your interest in our department of music, and for suggesting J. J. Becker.