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- Ezra Pound discussion list of the University of Maine <[log in to unmask]>
Sun, 22 Oct 2000 21:23:54 +0800
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Dear Bill et al.

Well that is one way, blithely enough, of explaining everything, and it
saves a lot of sharingly convincing work. But though, like many, Pound
preferred cowboy films, why SHOULDN'T he have been interested in
Eisenstein? If we confine it only to the 'two men' (and the 'pool', of such
variable depth), to me it seems that the interesting work - if not the only
- is in reconstructing what EP knew and thought about SE, from what I dare
to call 'evidence', oblique and direct - quite apart from the undoubted if
boringly inarguable Zeitgeist. Perhaps that work is rarer than human
capacity for imagination - and does not exclude it. And from distant
memory, hasn't it in part been done already? I'm not entirely suggesting,
by the way, that all Jungian approaches can be historicized.

Richard Read (et al.?)
>Dear Tim et al...
>I could easily do this as I remember (vaguely) several Eisenstein texts in
>which he outlines his shots and talks about the different kinds of
>compositions emloyed... and to what purpose... though this may well be very
>well AFTER the fact.... unfortunately I am still in Woodstock, NY, and
>travelling without portfolio as it were, though this will change soon. I
>will be returning to Australia on the 30th and will endeavour to locate the
>necessary texts... mongst the dross of my past lives. In the meantime, let
>me offer a simple observation which I am sure many on this list have made
>for themselves.  There is, in the creative arts and sciences, a kind of
>invisible critical mass that is reached at various times in history in which
>"new" ideas burst forth similtaneously from seemingly unrelated regions of
>the planet, from entirely unrelated peoples and historical backgrounds.
>There is at least one researcher (Shelldrake??? I can't recall his name) who
>tried to account for this by inventing a concept he refers to as "morphic
>resonance".  Morphic or not, there is a kind of resonance that exists among
>the obsessive ones... I could offer countless examples of this from my own
>experiences... Pound himself talks about it in a poem when he talks about
>how the lives of all great men pass through him, or some such (again, I have
>no relevant texts here in the Catskills). I believe, as a poet, that we -
>poets, artists, alchemists of the unconscious - are always drawing from the
>same pool. The pool has different depths perhaps, but it is always the same
>pool. That a filmmaker reached into the pool and pulled out something that
>in filmmaking terms can be described as Montage, and a poet reached in and
>pulled out something that he described as ideogrammtic method is not a
>shock, nor is it meant to explain away the discovery of either. I,
>personally, do not find Pound so very difficult, though his contradictions
>are intriguing. They are what drew me to him in the first place. Nor do I -
>or would I - use Eisenstein to explain Pound, or Pound to explain
>Eisenstein. It is enough to explain either man in terms of himself. I just
>notice there is a kinship here, and I am pleased to acknowledge it.
>By the way, I also acknowledge that a "trip to the pool" is not necessary
>for "success". There are  many socalled poets and artists out there who have
>never been to the pool, let alone dipped their paws in it.
>Billy Marshall Stoneking


Dr Richard Read                            Email [log in to unmask]
Senior Lecturer
School of Architecture and Fine Arts
The University of Western Australia
Nedlands WA 6009                        Tel +61 8 9380 2140
Australia                               Fax 8 9380 1082