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314 THIS DIFFICULT INDIVIDUAL<br />

"humor" is harder to take. A man of good quality should change<br />

his name every ten years and have a go with plastic surgery."<br />

One reason for Pound's inability to get any articles or short pieces<br />

into print during his years of incarceration was his well-known<br />

opinion of American publishers. In 1939, he wrote to Kunitz and<br />

Haycraft as follows:<br />

"The printing centre for live writing in the English or American<br />

language was shifted to New York in 1917 or 1919. After that war<br />

the muckers of the American publishing swamp did nothing and<br />

London again took over the lead in this field. America once again<br />

gets her stuff after London has had it." 2<br />

American publishers during the 1930s did little more than print<br />

some "social protest" novels by the hack writers on The New<br />

Masses. In the 1940s, they printed a great deal of poor stuff, mostly<br />

war propaganda. One might suppose that war propaganda would<br />

be exciting, but this material was not. In the 1950s, they began<br />

to unmire, and now it seems that a few good things will be printed.<br />

It is interesting to note for the record that the best avant-garde<br />

periodicals during the years 1948-1955 were those that Ezra inspired<br />

from the madhouse. He was still keeping the banner flying,<br />

just as he had done in 1912 with Poetry; in 1917 with The Little<br />

Review, and in 1927 with The Exile.<br />

These little publications were sometimes printed on hand<br />

presses by members of Pound's circle. T. David Horton was printing<br />

Mood; Dallam Flynn was printing Four Pages; William Mc­<br />

Naughton was printing Strike; and I was printing Three Hands.<br />

And there were others. In Provincetown, Paul Koch was printing<br />

some good items.<br />

The editorial tone of these "little magazines", which achieved<br />

very little in the way of circulation, was often as gruff as Ezra himself<br />

had been in his writing and such broadcasts as his exhortation<br />

on the work of E. E. Cummings, when he demanded of his audience,<br />

"well dam you read Cummings if you won't read Brooks<br />

Adams/ or better read both of them and try to find out what has<br />

been done to you/ what is being done to you/ conducive to material/<br />

spiritual and intellectual RUIN."<br />

Pound was outraged when President Truman seized the steel

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