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108 THIS DIFFICULT INDIVIDUAL had not been in order. She was penniless. After selling her furniture, she continued to live in the bare apartment. Nevertheless, she was able to bring out the magazine on a more or less regular basis. She moved to San Francisco, and in September, 1916, produced an issue with many blank pages, because she found nothing worth printing. This set an excellent example for her contemporaries, but none of them were moved to emulate it. The blank pages, she said, comprised a "want ad" to let able contributors know that she was in need of material. Such a gesture could not escape Pound's eagle eye, and in 1917, he became the Review's unsalaried foreign editor, having once again parted company with Miss Monroe. He suggested a new motto, which was immediately adopted—"The magazine that is read by those who write the others." 16 With this new vehicle, which was now being published in New York, Pound got into print several projects that he had been planning for years. Among them was a special Henry James number, in homage to the master. He also brought out a French number, presenting the latest French poets in the original. One of his first pieces appeared in the May, 1917 number, a parting salvo to an old alliance. "Poetry (magazine)," he wrote, "has shown an unflagging courtesy to a lot of old fools and fogies whom I should have told to go to hell tout pleinement and bonnement. . . . There is no misanthropy in a thorough contempt for the mob. There is no respect for mankind save in detached individuals." This last sentence is especially important, inasmuch as the terrible accusation has been levelled against Ezra that he has been a practitioner of group prejudice. Yet here he is stating definitely that he accepts people only as individuals, not as members of a group, a flat rejection of stereotyped racial attitudes. One of Pound's best short pieces, "Advice to a Young Poet", also appeared in The Little Review. He said, in part, "Mastering an art does not consist in trying to bluff people. Work shows; there is no substitute for it; holding one theory or another doesn't in the least get a man over the difficulty." 17
EZRA POUND 109 Pound enlisted Wyndham Lewis and others of his circle as contributors to the Review. Lewis wrote some rather strong pieces for the magazine, and, in the October, 1917 issue, Pound noted that some objections had been raised: "There was also a lady or mother who wrote to me (personally) from New Jersey, asking me to stop the magazine as Lewis' writings were 'bad for her milk.' (I'm afraid there is no way of softening her phrase for our readers.) Madame, what you need is lactol and not literature. You should apply to a druggist." Lewis wrote a series of "Imaginary Letters" for The Little Review, and Pound was moved to disagree with some of his sentiments, and to answer him with a like series. Some of Pound's most edged statements are found in these letters, which were collected and published by Caresse Crosby in 1930, in Paris, under the imprint of the Black Sun Press. Excerpts follow: "I. Walter Villerant to Mrs. Bland Burn. . . . I am, with qualifications, Malthusian. I should consent to breed under pressure, if I were convinced in any way of the reasonableness of reproducing the species. But my nerves and the nerves of any woman I could live with three months, would produce only a victim—beautiful perhaps, but a victim; expiring of aromatic pain from the jasmine, lacking in impulse, a mere bundle of discriminations. . . . "There is no truce between art and the public. The public celebrates its eucharists with dead bodies. Its writers aspire to equal the oyster; to get themselves swallowed alive, thus encompass it. Art that sells on production is bad art, essentially. It is art made to demand. It suits the public. The taste of the public is bad. The taste of the public is always bad. It is bad because it is not an individual expression, but merely a mania for assent, a mania to be 'in on it.' . . . Even the botches of a good artist have some quality, some distinction, which prevents their pleasing mass palates . . . this nonsense about art for the many, for the majority. J'en ai marre. It may be fitting that men should enjoy equal 'civic and political rights'; these things are a matter of man's external acts, of exterior contacts. (Machiavelli
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EZRA POUND 109<br />
Pound enlisted Wyndham Lewis and others of his circle as<br />
contributors to the Review. Lewis wrote some rather strong pieces<br />
for the magazine, and, in the October, 1917 issue, Pound noted<br />
that some objections had been raised:<br />
"There was also a lady or mother who wrote to me (personally)<br />
from New Jersey, asking me to stop the magazine as Lewis'<br />
writings were 'bad for her milk.' (I'm afraid there is no way of<br />
softening her phrase for our readers.) Madame, what you need<br />
is lactol and not literature. You should apply to a druggist."<br />
Lewis wrote a series of "Imaginary Letters" for The Little Review,<br />
and Pound was moved to disagree with some of his sentiments,<br />
and to answer him with a like series. Some of Pound's<br />
most edged statements are found in these letters, which were<br />
collected and published by Caresse Crosby in 1930, in Paris,<br />
under the imprint of the Black Sun Press. Excerpts follow:<br />
"I. Walter Villerant to Mrs. Bland Burn.<br />
. . . I am, with qualifications, Malthusian. I should consent<br />
to breed under pressure, if I were convinced in any way of the<br />
reasonableness of reproducing the species. But my nerves and<br />
the nerves of any woman I could live with three months, would<br />
produce only a victim—beautiful perhaps, but a victim; expiring<br />
of aromatic pain from the jasmine, lacking in impulse, a mere<br />
bundle of discriminations. . . .<br />
"There is no truce between art and the public. The public<br />
celebrates its eucharists with dead bodies. Its writers aspire to<br />
equal the oyster; to get themselves swallowed alive, thus encompass<br />
it. Art that sells on production is bad art, essentially.<br />
It is art made to demand. It suits the public. The taste of the<br />
public is bad. The taste of the public is always bad. It is bad<br />
because it is not an individual expression, but merely a mania for<br />
assent, a mania to be 'in on it.' . . . Even the botches of a<br />
good artist have some quality, some distinction, which prevents<br />
their pleasing mass palates . . . this nonsense about art for the<br />
many, for the majority. J'en ai marre. It may be fitting that men<br />
should enjoy equal 'civic and political rights'; these things are a<br />
matter of man's external acts, of exterior contacts. (Machiavelli