Who Is Hugh Selwyn Mauberley?

If Richard Sieburth is, as I suspect, correct when he says, “To read Pound has always involved the invitation to become his student,” I’m not sure I’ve been reading Pound, at least in that sense. Or, perhaps more precisely, I have not yet accepted that invitation wholeheartedly, given my lack of confidence in dealing with Pound’s works and life. (In addition, although I don’t think Sieburth is excluding the early work in which “Hugh Selwyn Mauberley (Contacts And Life)” is included, I suspect he has The Cantos on his mind more than he does those other poems and translations.) Still, I encircle Pound, occasionally listening to him read his work and always deriving pleasure from it even if I don’t (dare) read poetry aloud that way. I approach Pound cautiously, almost as if I see him in his steel cage. I am horrified at the conditions he has been subjected to but also at the man himself. I  condemn the cage but am also thankful for it, to my shame. Like Heidegger, Pound fascinates me with a strangeness I do not find comfortable; perhaps because Pound’s mental stability has been called into question, I find I easily imagine Pound to be feral and wild. To a certain extent, this excuses him more than Heidegger, though not by much. And yes, I hide my fear in judgments like these.

*****

When I took a course on literary theory a couple of years ago, one of the required readings was the fifth chapter of Brenda K. Marshall’s Teaching The Postmodern: Fiction And Theory. There, Marshall discusses (Linda Hutcheon’s ideas on) historiographic metafiction through a discussion of three novels that fit that category. One of those was Timothy Findley’s Famous Last Words, a novel that featured Mauberley as its central character. It was my first time to hear of Findley, and, to be honest, of Mauberley. Back then, I already knew of Pound’s Cantos, and I’ve read some of the Imagist work and the translations from the Chinese, but for some reason, “Hugh Selwyn Mauberley” failed to show up on my radar until I read about it in the Marshall. I was at least two steps removed from it, but I pretended to know it, to at least read and understand enough for class discussion. I remember being entranced by a line from the novel that Marshall quotes: “All I have written here is true; except the lies.”

*****

Around a year later, reading James Longenbach‘s The Art Of The Poetic Line, I encountered Mauberley again (Longenbach also talks about the poem here and calls it “probably the best poem ever written about midlife crisis”), focusing this time on the formal elements of the poem and not so much the character himself.

*****

This morning, listening to the Caedmon Recordings of Pound reading the poem, I misheard the first line of the second stanza of the Siena Mi Fe’; Disfecemi Maremma section. Instead of hearing Pound intoning, “For two hours he talked of Gallifet,” I heard instead “For two hours he talked of Gallifrey.” I then thought of how Pound’s poems, like the best poems, are always bigger on the inside. I also thought about Pound claiming, “All ages are contemporaneous in the mind,” wherever that came from. I also saw Pound as the Master but couldn’t and wouldn’t sustain it.

*****

I’m reading a really old (first published 1955, first paperback edition 1974) piece of criticism on Mauberley, this blue box book. I’m not really all that interested in the kind of literary genealogy characteristic of these kinds of “source and influence studies,” but reading the book, I almost feel like I’m travelling in time and meeting Mauberley again, not where he was originally but some other place, when people were studying Pound without feeling the need to apologize for his Fascism, the way I always feel like I have to, even when I’m just all alone, reading Mauberley and thinking about it.

*****

These are the last words of Famous Last Words:

Text by Timothy Findley

Advertisements

First Five (or So) Books for 2011?

resolve plan to not only read but finish more books this year, and I hope this includes some novel-length fiction. God knows how I plan to get this done, given how the holiday break from school and work has ended (not that I read much during Christmas vacation). In addition, not only do I need to worry about the regular work that has resumed and needs to be done, I also have to review and prepare for my foreign language exam.

Still, this is what I have on my plate at the moment. Having several books to read in one go is going to be either a good idea or a counter-productive one:

  1. The Keep by Jennifer Egan: It’s not the first time I’ve mentioned Egan here, but with A Visit from the Goon Squad still unavailable here, I’m pleased to have found a copy of her previous novel in the meantime.
  2. Doctor Who and Philosophy: Bigger on the Inside, edited by Courtland Lewis and Paula Smithka: I claim it’s for class, but it’s really more for fun. My own take for the Doctor Who course I’m teaching, which is not as impressive as this by the way, is closer to…
  3. Triumph of a Time Lord: Regenerating Doctor Who in the Twenty-First Century by Matt Hills, which uses a Foucauldian discursive approach to discuss my own pet issues surrounding the program in particular and television studies in general.
  4. Unending Design: The Forms of Postmodern Poetry by Joseph M. Conte: It’s my first time in a long time to check out a library book, and I’m hoping this one can help me prepare for my thesis, in which I’m going to try a long poem.
  5. The H.D. Book by Robert Duncan: I want to know more about these two poets, so discovering this, given its recent reissue, is more than welcome. That said, I’m broke now, so I’m reading this version.

Irritatingly, only one of those books is a novel. I guess I should also mention that I’m trying to get into Hart Crane. I don’t presume to understand his poems well, but I love reading them aloud. Again, because I’m too broke to pick up the Library of America edition of his works, I’m working with this older collection.