... there are arguments that Pound misread Fenellosa. He was interested
in both Kandinsky and Futurism in the arts and has some words to say
about Picasso at the time of the Vorticism essay and all of these
currents are coming together for him. Rothenberg pointed out long ago
that Pound ignores the seriality that is central to The Chines Character
... Instead he works with super-positions, one image poems etc, compound
... I have always felt that Fenellosa and Eisenstein were very much
kindred spirits in so far as an ideogrammic method went and that Dziga
Vertov, for instance, offers the approrpriate parallel for Pound's
Still, I know nothing to suggest that Pound himself was aware of such
differences or issues. I'd eagerly pursue any that might be forthcoming
from this discussion.
How do you align the Disney chatter with his excoriation of the "prose
kinema" in Mauberley?