Ezra Pound and Wyndham Lewis developed a highly experimental art; they were attracted simultaneously to political programs remarkably backward in outlook--the autocracies of Fascist Italy and Germany. That paradox, central to the problematic achievement of Anglo-American modernism, is freshly addressed in this study. Here Sherry examines the influence of music and painting on literature, presents original research on European intellectual history, and proposes a new understanding of ideology as a force in the literary imagination. ..

Ezra Pound and E. E. Cummings carried on a long and varied correspondence from the 1920s until Cummings's death in 1962. This volume collects all of the important letters from this important friendship in the history of modern poetry.
Throughout the correspondence both poets reveal themselves and their beliefs to a remarkable degree. Pound entrusted to Cummings details of his political outlook in the 1930s and 1940s, including his opinions about Mussolini's Italy. The letters to Cummings also shed new light on the question of Pound's sanity after World War II. Although he was diagnosed as mentally unfit, the letters generally show no evidence of paranoia, only of his characteristic eccentricity.

In Framing Pieces, Whittier-Ferguson recovers and explores drafts, notes, glosses, essays, and guides that high modernists, such as James Joyce, Virginia Woolf, T.S. Eliot, and Ezra Pound generated in order to interpret their own work. These archival materials reveal a complex picture of how texts like Finnegan's Wake, A Room of One's Own, Three Guineas, and ABC's of Reading were annotated and framed by their authors, and how the authors illuminated and obscured various aspects of the annotations.