Money and modernity : Pound, Williams, and the spirit of by Jefferson, Thomas; Pound, Ezra; Williams, William Carlos;

By Jefferson, Thomas; Pound, Ezra; Williams, William Carlos; Marsh, Alec; Pound, Ezra; Williams, William Carlos; Jefferson, Thomas

Marsh locates Pound and Williams firmly within the Jeffersonian culture and examines their epic poems as manifestations of a Jeffersonian ideology in modernist terms.

The modernist poets William Carlos Williams and Ezra Pound have been latter-day Jeffersonians whose politics and poetry have been strongly marked through the populism of the overdue nineteenth century. They have been sharply conscious of the social contradictions of modernization and have been devoted to a hugely politicized, usually polemical poetry that criticized finance capitalism and its institutions--notably banks--in the most powerful terms.

Providing a historical past of the aesthetics of Jeffersonianism and its collision with modernism within the works of Pound and Williams, Alec Marsh strains "the cash query" from the republican interval during the Nineteen Forties. Marsh can therefore learn modernist epics--Pound's Cantos and Williams's Paterson--as the poets was hoping they'd be learn, as makes an attempt to wreck the carry of "false" monetary values at the American imagination.

Marsh argues that Pound's and Williams's related Jeffersonian outlooks have been the direct results of the political battles of the Eighteen Nineties in regards to the that means of cash. even though Pound's curiosity in funds and economics is celebrated, few individuals are acutely aware that either poets have been lively within the Social credits monetary-reform move of the Nineteen Thirties and Nineteen Forties, a circulation proven by way of Marsh to have direct hyperlinks to Jeffersonianism through American populism.  eventually, the 2 poets took divergent paths, with Pound swerving towards Italian fascism (as exemplified in his Jefferson and/or Mussolini) and Williams changing into deeply stimulated through the yankee pragmatism of John Dewey. therefore, Marsh concludes, Pound embraced the fascist model of state-capitalism while his outdated buddy proclaimed a realistic openness to the hot selves engendered by way of company capitalism.

Money and Modernity exemplifies the simplest of contemporary literary feedback in its incorporation of yankee reports and cultural stories methods to carry new perception to trendy masterworks.

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Extra resources for Money and modernity : Pound, Williams, and the spirit of Jefferson

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So did Williams, who late in life delighted to think that he'd scandalized a Harvard Phi Beta Kappa assembly with a poem called "The Desert Music" about the seamy delights of Juarez. s Republican virtue is associated with the American farmer because he is imagined to be largely free of toxic social and commercial rela- 15 Jeffersonian Economics tions. "The substantial and genuine virtue" of "those who labor in the earth" that Jefferson praised is "suffocated" by the oddly unnatural temptations of human contact, of commerce with the world.

Morgan paid fortunes for European art, American artists, "doing modern work" (120), were struggling for recognition literally around the corner. And the same was true for American writers, who, to invoke Emerson, longed to discover their "original relation to the universe," to American particulars and Americanness. This chapter deals with debt and value. It is about the Jeffersonian attempt to capture and redefine the meaning of debt and its moral consequences for the citizen and the artist. First I explore the relationship between Jefferson and Hamilton's understanding of debt and its political, aesthetic, and moral implications for the American experiment.

McDonald, 1976 161-62J McDonald's observation about an "unwritten" Constitution is shrewd, for Jeffersonians are suspicious of texts. " Jefferson asked rhetorically of a correspondent in 1816. "Not in our constitution certainly, but in the spirit of our people" (Jefferson 1397). Indeed, Jefferson's relative separation from the Constitution gives Jeffersonianism much of its ideological appeal and justifies its reflexive demonization of Hamilton: "the Prime snot in ALL American history" as Pound rudely remarks in Canto 62 (62:350).

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