At last, a definitive, paperback edition of Ezra Pound's finest work.
Ezra Pound's The Pisan Cantos was written in 1945, while the poet was being held in an American military detention center near Pisa, Italy, as a result of his pro-Fascist wartime broadcasts to America on Radio Rome. Imprisoned for some weeks in a wire cage open to the elements, Pound suffered a nervous collapse from the physical and emotional strain. Out of the agony of his own inferno came the eleven cantos that became the sixth book of his modernist epic, The Cantos, themselves conceived as a Divine Comedy for our time. The Pisan Cantos were published in 1948 by New Directions and in the following year were awarded the Bollingen Prize for poetry by the Library of Congress. The honor came amid violent controversy, for the dark cloud of treason still hung over Pound, incarcerated in St. Elizabeths Hospital for the Criminally Insane. Yet there is no doubt that The Pisan Cantos displays some of his finest and most affecting writing, marking an elegaic turn to the personal while synthesizing the philosophical and economic political themes of his previous cantos. They are now being published for the first time as a separate paperback, in a fully annotated edition prepared by Richard Sieburth, who also contributes a thoroughgoing introduction, making Pound's master-work fully accessible to students and general readers.
Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic, and a major figure in the early modernist poetry movement. His contribution to poetry began with his development of Imagism, a movement derived from classical Chinese and Japanese poetry, stressing clarity, precision and economy of language. His works include Ripostes (1912), Hugh Selwyn Mauberley (1920) and the unfinished 120-section epic, The Cantos (1917–1969). Pound worked in London during the early 20th century as foreign editor of several American literary magazines, and helped discover and shape the work of contemporaries such as T. S. Eliot, James Joyce, Robert Frost and Ernest Hemingway.[a] Angered by the carnage of World War I, Pound lost faith in Great Britain and blamed the war on usury and international capitalism. He moved to Italy in 1924 and throughout the 1930s and 1940s embraced Benito Mussolini's fascism, expressed support for Adolf Hitler, and wrote for publications owned by the British fascist Sir Oswald Mosley. During World War II, he was paid by the Italian government to make hundreds of radio broadcasts criticizing the United States, Franklin D. Roosevelt and Jews, as a result of which he was arrested in 1945 by American forces in Italy on charges of treason. He spent months in detention in a U.S. military camp in Pisa, including three weeks in a 6-by-6-foot (1.8 by 1.8 m) outdoor steel cage, which he said triggered a mental breakdown: "when the raft broke and the waters went over me". The following year he was deemed unfit to stand trial, and incarcerated in St. Elizabeths psychiatric hospital in Washington, D.C., for over 12 years. Pound began work on sections of The Cantos while in custody in Italy. These parts were published as The Pisan Cantos (1948), for which he was awarded the Bollingen Prize in 1949 by the Library of Congress, leading to enormous controversy. Largely due to a campaign by his fellow writers, he was released from St. Elizabeths in 1958 and returned to live in Italy until his death. His political views ensure that his work remains as controversial now as it was during his lifetime; in 1933 Time magazine called him "a cat that walks by himself, tenaciously unhousebroken and very unsafe for children". Hemingway wrote: "The best of Pound's writing—and it is in the Cantos—will last as long as there is any literature."
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这本诗集简直是文字的迷宫,走进去就很难找到出口。开篇的几首诗歌就给我一种强烈的疏离感,仿佛诗人是用一种加密的语言在与我们对话。他似乎对传统的叙事结构嗤之以鼻,转而构建了一个由意象、典故和突兀的断裂构成的世界。我花了大量时间去查阅那些晦涩难懂的古典文学和宗教隐喻,但即便如此,许多段落依然像蒙着一层厚厚的雾,只能依稀看到轮廓。这绝不是那种可以轻松阅读、愉悦消遣的作品,它更像是一场智力上的马拉松,需要读者投入极大的耐心和背景知识储备。那些关于历史兴衰、个人救赎的零碎片段,被编织得如此复杂,以至于我常常怀疑自己是否真的抓住了作者的任何一丝意图。读完一遍后,我感觉自己像是在一座巨大的图书馆里迷路,虽然周围满是知识的碎片,却找不到一条清晰的路径回到起点。这种阅读体验是既令人沮丧又充满挑战的,它要求你放弃对即时满足的渴望,转而沉浸在一种持续的、低沉的困惑之中。诗人的声音是宏大且疏远的,他似乎在俯瞰人类的挣扎,而非参与其中。
评分阅读这本书的感受,如同在聆听一场结构极其松散的交响乐,其中充满了突兀的变调和令人费解的休止符。节奏感是完全失衡的,前一页可能还沉浸在对某个具体场景的细致描摹中,下一页却骤然跳跃到一片完全不相关的神话领域。我特别注意到作者在语言选择上的那种近乎苛刻的精确性,每一个词语的选择都似乎经过了无数次打磨,但这种打磨带来的不是流畅,而是另一种形式的僵硬和古怪。它不是那种让你拍案叫绝的“灵光乍现”,而更像是一种持续性的、低频的嗡鸣,在你脑海中盘旋不去。我尝试用不同的时间、不同的心情去接触它,但每一次都像是在攀爬一个由哲学和语言学构成的冰冷雕塑,手指找不到任何温暖的着力点。诗歌中的情绪是压抑的,即便是看似描绘宏伟景象的地方,也总带着一种衰败和疲惫的底色。这本书似乎更关注“如何表达”而非“表达什么”,这使得它在情感共鸣上显得格外困难,更像是一件精密的学术仪器,而非一本可以倾诉心扉的书。
评分每一次翻开它,我都能感受到一股强大的、近乎傲慢的知识分子的气息扑面而来。这本诗集仿佛是一座用古老语言和晦涩知识构建的纪念碑,作者用尽毕生精力试图在上面刻下关于时间、权力和记忆的永恒思考。然而,这种极致的自我指涉,也成为了它最大的壁垒。诗歌的流动性几乎消失了,取而代之的是一种块状的、充满断裂的呈现方式,如同地质构造图的剖面展示。我特别注意到,在一些关键的情感爆发点附近,作者总是用一个冷峻的、技术性的词汇或一个极其专业的典故来打断,仿佛在刻意冷却读者可能产生的共鸣。这种“反抒情”的态度,使得阅读变成了一种纯粹的智力活动,而非感官体验。它更像是作者留给自己的一个冗长而复杂的备忘录,而非对外开放的邀请函。读完后,我感受到的不是满足,而是一种对自身知识储备的深深怀疑,以及对作者那令人敬畏但又难以亲近的才华的复杂情绪。
评分这本书的篇幅和密集的内文本引用,简直是对现代读者注意力的终极考验。我手中的这本印刷品本身就显得沉重,而内容更是与之相匹配。它不像是一系列独立的诗歌,更像是一个庞大、未完成的建筑蓝图,其中充满了各种相互交叉、互相否认的结构支撑。当我试图跟随一条线索深入挖掘时,总会被另一个横向的引用或一个突然插入的脚注(尽管是以诗歌的形式)拉扯开来。作者似乎对“连接性”毫无兴趣,他更倾向于将所有思想碎片像彗星残骸一样,以一种看似随机的方式抛洒在纸面上。这导致了阅读过程中的一种持续的“不安全感”,你永远不知道下一秒会遇到什么,这种不可预测性是其最显著的特征。我发现,试图从头到尾线性阅读是徒劳的,这本书更适合被当作一个参考工具箱,随机抽取片段进行解读,每一次的抽取都会带来一种截然不同的、孤立的体验。它要求读者成为一个主动的“重建者”,而不是被动的“接收者”。
评分如果说文学作品是河流,那么这本书就像是冰川时期遗留下来的,那些冻结的、断裂的冰块堆积在一起。作者的视角是极其宏大且超然的,他似乎并不关心个体读者的感受,他真正关心的是历史的重量、语言的极限以及信仰的腐蚀过程。我发现自己经常停下来,盯着某一行看了很久,不是因为它们的美丽,而是因为它们所蕴含的密度令人窒息。有些句子结构之复杂,简直像是一种文字上的折纸艺术,每一个转折都似乎是为了避开最直接的表达。这使得整部作品散发出一种清教徒般的严峻感,没有任何多余的装饰或讨好读者的意图。它挑战了我们对于“诗歌应该是什么样子”的基本预设,将抒情性降到了最低点,而将智识上的挑战提升到了极致。对于那些寻求轻松慰藉的读者来说,这无疑是一次艰难的跋涉,它更像是一份留给后世学者们去耗费心力的密码本。
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