Dear Leopold, and others,
Pasolini did indeed interview Pound, in 1968. I find the interview deeply
interesting, and have used it to frame the fifth chapter of my book, *Ezra
Pound, Popular Genres, and the Discourse of Culture* (1995). David Anderson
transcribed and translated the interview for *Paideuma* in the Fall issue of
1981.
Cheers,
Michael Coyle
-----Original Message-----
From: Leopold Green [mailto:[log in to unmask]]
Sent: Wednesday, August 11, 1999 8:56 AM
To: [log in to unmask]
Subject: Pound and Passolini
Sorry I've been away and missed the fuss with the
interjections from the
Idaho teenager, I was more interested in the Passolini
reference in the
below message, have you seen Salo Joe? For those who haven't
seen this work,
and I'd very strongly recommend it, at the end, when the
'innocents' are
being grotesquely tortured, while the Fascist archetypes
watch via opera
glasses the radio plays two works Carmina Burana and then
Pound reading the
99th Canto. I think the fact that Passolini used not one of
Pounds real
radio broadcasts from the time but a recording of a Canto
written much later
[the film is set in late 1944] is significant. He isn't
making a 'Pound the
fascist' point but rather including Pound in the litany of
art that forms
the films backdrop...art like anything else is a commodity,
which makes
sense given that the film seems to say, to me at least, that
capitalism has
no 'victims' or 'innocents' since we are all complicit in
our
acquiescence...we quite literally will eat shit, or pay to
watch a film we
people eat shit.
I seem to remember that Passolini interviewed Pound in the
60's for Italian
television, though I don't have any further details. Anyone
confirm this, or
supply a digest of the conversation?
Leopold Green
De Montfort University
UK
-----Original Message-----
From: Joe Brennan [mailto:[log in to unmask]]
Sent: 29 July 1999 15:36
To: [log in to unmask]
Subject: Re: troll
well put..... criticisms like the one richard is responding
to reveal more
about the critic than the subject under consideration. to
criticize pound
in
any meaningful way is to make him as honorable as one
honestly can; only
then
will the true magnitude of pound's malevolence come into
focus. perhaps the
most devastating criticism of pound's embrasure of fascism
was made by pier
paolo passolini in his last film: Salo: 120 Days of Sodom.
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