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268 THIS DIFFICULT INDIVIDUAL Pound's lawyer, Julian Cornell, immediately wrote Cerf that this was a clearly libelous statement, and demanded a retraction. Cerf replied that he would retract the statement "only over my dead body." With their position on Pound clearly defined, Cerf and the editors of The Saturday Review waited for Pound's next move. They had to wait several years, and even then the action was not initiated by him, but by a quasi-governmental body, the Fellows of American Literature at the Library of Congress. Pound's work had received little recognition in the way of prizes. He had been awarded a fellowship from the University of Pennsylvania in 1906, such as are given to "bright" students, and in 1927, he had received the annual "Dial" award, but the Guggenheims and their imitators had ignored him when it came to passing out the cake. In 1949, however, he was awarded the Bollingen prize of one thousand dollars for "the best poetry published by an American citizen during the year in the United States." The award was given for his Pisan Cantos, and the New York Times headlined the front-page story, on February 20, 1949, "POUND, IN MENTAL CLINIC / WINS PRIZE FOR PO­ ETRY / PENNED IN TREASON CELL". The implication of the headline was that Pound was not only continuing to write his "treasonable" works, but that he was being praised for them. The award was given at the recommendation of the Fellows of American Literature, a group that had been organized four years previously to function in coordination with the Library of Congress. They had been asked to serve in this capacity at the suggestion of Allen Tate. At the time of the Pound award the group was composed of Leonie Adams, Conrad Aiken, W. H. Auden, Louise Bogan, Katharine Garrison Chapin, Robert Lowell, Archibald MacLeish, Katharine Ann Porter, Allen Tate, Willard Thorp and Robert Perm Warren. Thus it included a good cross section of the leading American poets of the 1940s. Paul Green was a member of the Fellows at this time, but he abstained from voting for Pound. Tourists may recall that he writes outdoor dramas that are staged in public parks. Theodore Spencer also was a member, and he cast his vote for Pound, but he died before the prize was awarded.

EZRA POUND 269 There was a flurry of interest over the fact that Pound, indicted for treason and incarcerated in a madhouse, had won a prize for his work, but the New York Times soon went on to other things. During that spring, several well-known writers received proofs of two articles by Robert Hillyer, an academic poetaster much loved at The Saturday Review of Literature, whose work had been ignored by the "new school". In the issue of June 11, 1949, the first of these articles, "Treason's Strange Fruit", appeared. The second, "Poetry's New Priesthood", came out in the June 18 issue. The gist of these virulent outpourings was that Paul Mellon, the sponsor of the Bollingen prize, Dr. Carl Gustav Jung of Switzerland, and a mob of poets led by T. S. Eliot, had combined in a worldwide "fascist" conspiracy, involving, among other persons, the proprietors of an outfit called Pantheon Books. The purpose of this "fascist" conspiracy was to give Pound an award for his poetry, and Hillyer was now warning the democracies that this objective had been achieved. It was obvious that he considered himself to be a Paul Revere of modern literature, sounding the tocsin against the forces of Pound and Eliot. In addition to the numerous distortions, inaccuracies and misstatements that marred these two items of prose, we must consider the background in which they appeared. The Saturday Review of Literature had long since given up any pretensions of serious literary criticism. It was simply a trade publication, which announced new books, with brief reviews contributed by the hewers of wood and drawers of water in the literary world, the university professors, newspaper copyreaders, and retired high school teachers who could write for the magazine's high school and small town library audience. The Saturday Review also conducted a highly profitable "Personals" column, which accounted for a considerable portion of its revenues. There had been a growing demand for entertainment after the war, and almost any peccadillo found a ready audience. The editors of The Saturday Review found that the more unusual advertisements they printed, the more they received, and the "Personals" column steadily grew.

EZRA POUND 269<br />

There was a flurry of interest over the fact that Pound, indicted<br />

for treason and incarcerated in a madhouse, had won a prize for<br />

his work, but the New York Times soon went on to other things.<br />

During that spring, several well-known writers received proofs of<br />

two articles by Robert Hillyer, an academic poetaster much loved<br />

at The Saturday Review of Literature, whose work had been<br />

ignored by the "new school".<br />

In the issue of June 11, 1949, the first of these articles,<br />

"Treason's Strange Fruit", appeared. The second, "Poetry's New<br />

Priesthood", came out in the June 18 issue. The gist of these<br />

virulent outpourings was that Paul Mellon, the sponsor of the<br />

Bollingen prize, Dr. Carl Gustav Jung of Switzerland, and a mob<br />

of poets led by T. S. Eliot, had combined in a worldwide "fascist"<br />

conspiracy, involving, among other persons, the proprietors of<br />

an outfit called Pantheon Books. The purpose of this "fascist"<br />

conspiracy was to give Pound an award for his poetry, and Hillyer<br />

was now warning the democracies that this objective had been<br />

achieved. It was obvious that he considered himself to be a Paul<br />

Revere of modern literature, sounding the tocsin against the forces<br />

of Pound and Eliot.<br />

In addition to the numerous distortions, inaccuracies and misstatements<br />

that marred these two items of prose, we must consider<br />

the background in which they appeared. The Saturday Review of<br />

Literature had long since given up any pretensions of serious<br />

literary criticism. It was simply a trade publication, which announced<br />

new books, with brief reviews contributed by the hewers<br />

of wood and drawers of water in the literary world, the university<br />

professors, newspaper copyreaders, and retired high school teachers<br />

who could write for the magazine's high school and small town<br />

library audience.<br />

The Saturday Review also conducted a highly profitable "Personals"<br />

column, which accounted for a considerable portion of its<br />

revenues. There had been a growing demand for entertainment<br />

after the war, and almost any peccadillo found a ready audience.<br />

The editors of The Saturday Review found that the more unusual<br />

advertisements they printed, the more they received, and the<br />

"Personals" column steadily grew.

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