Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

2 results

  • Chapter 12 - Pound, Gender, Sexuality

  • from Part III - Culture and Politics
  • Edited by Mark Byron, University of Sydney
  • Book:
    The New Ezra Pound Studies
    Published online:
    17 October 2019
    Print publication:
    07 November 2019, pp 196-207

  • Summary

    Most previous discussions of Ezra Pound, gender and sexuality have focused on Pound’s poetic depictions of women and his relationships with women artists, patrons and muses. The fascinating biographical stories include such figures as the poet H. D., perhaps Pound’s first love; the pianist and patron Margaret Cravens, who took her life after playing a song Pound and Walter Rummel wrote for her; Pound’s wife, Dorothy (Shakespear) Pound; and his long-time mistress, Olga Rudge, a concert violinist. When critics focus on sexuality and Pound, the result tends to be ‘paranoid’ rather than ‘reparative’ readings, to use Eve Sedgwick’s famous formulation.