Editing Ezra Pound (section)

===James Joyce, Pound's unpopularity===
[[File:Revolutionary Joyce Better Contrast.jpg|thumb|upright=0.9|alt=photograph|[[James Joyce]], {{circa|1918}}]]
In the summer of 1913 Pound became literary editor of ''[[The Egoist (periodical)|The Egoist]]'', a journal founded by the [[suffragette]] [[Dora Marsden]].<ref>Monk (2005), 94</ref> At the suggestion of [[W.&nbsp;B.&nbsp;Yeats]], Pound encouraged [[James Joyce]] in December of that year to submit his work.<ref>Pound (1970), 17–18; Carpenter (1988), 224</ref> The previous month Yeats, whose eyesight was failing, had rented Stone Cottage in [[Coleman's Hatch]], Sussex, inviting Pound to accompany him as his secretary, and it was during this visit that Yeats introduced Pound to Joyce's ''[[Chamber Music (poetry collection)|Chamber Music]]'' and his "I hear an Army Charging Upon the Land".<ref name=Carpenter1988p225>Carpenter (1988), 225; Moody (2007), 240</ref> This was the first of three winters Pound and Yeats spent at Stone Cottage, including two with Dorothy after she and Ezra married in 1914.<ref>Moody (2007), 240; Longenbach (1988); also see Longenbach (1990).</ref> "Canto LXXXIII" records a visit: "so that I recalled the noise in the chimney&nbsp;/ as it were the wind in the chimney&nbsp;/ but was in reality [[W. B. Yeats|Uncle William]]&nbsp;/ downstairs composing&nbsp;/ that had made a great Peeeeacock&nbsp;/ in the proide ov his oiye."<ref>Pound (1996), 553–554; Borstein (2001), 26</ref>{{efn|[[W. B. Yeats]], "The Peacock": "What's riches to him / That has made a great peacock / With the pride of his eye?"}}

In his reply to Pound, Joyce gave permission to use "I hear an Army" and enclosed ''[[Dubliners]]'' and the first chapter of his novel ''[[A Portrait of the Artist as a Young Man]]''.<ref name=Carpenter1988p225/> Pound wrote to Joyce that the novel was "damn fine stuff".<ref>Pound (1970), 24</ref> [[Harriet Shaw Weaver]] accepted it for ''The Egoist'', which serialized it from 2 February 1914, despite the printers objecting to words like "fart" and "ballocks", and fearing prosecution over [[Stephen Dedalus]]'s thoughts about prostitutes. On the basis of the serialization, the publisher that had rejected ''Dubliners'' reconsidered. Joyce wrote to Yeats: "I can never thank you enough for having brought me into relation with your friend Ezra Pound who is indeed a miracle worker."<ref>Carpenter (1988), 226–227</ref>

Around this time, Pound's articles in the ''New Age'' began to make him unpopular, to the alarm of Orage.<ref>Moody (2007), 209</ref> [[Samuel Putnam]] knew Pound in Paris in the 1920s and described him as stubborn, contrary, cantankerous, bossy, touchy, and "devoid of humor"; he was "an American small-towner", in Putnam's view. His attitude caused him trouble in both London and Paris.<ref>Putnam (1947), 150, 152</ref> English women, with their "preponderantly derivative" minds, were inferior to American women who had minds of their own, he wrote in the ''New Age''. The English sense of what was right was based on respect for property, not morality. "[P]erched on the rotten shell of a crumbling empire", London had lost its energy. England's best authors—[[Joseph Conrad|Conrad]], [[William Henry Hudson|Hudson]], [[Henry James|James]], and Yeats—were not English. English writers and critics were ignorant, he wrote in 1913.<ref>Moody (2007), 209, 210–211</ref>