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