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“... In a letter dated 22 January 1934 to his protégé James Laughlin, Pound makes passing reference to R.P. Blackmur, who had written a long unflattering essay, ‘Masks of Ezra Pound’, in an issue of the periodical Hound and Horn (which Pound renamed Bitch – Bugle). Next day he refers to it again – ‘24 depressing pages ...”

“... known as the Egoist), the Little Review and the Dial. His protégés, T.S. Eliot and James Laughlin, would bear the impress of his tastes when they edited the Criterion and the New Directions publishing house, respectively. But first Pound had to make a splash, along the lines of Roger Fry’s Post-Impressionist exhibition or Marinetti’s ...”

“... Mask album (1982) from Lou Reed, a student of Schwartz’s at Syracuse in the early Sixties. And James Atlas’s sensitive biography, published in 1977, provides an exhilarating mass of circumstantial evidence about Schwartz’s day-to-day existence. But the best introduction to his achievement remains his extraordinary first book. He really was onto ...”

“... do so tend to skip. Like those other impressive modernist monsters, Finnegans Wake and In Memoriam James Joyce, The Cantos are best encountered in judicious extracts. In The Pisan Cantos and elsewhere, Pound constellates a vast collection of allusive snippets around the sometimes scarcely perceptible thread of his life-story. Caged and abused, but still ...”

“... Moore and her mother finished her in Brooklyn (decorum studies?) after she left Vassar. James Laughlin, founder of New Directions, publisher and friend of Ezra Pound, was so desperate to publish her that even after he accepted he wasn’t going to be allowed to, he still hoped at least to be permitted to announce that he was. The alpha males ...”

“... Williams liked these a great deal, and wrote to say so. He also tried to persuade his publisher, James Laughlin at New Directions, to take her on, though to no avail. In reply he received from Nardi a long series of bitter missives that castigate him for smugness and selfishness, and reveal her own despair: ‘Your whole relationship with me,’ she ...”

“... from St Elizabeths in 1958, and then, in 1967, his extensive and fascinating correspondence with James Joyce. But it wasn’t until the 1980s and 1990s that the archive floodgates really opened. These decades saw the appearance of volumes individually devoted to Pound’s letters not only to fellow writers such as Wyndham Lewis, E.E. Cummings, Ford Madox ...”

“... There is also the extra ‘e’ on Maud, the remarriageable reader of French novels in Henry James’s ‘The Story of It’: a quirk Oppen chose not to change in later editions. Yet the drift is clear and exhilarating, and there is a cold precision, no less exhilarating, in the way the poem gets where it’s going, in a single, almost coherent sentence ...”

“... her, it seems, without a biddyish dilation on the carnality of her themes. ‘Maude Hutchins,’ James Kelly wrote in 1955, does ‘as she pleases’ as a novelist and ‘to date what has pleased her most is s-e-x as observed and enjoyed from the feminine vantage point.’ Hutchins, Maxwell Geismar said, was a writer who went about ‘describing casually all ...”