St. John's College, Oxford, includes copies of T.S. Eliot's letters to Graves pertaining to the publication of and the incarceration of Ezra Pound.
(1) Complete Poems and Plays of T.S. Eliot. Harbrace, 1952.
(2) Selected Essays of T.S. Eliot. Harbrace, 1950.
(3) Collected Poems of W.B. Yeats. Macmillan, 1989.
(4) W.B. Yeats, Essays and Introductions. Macmillan, 1968.
(5) Ezra Pound, Selected Poems. ed T.S. Eliot. New Directions, 1957.
(6) Literary Essays of Ezra Pound. ed T.S. Eliot. New Directions, 1968.
(7) Michael North, The Political Aesthetic of Yeats, Eliot and Pound. Cambridge University Press, 1991.
Hammer, Langdon. In the first of three lectures on T.S. Eliot, "The early poetry of T.S. Eliot is examined. Differences between Pound and Eliot, in particular the former's interest in translation versus the latter's in quotation, are suggested. Eliot's relationship to tradition is considered in his essay, 'Tradition and the Individual Talent.' The early poem, 'The Love Song of J. Alfred Prufrock' is read, with emphasis on the poem's resistance to traditional forms and its complicated depiction of its speaker's fragmentary consciousness" [3 lectures]. Audio, video, and transcript from Professor Hammer's class at Yale, ENGL 310: Modern Poetry, Spring, 2007.
A selective list of literary criticism for the poet, playwright, and essayist T.S. Eliot, favoring signed articles by recognized scholars and articles published in peer-reviewed sources
For this definitive collection of Pound's Literary Essays, his friend (and English editor) T. S. Eliot chose material from five earlier volumes: Pavannes and Divisions (1918), Instigations (1920), How to Read (1931), Make It New (1934), and Polite Essays (1937). 33 pieces are arranged in three groups: "The Art of Poetry," "The Tradition," and "Contemporaries." Eliot wrote in his introduction: "I hope that this volume will demonstrate that Pound's literary criticism is the most important contemporary criticism of its kind . . perhaps the kind we can least afford to do without . . . the refreshment, the revitalization and ‘making new' of literature in our time."
There are so many versions of Ezra Pound. He wore so many different masks, in poetry as in life. We have on the one hand the austere magnificence of this Hieratic Head, sculpted in 1914 by a young French artist called Henri Gaudier-Brzeska. Pound was 29 years old when it was hand-carved from stone, but its look is timeless. Gaudier did about one hundred preparatory drawings for this bust, of which 10 survive. Some of them are hard, swift and geometrical. The one that turned up recently in a house in Shepherd's Bush was quite different. It had a yielding softness about it. It seemed to linger over its subject. It showed us a young man of a quite specific age.
New Directions has been the primary publisher of Ezra Pound in the U.S. since the founding of the press when James Laughlin published New Directions in Prose and Poetry 1936. That year Pound was fifty-one. In Laughlin’s first letter to Pound, he wrote: “Expect, please, no fireworks. I am bourgeois-born (Pittsburgh); have never missed a meal. . . . But full of ‘noble caring’ for something as inconceivable as the future of decent letters in the US.” Little did Pound know that into the twenty-first century the fireworks would keep exploding as readers continue to find his books relevant and meaningful.
And what of this strange portrait bust of the American poet Ezra Pound, who bounced into London, knowing no one, in 1909, yawping twenty to the dozen, and desperate to meet WB Yeats, the greatest living poet then writing in the English language? Pound soon made his mark, as poet and literary impresario.