T. S. Eliot o Ezri Paundu

U nastavku sledi odlomak iz intervjua koji je T. S. Eliot dao za magazin The Paris Review iz koga sam izdvojila deo koji se odnosi na Paundovu intervenciju nad pesmom Pusta zemlja.


Do you remember the circumstances of your first meeting with Pound?


I think I went to call on him first. I think I made a good impression, in his little triangular sitting room in Kensington. He said, “Send me your poems.” And he wrote back, “This is as good as anything I’ve seen. Come around and have a talk about them.” Then he pushed them on Harriet Monroe, which took a little time.


You have mentioned in print that Pound cut The Waste Land from a much larger poem into its present form. Were you benefited by his criticism of your poems in general? Did he cut other poems?


Yes. At that period, yes. He was a marvelous critic because he didn’t try to turn you into an imitation of himself. He tried to see what you were trying to do.


Does the manuscript of the original, uncut Waste Land exist?


Don’t ask me. That’s one of the things I don’t know. It’s an unsolved mystery. I sold it to John Quinn. I also gave him a notebook of unpublished poems, because he had been kind to me in various affairs. That’s the last I heard of them. Then he died and they didn’t turn up at the sale.


What sort of thing did Pound cut from The Waste Land? Did he cut whole sections?


Whole sections, yes. There was a long section about a shipwreck. I don’t know what that had to do with anything else, but it was rather inspired by the Ulysses canto in The Inferno, I think. Then there was another section which was an imitation Rape of the Lock. Pound said, “It’s no use trying to do something that somebody else has done as well as it can be done. Do something different.”


Did the excisions change the intellectual structure of the poem?


No. I think it was just as structureless, only in a more futile way, in the longer version.

Izvor: The Paris Review

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