Pound's negativity toward Freud would certainly argue for
his aversion to Surrealist art.
==Dan

At 10:40 AM 3/18/02 -0800, you wrote:
>Jesse,
>I've also wondered how to put together ideas regarding Pound and
>surrealism and dada. There may be no synthesis of the
>moments/ideas/associations. The dadaists in Paris often published
>announcements using anyone's name that they thought would draw an
>audience. You will find Pound's (and Stravinsky's) name on some of the
>dada posters. The surrealists staged a city tour at the church St.
>Julien-les-pauvres near the bookstore Shakespeare and Co. on the left
>bank. It was to be a new kind of forum for them, though it rained, and
>the one visit to St. Julien's was the only tour. This was a church Pound
>was fond of--perhaps because it was so old, on the intersection of two
>important roads (rue galande and rue st. jacques), and had a tree on the
>grounds, planted by an American. I believe he hoped to film his opera Le
>Testament on this site. The filmmaker approached was Cavalcanti! Not
>Guido (of course), but the Brazilian Alberto Cavalcanti. That's surreal
>in itself!
>Stronger surrealist connections: he wrote that he thought that Guido
>Cavalcanti was the original surrealist, with spirits issuing from words
>and lips. He maintained a correspondence with Katue Kitasano, and the
>surrealist movement in poetry in Japan (see Kodama's book Ezra Pound &
>Japan).
>Pound often accused the dadists and futurists of having no discipline,
>and of dissipating their efforts, but I'm not aware he thought of the
>surrealists in this way. He respected them for their interest in
>history, though he couldn't really get interested in the automatic
>writing experiments and psychoanalytic approaches to art. For him, the
>psyche was shaped by culture and had responsiblities to culture. But
>German surrealism, which was vested in a social consciousness, wasn't
>for him either. I think surrealism has to be looked at individually by
>country. The Spanish and Italians had yet different approaches to
>surrealism.
>
>I think Pound's most blatant surrealist image in the vein of the radical
>art movements of the 1910s and 1920s is the one of the lady golfers in
>the Hell Cantos (XV). I don't think I've read any comments on that (and
>I'd like to).
>
>Best,
>Margaret