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.