Ezra Pound: A Literary Life

Basil Cheesman Bunting was a British poet, closely associated with Northern England and with late modernist poetics. A close friend of Ezra Pound’s, Bunting worked on the Transatlantic Review with Ford Madox Ford, but did not achieve widespread literary recognition until the 1950s and 60s. His most celebrated work is Briggflatts, an autobiographical long poem published in 1966. Basil Cheesman Bunting was born in Scotswood-on-Tyne, Northumberland, on 1 March 1900, the son of Thomas Lowe Bunting, a local doctor, and Annie Cheesman, from a local mining family, and was educated at the Quaker schools of Ackworth and Leighton Park. This early pacifist background saw him arrested at 18 as a conscientious objector, and sentenced to imprisonment at Wormwood Scrubs and Winchester prisons. In the early 1920s, Bunting enrolled at the London School of Economics and began to experience London literary life. He left the School without a qualification and travelled to Paris. In 1923, while he was working on the Transatlantic Review under Ford Madox Ford, his influential friendship with Ezra Pound began.

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Landmarks of a Literary Life 1820—1892

10.1017/cbo9780511702839 ◽

2009 ◽

Author(s):

Camilla Crosland

Keyword(s):

Literary Life

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The Literary Life and Correspondence of the Countess of Blessington

10.1017/cbo9781139225144 ◽

2009 ◽

Author(s):

Richard Robert Madden ◽

Marguerite Blessington

Keyword(s):

Literary Life

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Satire and Realism in Jane Austen’s Pride and Prejudice: an Interpretative Analysis

University of Chitral Journal of Linguistics and Literature ◽

10.33195/uochjll/3/1/02/2019 ◽

2019 ◽

Vol 3 (1) ◽

Keyword(s):

Jane Austen ◽

The Novel ◽

Pride And Prejudice ◽

Rigorous Analysis ◽

Literary Life ◽

Interpretative Analysis

Jane Austen is acknowledged for the application of realism and satire in her novels. This paper focuses on the analysis of realism and satire in Jane Austen’s Pride and Prejudice; however, her entire oeuvre spotlights the features (of satire and realism) alongside robust feminism: typical of her literary taste and temperament, not necessarily of the Romantic Age which she lived in. Rigorous analysis and realistic observation reveals that the employment of realism and satire in Pride and Prejudice, are quite obvious, in all sorts of aspects including narrative, settings, themes and characters. Analysis of the novel under study leads to the observation that satire and realism go hand in hand in the said novel—intermittently—and thoughtfully. Conclusively, it is observed that Jane Austen’s literary life had a tremendous influence on how to subsume realism (primarily through matrimonies) of age and satire on a romantic society (whereby ideals collapse headlong), in Pride and Prejudice.

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Readies for Bob Brown's Machine

10.3366/edinburgh/9781474455053.001.0001 ◽

2020 ◽

Author(s):

Robert Carlton Brown

Keyword(s):

Text Messaging ◽

Gertrude Stein ◽

Ezra Pound ◽

William Carlos Williams ◽

Public Attention ◽

Avant Garde ◽

Internet Media ◽

Facsimile Edition ◽

Viewing Screen ◽

Writing Technology

This is the much-anticipated new edition of the important volume of avant-garde writing, Readies for Bob Brown's Machine. The original collection of Readies was published by Brown’s Roving Eye Press in 1931. Despite including works by leading modernist writers including Gertrude Stein, Ezra Pound, William Carlos Williams, Kay Boyle, F.T. Marinetti, and 35 other writers and artists, this volume has never been re-issued. Like the ‘talkies’ in cinema, Brown’s machine and the ‘readies’ medium he created for it proposed to revolutionise reading with technology by scrolling texts across a viewing screen. Apart from its importance to modernism, Brown’s research on reading seems remarkably prescient in light of text messaging, e-books, and internet media ecologies. Brown’s designs for a modernist style of reading, which emphasised speed, movement, and immediacy, required a complete re-design of reading and writing technology. Complete with a new Preface by Eric White and a new Introduction and a separate chapter on the contributors by Craig Saper, this critical facsimile edition restores to public attention the extraordinary experiments of writing readies for a reading machine.

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Yeats and Japan: The Dreaming of the Bones

Irish University Review ◽

10.3366/iur.2015.0150 ◽

2015 ◽

Vol 45 (1) ◽

pp. 54-68 ◽

Cited By ~ 1

Author(s):

Masaru Sekine

Keyword(s):

Ezra Pound ◽

The University

‘Yeats and Japan: The Dreaming of the Bones’ first investigates how the Noh came to influence Yeats, then analyzes Yeats's Four Plays for Dancers, focusing on The Dreaming of the Bones, and explains how this Yeats play is adapted into a new Noh play, Hone-no-Yume, in which the places, names and situations were changed to Japanese ones. An account is then given of the latter's production. Fenolossa came to Japan with an appointment to teach Ethics and Logic at the University of Tokyo in 1987, where he studied Noh with Minoru Umewaka, a Noh master. He also translated some Noh plays with the help of his students. After his death in London, his manuscripts were handed over to Ezra Pound by his second wife, Mary, and it is through Pound that Yeats came to read them. Inspired by them Yeats wrote Four Plays for Dancers. At the Hawk’s Well was later translated into two different Noh plays by Mario Yokomichi, thus completing the circle from Japan to Ireland and back.

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‘BLAST First (from politeness) ENGLAND’: The Manifesto in Britain and Ireland

Modernist Cultures ◽

10.3366/mod.2017.0172 ◽

2017 ◽

Vol 12 (2) ◽

pp. 297-315 ◽

Cited By ~ 2

Author(s):

Julian Hanna

Keyword(s):

Detailed Analysis ◽

Virginia Woolf ◽

Ezra Pound ◽

Wyndham Lewis ◽

Italian Futurism ◽

Free Zone ◽

Hugh Macdiarmid ◽

The Times

Aside from the familiar story of Vorticists and Imagists before the war, no detailed analysis of manifestos in Britain (or Ireland) exists. It is true that, by 1914, there had been such an upsurge in manifesto writing that a review of BLAST in The Times (1 July 1914) began: ‘The art of the present day seems to be exhausting its energies in “manifestoes.”’ But after the brief fire ignited by the arrival of Italian Futurism died out, Britain again became a manifesto-free zone. Or did it? While a mania for the militant genre did not take hold in Britain and Ireland the same way it did in France, Italy, Germany, or Russia, the manifesto did enjoy a small but dedicated following that included Whistler, Wilde, and Yeats; Patrick Geddes and Hugh MacDiarmid; Wyndham Lewis and Ezra Pound; Dora Marsden and Virginia Woolf; and Auden, MacNeice, and Spender. Through these and other figures it is possible to trace the development of a manifesto tradition specific to Britain and Ireland.

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