Editing Ezra Pound (section)

==London (1908–1914)==
===''A Lume Spento''===
Pound arrived in [[Gibraltar]] on 23 March 1908, where he earned $15 a day working as a guide for an American family there and in Spain.<ref>Carpenter (1988), 88; Moody (2007), 62</ref> After stops in Seville, Granada, and Genoa, by the end of April he was in [[Venice]], living over a bakery near the San Vio bridge.<ref>Carpenter (1988), 89; Moody (2007), 63; for the bakery, Tytell (1987), 36</ref> In the summer he decided to self-publish his first collection of 44 poems in the 72-page ''[[A Lume Spento]]'' ("With Tapers Quenched"), 150 copies of which were printed in July 1908.<ref>Witemeyer (2005a), 185; Moody (2007), 66</ref> The title is from the third canto of [[Dante Alighieri|Dante]]'s ''[[Purgatorio]]'', alluding to the death of [[Manfred, King of Sicily]]. Pound dedicated the book to the Philadelphia artist [[William Brooke Smith]], a friend from university who had recently died of [[tuberculosis]].<ref>Witemeyer (2005a), 185; Wilhelm (1990), xiii, 299</ref>

In "Canto LXXVI" of ''[[The Pisan Cantos]]'', he records that he considered throwing the proofs into the [[Grand Canal (Venice)|Grand Canal]], abandoning the book and poetry altogether: "by the soap-smooth stone posts where San Vio / meets with il Canal Grande / between Salviati and the house that was of Don Carlos / shd/I chuck the lot into the tide-water? / [[Galley proof|le bozze]] "A Lume Spento"/ / and by the column of Todero / shd/I shift to the other side / or wait 24 hours".<ref>Pound (1947); Pound (1996), 480; Pound (2003b), 38, lines 259–263; Terrell (1993), 398</ref>

===Move to London===
[[File:48 Langham Street, London W1.jpg|thumb|alt=photograph|48 Langham Street, [[Fitzrovia]], London W1]]
In August 1908 Pound moved to London, carrying 60 copies of ''A Lume Spento''.<ref>Baumann (1984), 357</ref> English poets such as [[Maurice Hewlett]], [[Rudyard Kipling]], and [[Alfred, Lord Tennyson|Alfred Tennyson]] had made a particular kind of [[Victorian era|Victorian]] verse—stirring, pompous, and propagandistic—popular. According to modernist scholar James Knapp, Pound rejected the idea of poetry as "versified moral essay"; he wanted to focus on the individual experience, the concrete rather than the abstract.<ref>Knapp (1979), 25–27</ref>

Pound at first stayed in a boarding house at 8 Duchess Street, near the [[British Museum Reading Room]]; he had met the landlady during his travels in Europe in 1906.<ref>Wilhelm (1990), 3</ref> He soon moved to [[Islington]] (cheaper at [[£sd|12s 6d]] a week [[Room and board|board and lodging]]), but his father sent him £4, and he was able to move back into central London, to 48 Langham Street, near [[Great Titchfield Street]].<ref>Wilhelm (1990), 4</ref> The house sat across an alley from the Yorkshire Grey pub, which made an appearance in "Canto LXXX" (''The Pisan Cantos''), "concerning the landlady's ''doings''&nbsp;/ with a lodger unnamed&nbsp;/ az waz near Gt Tichfield St. next door to the pub".<ref>Pound (2003b), 80, lines 334–336; Wilhelm (1990), 4</ref>

Pound persuaded the bookseller [[Charles Elkin Mathews|Elkin Mathews]] on [[Vigo Street]] to display ''A Lume Spento'', and in an unsigned article on 26 November 1908, Pound reviewed it himself in the ''[[Evening Standard]]'': "The unseizable magic of poetry is in this queer paper book; and words are no good in describing it."<ref>Tytell (1987), 38–39; for the ''Evening Standard'', Erkkila (2011), 3</ref> The following month he self-published a second collection, ''[[A Quinzaine for this Yule]]''.<ref>Witemeyer (2005b), 249</ref> It was his first book to have commercial success, and Elkin Matthews had another 100 copies printed.<ref name=Baumann1984p358/> In January and February 1909, after the death of [[John Churton Collins]] left a vacancy, Pound lectured for an hour a week in the evenings on "The Development of Literature in Southern Europe" at the [[University of Westminster|Regent Street Polytechnic]].<ref>Wilhelm (1990), 5–11; Baumann (1984), 360</ref>{{efn|Pound's advertised lectures were:
* 21 January 1909: "Introductory Lecture. The Search for the Essential Qualities of Literature".
* 28 January: The Rise of Song in Provence".
* 4 February: "Mediaeval Religious Feeling".
* 11 February: "Trade with the East".
* 18 February: "Latin Lyrists of the Renaissance".
* 25 February: "Books and Their Makers during the Middle Ages".<ref>Slatin (1955), 76</ref>}} Mornings might be spent in the British Museum Reading Room, followed by lunch at the [[Vienna Café]] on [[Oxford Street]], where Pound first met [[Wyndham Lewis]] in 1910.<ref>Wilhelm (1990), 7</ref> "There were mysterious figures&nbsp;/ that emerged from recondite recesses&nbsp;/ and ate at the WIENER CAFÉ".<ref>Pound (2003), Canto 80, 84; Kenner (1971), 236</ref> [[Ford Madox Ford]] described Pound as "approach[ing] with the step of a dancer, making passes with a cane at an imaginary opponent":<ref>Ford (1931), 370; Moody (2007), 113</ref>
<blockquote>
He would wear trousers made of green billiard cloth, a pink coat, a blue shirt, a tie hand-painted by a Japanese friend, an immense sombrero, a flaming beard cut to a point, and a single, large blue earring.
</blockquote>

===Meeting Dorothy Shakespear, ''Personae''===
[[File:DorothyPound.jpg|thumb|upright=0.9|left|alt=photograph|Pound married [[Dorothy Shakespear]] in 1914]]

At a literary [[Salon (gathering)|salon]] in 1909, Pound met the novelist [[Olivia Shakespear]]<ref>Carpenter (1988), 103</ref> and later at the Shakespears' home at 12 Brunswick Gardens, Kensington, was introduced to her daughter, [[Dorothy Shakespear|Dorothy]], who became Pound's wife in 1914.<ref>Carpenter (1988), 103; Wilhelm (1990), 13–14</ref> The critic [[Iris Barry]] described her as "carrying herself delicately with the air, always, of a young Victorian lady out skating, and a profile as clear and lovely as that of a porcelain Kuan-yin".<ref>Crunden (1993), [https://books.google.com/books?id=qzC_Qehx_NAC&pg=PA272 272]</ref> "Listen to it—Ezra! Ezra!—And a third time—Ezra!", Dorothy wrote in her diary on 16 February 1909.<ref>Pound and Litz (1984), 3</ref>

Pound mixed with the cream of London's literary circle, including Hewlett, [[Laurence Binyon]], [[Frederic Manning]], [[Ernest Rhys]], [[May Sinclair]], [[Ellen Terry]], [[George Bernard Shaw]], [[Hilaire Belloc]], [[T.&nbsp;E.&nbsp;Hulme]], and [[F.&nbsp;S.&nbsp;Flint]].<ref>Tytell (1987), 42–45</ref> Through the Shakespears, he was introduced to the poet [[W.&nbsp;B.&nbsp;Yeats]], Olivia Shakespear's former lover. He had already sent Yeats a copy of ''A Lume Spento'', and Yeats had apparently found it "charming".<ref>Tytell (1987), 46</ref> Pound wrote to [[William Carlos Williams]] on 3 February 1909: "Am by way of falling into the crowd that does things here. London, deah old Lundon, is the place for poesy."<ref>Pound (1971), 7</ref> According to [[Richard Aldington]], London found Pound amusing. The newspapers interviewed him,<ref>Aldington (1941), 105.</ref> and he was mentioned in ''[[Punch (magazine)|Punch]]'' magazine, which on 23 June 1909 described "Mr.&nbsp;Ezekiel Ton" as "the most remarkable thing in poetry since [[Robert Browning]]&nbsp;... [blending] the imagery of the unfettered West, the vocabulary of [[Wardour Street]], and the sinister abandon of Borgiac Italy".<ref>[https://archive.org/details/punchvol136a137lemouoft ''Punch'', 23 June 1909], 449; Nadel (2010), 159</ref>

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 | quote=<poem>"Thank you, whatever comes." And then she turned
And, as the ray of sun on hanging flowers
Fades when the wind hath lifted them aside,
Went swiftly from me. Nay, whatever comes
One hour was sunlit and the most high gods
May not make boast of any better thing
Than to have watched that hour as it passed.
</poem>
 |source= —&nbsp;''Personae: The Collected Poems of Ezra Pound'' (1926)<ref>Pound (1990), 38; Pound (2003a), 148</ref>}}

In April 1909 Elkin Mathews published ''Personae of Ezra Pound'' (half the poems were from ''A Lume Spento'')<ref name=Baumann1984p358>Baumann (1984), 358</ref>{{efn|''Personae'' (1909) was dedicated to Mary Moore: "This book is for Mary Moore of Trenton, if she wants it."<ref>Pound (1909); [https://www.nytimes.com/1976/12/25/archives/mary-moore-cross-92-dead-pound-dedicated-poems-to-her.html "Mary Moore Cross, 92, Dead; Pound Dedicated Poems to Her"] {{Webarchive|url=https://web.archive.org/web/20210815234616/https://www.nytimes.com/1976/12/25/archives/mary-moore-cross-92-dead-pound-dedicated-poems-to-her.html |date=15 August 2021 }}. ''The New York Times'', 25 December 1976.</ref> He asked Moore to marry him, but she turned him down.<ref name=Tytell1987pp28-29>Tytell (1987), 28–29</ref>}} and in October a further 27 poems (16 new) as ''Exultations''.<ref>Gery (2005), 114</ref> [[Edward Thomas (poet)|Edward Thomas]] described ''Personae'' in ''English Review'' as "full of human passion and natural magic".<ref>Erkkila (2011), 10</ref> [[Rupert Brooke]] complained in the ''Cambridge Review'' that Pound had fallen under the influence of [[Walt Whitman]], writing in "unmetrical sprawling lengths that, in his hands, have nothing to commend them". But he did acknowledge that Pound had "great talents".<ref>Erkkila (2011), 14</ref>

In or around September, Pound moved into new rooms at Church Walk, off [[Kensington High Street]], where he lived most of the time until 1914.<ref name="Moody 2007, 180">Moody (2007), 180</ref> He visited a friend, [[Walter Morse Rummel|Walter Rummel]], in Paris in March 1910 and was introduced to the American heiress and pianist Margaret Lanier Cravens. Although they had only just met, she offered to become a patron to the tune of $1,000 a year, and from then until her death in 1912 she apparently sent him money regularly.<ref>Spoo (2005), 67; Moody (2007), 124–125</ref>

===''The Spirit of Romance'', ''Canzoni'', the ''New Age''===
In June 1910 Pound returned for eight months to the United States; his arrival coincided with the publication in London of his first book of literary criticism, ''[[The Spirit of Romance]]'', based on his lecture notes from the polytechnic.<ref>Moody (2007), 117, 123</ref> ''Patria Mia'', his essays on the United States, were written at this time.<ref>Wilhelm (1990), 64–65</ref> In August he moved to New York, renting rooms on [[Waverly Place]] and [[Park Avenue South]], facing [[Gramercy Park|Gramercy Square]].<ref>Wilhelm (1990), 57, 65</ref> Although he loved New York, he felt alienated by the commercialism and newcomers from Eastern and Southern Europe who were displacing the white Anglo-Saxon Protestants.<ref>Wilhelm (1990), 65</ref> The recently built [[New York Public Library Main Branch]] he found especially offensive.<ref>Carpenter (1988), 152; Wilhelm (1990), 65</ref> During this period his antisemitism became apparent; he referred in ''Patria Mia'' to the "detestable qualities" of Jews.<ref name=Surrette1999p242/> After persuading his parents to finance his passage back to Europe, he sailed from New York on the [[RMS Mauretania (1906)|RMS ''Mauretania'']] on 22 February 1911. It was nearly 30 years—April 1939—before he visited the U.S. again.<ref>Wilhelm (1990), 65–66; Moody (2007), 150</ref>

[[File:Vienna Café, London, 1897.jpg|thumb|upright=1.3|First floor of the [[Vienna Café]] with its mirrored ceiling, [[Oxford Street]], in 1897. The room became a meeting place for Pound, [[Wyndham Lewis]], and other writers.]]

After three days in London he went to Paris,<ref>Moody (2007), 150</ref> where he worked on a new collection of poetry, ''Canzoni'' (1911),<ref>Wilhelm (1990), 69–71</ref> panned by the ''[[Westminster Gazette]]'' as "affectation combined with pedantry".<ref>Erkkila (2011), 45</ref> He wrote in Ford Madox Ford's obituary that Ford had rolled on the floor with laughter at its "stilted language".<ref>Wilhelm (1990), 74</ref> When he returned to London in August, he rented a room in [[Marylebone]] at 2A Granville Place, then shared a house at 39 [[Addison Road, London|Addison Road North]], [[W postcode area|W11]].<ref>Wilhelm (1990), 76</ref> By November [[Alfred Richard Orage|A. R. Orage]], editor of the socialist journal the ''[[The New Age|New Age]],'' had hired him to write a weekly column.<ref>Redman (1991), 17; for Fabian Society, Carswell (1978), 35</ref> Orage appears in ''The Cantos'' ([[Old Possum's Book of Practical Cats|Possum]] is T.&nbsp;S.&nbsp;Eliot): "but the lot of 'em, Yeats, Possum and Wyndham&nbsp;/ had no ground beneath 'em.&nbsp;/ Orage had."<ref>"Canto XCVIII", Pound (1996), 705; Wilhelm (1990), 84</ref>

Pound contributed to the ''New Age'' from 30 November 1911 to 13 January 1921,<ref name=Redman1991p17/> attending editorial meetings in the basement of a grimy [[Aerated Bread Company|ABC tearoom]] in [[Chancery Lane]].<ref>Hutchins (1965), 107, citing Pound's letter to her of August 1953; Wilhelm (1990), 83; Redman (1991), 17</ref> There and at other meetings he met [[Arnold Bennett]], [[Cecil Chesterton]], [[Beatrice Hastings]], [[S. G. Hobson]], Hulme, [[Katherine Mansfield]], and [[H.&nbsp;G.&nbsp;Wells]].<ref name=Redman1991p17/> In the ''New Age'' office in 1918, he also met [[C. H. Douglas]], a British engineer who was developing his economic theory of [[social credit]], which Pound found attractive.<ref name=Preda2005ap87/> Douglas reportedly believed that Jews were a problem and needed to abandon a [[Messianism|Messianic]] view of themselves as the "dominating race".<ref>Holmes (2015), 209, citing Douglas, C. H. (26 August 1938). "The Jews". ''Social Credit'', 8. Holmes also cites Finlay, J. L. (1972). ''Social Credit: The English Origins''. Montreal: McGill-Queens University Press.</ref> According to [[Colin Holmes (historian)|Colin Holmes]], the ''New Age'' itself published antisemitic material.<ref>Holmes (2015), 210</ref> It was within this environment, not in Italy, according to [[Tim Redman]], that Pound first encountered antisemitic ideas about "usury".<ref name=Redman1991p17>Redman (1991), 17</ref> "In Douglas's program," [[Christopher Hitchens]] wrote in 2008, "Pound had found his true muse: a blend of folkloric Celtic twilight with a paranoid hatred of the money economy and a dire suspicion about an ancient faith."<ref name=Hitchens2008>{{harvnb|Hitchens|2008}}</ref>

===''Poetry'' magazine, ''Ripostes'', Imagism===
[[File:EZRA POUND - 10 Kensington Church Walk Holland Park London W8 4NB.jpg|thumb|left|alt=photograph|10 Church Walk, [[Kensington]], London W8. Pound lived on the first floor (far left) in 1909–1910 and 1911–1914.{{efn|Pound lived on the first floor of 10 Church Walk, [[Kensington]], from September 1909&nbsp;– June 1910 and November 1911&nbsp;– April 1914. According to Moody, the two first-floor windows on the left were Pound's.<ref>Moody (2007), between 304 and 305</ref> According to [[Humphrey Carpenter]], Pound was on the top floor behind the window on the far left.<ref name=":2">Carpenter (1988), between 370 and 371</ref>}}]]

In May 1911, H.D. left Philadelphia for London. She was accompanied by the poet Frances Gregg and Gregg's mother; when they returned in September, H.D. stayed on. Pound introduced her to his friends, including Aldington, who became her husband in 1913. Before that, the three of them lived in Church Walk, Kensington—Pound at no.&nbsp;10, Aldington at no.&nbsp;8, and Doolittle at no.&nbsp;6—and worked daily in the British Museum Reading Room.<ref name="Moody 2007, 180"/>

At the British Museum, Laurence Binyon introduced Pound to the East Asian artistic and literary concepts Pound used in his later poetry, including Japanese [[ukiyo-e]] prints.<ref>Arrowsmith (2011), 100, 106–107; Qian (2000), 101</ref> The visitors' book first shows Pound in the Prints and Drawings Students' Room (known as the Print Room)<ref>Arrowsmith (2011), 106–107</ref> on 9 February 1909, and later in 1912 and 1913, with Dorothy Shakespear, examining Chinese and Japanese art.<ref>Huang (2015), [https://books.google.com/books?id=_xElDQAAQBAJ&pg=PT108 108], note 4</ref> Pound was working at the time on the poems that became ''Ripostes'' (1912), trying to move away from his earlier work.<ref>Witemeyer (1981), 112.</ref> "I hadn't in 1910 made a language", he wrote years later. "I don't mean a language to use, but even a language to think in."{{efn|"What obfuscated me was not the Italian but the crust of dead English, the sediment present in my own available vocabulary, which I, let us hope, got rid of a few years later. You can't go round this sort of thing. It takes six or eight years to get educated in one's art, and another ten to get rid of that education.{{pb}}"Neither can anyone learn English, one can only learn a series of Englishes. Rossetti made his own language. I hadn't in 1910 made a language, I don't mean a language to use, but even a language to think in."<ref>Pound (1934), 399</ref>}}

In August 1912 [[Harriet Monroe]] hired Pound as foreign correspondent of ''[[Poetry (magazine)|Poetry: A Magazine of Verse]]'', a new magazine in Chicago.<ref>Carpenter (1988), 185; Moody (2007), 213</ref> The first edition, in October, featured two of his own poems—"To Whistler, American" and "Middle Aged". Also that month Stephen Swift and Co. in London published ''[[Ripostes|Ripostes of Ezra Pound]]'', a collection of 25 poems, including a contentious translation of ''The Seafarer'',<ref>For the original, see [http://www.anglo-saxons.net/hwaet/?do=get&type=text&id=Sfr "The Seafarer"] {{Webarchive|url=https://web.archive.org/web/20080413051623/http://www.anglo-saxons.net/hwaet/?do=get&type=text&id=Sfr |date=13 April 2008 }}, Anglo-Saxons.net; for Pound's, [https://web.archive.org/web/20110501085717/http://rpo.library.utoronto.ca/poem/1664.html "The Seafarer"], University of Toronto.</ref> that demonstrate his shift toward minimalist language.<ref name="Moody 2007, 180"/> In addition to Pound's work, the collection contains five poems by Hulme.<ref>[https://archive.org/stream/ripostesofezrapo00pounrich Pound (1912)].</ref>

[[File:Poetry cover1.jpg|thumb|upright=0.8|alt=book cover|First edition of ''[[Poetry (magazine)|Poetry]]'', October 1912]]

''Ripostes'' includes the first mention of ''Les Imagistes'': "As for the future, ''Les Imagistes'', the descendants of the forgotten school of 1909, have that in their keeping."<ref>Pound (1912), 59; Moody (2007), 180, 222</ref> While in the British Museum tearoom one afternoon with Doolittle and Aldington, Pound edited one of Doolittle's poems and wrote "H.D. Imagiste" underneath;<ref>Doolittle (1979), 18</ref> he described this later as the founding of a movement in poetry, ''[[Imagism]]e''.<ref>Moody (2007), 180, 222</ref>{{efn|Doolittle and Aldington said they had no recollection of this discussion.<ref>Carpenter (1988), 187</ref>}} In the spring or early summer of 1912, they agreed, Pound wrote in 1918, on three principles:<ref>Pound (1918), 95</ref>
{{blockquote|
# Direct treatment of the "thing" whether subjective or objective.
# To use absolutely no word that does not contribute to the presentation.
# As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.
}}

''Poetry'' published Pound's "A Few Don'ts by an Imagist" in March 1913. Superfluous words, particularly adjectives, should be avoided, as well as expressions like "dim lands of peace". He wrote: "It dulls the image. It mixes an abstraction with the concrete. It comes from the writer's not realizing that the natural object is always the ''adequate'' symbol." Poets should "go in fear of abstractions".<ref>[https://www.poetryfoundation.org/poetrymagazine/browse?volume=1&issue=6&page=29 Pound (1913)], 201</ref> He wanted {{lang|fr|Imagisme}} "to stand for hard light, clear edges", he wrote later to [[Amy Lowell]].<ref>Thacker (2018), 5</ref>

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 | quote=<poem>The apparition&emsp;of these faces&emsp;in the crowd:
Petals&emsp;on a wet, black&emsp;bough.</poem>
 |source= —&nbsp;''[[Poetry (magazine)|Poetry]]'' (April 1913)<ref>Pound (April 1913), [https://www.poetryfoundation.org/poetrymagazine/browse?contentId=12675 12] {{Webarchive|url=https://web.archive.org/web/20210222223126/https://www.poetryfoundation.org/poetrymagazine/browse?contentId=12675 |date=22 February 2021 }}; Pound (2003a), 287</ref>
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An example of Imagist poetry is Pound's "[[In a Station of the Metro]]", published in ''Poetry'' in April 1913 and inspired by an experience on the [[Paris Métro|Paris Underground]]. "I got out of a train at, I think, [[Concorde (Paris Métro)|La Concorde]]", he wrote in "How I began" in ''[[T.&nbsp;P.'s Weekly]]'' on 6 June 1913, "and in the jostle I saw a beautiful face, and then, turning suddenly, another and another, and then a beautiful child's face, and then another beautiful face. All that day I tried to find words for what this made me feel.&nbsp;... I could get nothing but spots of colour." A year later he reduced it to its essence in the style of a Japanese [[haiku]].<ref>Pound (1974), 26</ref><!--add secondary source-->
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===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>

===Marriage===
Ezra and Dorothy were married on 20 April 1914 at [[St Mary Abbots]] in Kensington,<ref>"Marriages of the Week". ''The Times''. Issue 40502, 20 April 1914, 11.</ref> the Shakespears' parish church, despite opposition from her parents, who worried about Ezra's income. His concession to marry in church had helped. Dorothy's annual income was £50, with another £150 from her family,<ref name=Moody2007pp246-249/> and Ezra's was £200.<ref>Tytell (1987), 74</ref> Her father, Henry Hope Shakespear, had him prepare a financial statement in 1911, which showed that his main source of income was his father.<ref>Wilhelm (1990), 81</ref> After the wedding the couple moved into an apartment with no bathroom at 5 Holland Place Chambers, Kensington, next door to the newly wed H.D. and Aldington.<ref name=Moody2007pp246-249>Moody (2007), 246–249</ref> This arrangement did not last. H.D. had been alarmed to find Ezra looking for a place to live outside the apartment building the day before his wedding. Once Dorothy and Ezra had moved into the building, Ezra would arrive unannounced at H.D.'s to discuss his writing, a habit that upset her, in part because his writing touched on private aspects of their relationship. She and Aldington decided to move several miles away to [[Hampstead]].<ref>Doyle (2016), 32–33; some details in Doolittle (1979), 5; for Pound arriving at the apartment unannounced, Doyle, 332, n.&nbsp;27, cites "H.D. to Amy Lowell, 23 November 1914 (Harvard)".</ref>

===''Des Imagistes'', dispute with Amy Lowell===
[[File:Ezra Pound by Wyndham Lewis, 1919.jpeg|thumb|left|Pound by [[Wyndham Lewis]], 1919. The portrait is lost.]]

The appearance of ''[[Des Imagistes|Des Imagistes, An Anthology]]'' (1914), edited by Pound, "confirmed the importance" of ''Imagisme'', according to [[Ira Nadel]].<ref name=Nadel2001p2>Nadel (2001), 2</ref> Published in the American magazine ''[[The Glebe]]'' in February 1914 and the following month as a book, it was the first of five Imagist anthologies and the only one to contain work by Pound.<ref>Thacker (2018), 3</ref> It included ten poems by [[Richard Aldington]], seven by [[H. D.]], followed by Flint, [[Skipwith Cannell]], Lowell, Carlos Williams, [[James Joyce]] ("I Hear an Army", not an example of Imagism), six by Pound, then Hueffer (as he was known as the time), [[Allen Upward]] and [[John Cournos]].<ref>Pound (1914), 5–6; for Joyce, see Thacker (2018), 5–6</ref>

Shortly after its publication, an advertisement for Lewis's new magazine, ''[[Blast (British magazine)|Blast]]'' promised it would cover "[[Cubism]], [[Futurism]], Imagisme and all Vital Forms of Modern Art."<ref>{{cite journal |title=BLAST |journal=Poetry: A Magazine of Verse |date=May 1914 |volume=4 |issue=2 |page=Advertising Section |url=https://modjourn.org/issue/bdr459937/ |access-date=February 7, 2024}}</ref> Described by Pound as "mostly a painter's magazine with me to do the poems,"<ref>{{cite book |last1=Pound |first1=Ezra |title=Pound/Joyce; the Letters of Ezra Pound to James Joyce |date=1967 |publisher=New Directions |location=New York |isbn=0811201597 |page=26 |url=https://books.google.com/books?id=GZMNYLgd5X4C |access-date=February 4, 2024}}</ref> and bearing the heavy influence of Futurism,<ref>{{cite book |last1=Rainey |first1=Lawrence |title=Institutions of Modernism |date=1998 |publisher=Yale University Press |location=New Haven and London |isbn=0300070500 |pages=37–38 |url=https://books.google.com/books?id=qW1tsJNrnfwC |access-date=February 7, 2024}}</ref> ''Blast'' was the magazine of a London art movement formed by Lewis with Pound's collaboration. Pound named the movement&nbsp;[[Vorticism]].{{efn|Pound (1914): "The image is a radiant node or cluster&nbsp;...by Pound.  a VORTEX, from which, and through which, and into which, ideas are constantly rushing."<ref name=Moody2007p230>Moody (2007), 230, 256</ref> "All experience rushes into this vortex," he wrote in ''Blast'' in June 1914. "All the energized past&nbsp;... RACE, RACE-MEMORY, instinct charging the PLACID, NON-ENERGIZED FUTURE."<ref>Pound (June 1914), 153</ref>}} Vorticism included all the arts, and in ''Blast'' "the Imagist propaganda merged into the Vorticist."<ref>{{cite book |last1=Kenner |first1=Hugh |title=The Pound Era |date=1971 |publisher=University of California Press |location=Berkeley and Los Angeles |isbn=0520024273 |page=191 |url=https://books.google.com/books?id=AFPWShhB7mkC |access-date=February 7, 2024}}</ref>
In the end, ''Blast'' was published only twice, in 1914 and 1915. In June 1914 ''The Times'' announced Lewis's new Rebel Arts Centre for Vorticist art at 38 [[Great Ormond Street]].<ref>"'Vorticist' Art". ''The Times''. 13 June 1914. Issue 40549, 5.</ref>&nbsp;&nbsp;

Lowell, who was to win the [[Pulitzer Prize for Poetry]] in 1926, was unhappy that only one of her poems had appeared in ''Des Imagistes''. She arrived in London in July 1914 to attend two dinners at the Dieudonné restaurant in Ryder Street, the first to celebrate the publication of ''Blast'' and the second, on 17 July, the publication of ''Des Imagistes''. At the second, Ford Madox Hueffer announced that he had been an Imagiste long before Lowell and Pound, and that he doubted their qualifications; only Aldington and H.D. could lay claim to the title, in his view. During the subsequent row, Pound left the table and returned with a tin bathtub on his head, suggesting it as a symbol of what he called ''Les Nagistes'', a school created by Lowell's poem "In a Garden", which ends with "Night, and the water, and you in your whiteness, bathing!" Apparently his behavior helped Lowell win people over to her point of view, as did her offer to fund future work.<ref>Doyle (2016), 31–32; Moody (2007), 225; for the line, Lowell (1955), 74</ref>

H.D. and Aldington were moving away from Pound's understanding of ''Imagisme'' anyway, as he aligned himself with Lewis's ideas.<ref>Aldington (1941), 139; Moody (2007), 223</ref> Lowell agreed to finance an annual anthology of ''Imagiste'' poets, but she insisted on democracy; according to Aldington, she "proposed a [[Boston Tea Party]] for Ezra" and an end to his despotic rule.<ref>Aldington (1941), 139; Thacker (2018), 6</ref> Upset at Lowell, Pound began to call ''Imagisme'' "Amygism";<ref>Moody (2007), 223</ref> he declared the movement dead and asked the group not to call themselves ''Imagistes''. Not accepting that it was Pound's invention, they refused and Anglicized the term.<ref>Moody (2007), 224; Thacker (2018), 2, 5–6</ref>