Ezra Weston Loomis Pound was an American expatriate poet and critic and a major figure in the early modernist movement in poetry. He became known for his role in developing Imagism, which, in reaction to the Victorian and Georgian poets, favored tight language, unadorned imagery, and a strong correspondence between verbal and musical qualities.
In broadcasts from Italy from January 1941 to July 1943, Pound blamed Jews and other groups for the world's economic problems. He was indicted for treason in 1943 and was arrested by American forces and imprisoned in 1945 in a special cage at an Army installation near Pisa.
"[H]e was a great American poet not only in his own work, but a great facilitator of the work of other American poets, from Robert Frost to T. S. Eliot to James Joyce, who was another beneficiary of his generosity. I admire him and I suggested him for his poetry, but there were so many generous things in his career before he became a megalomaniac and paranoiac. I think that the malice of his madness is not relevant to his stature as a poet," said poet Donald Hall
[Pound] was the leading figure of the Modernist movement who redefined what poetry was and could be.
Upon receiving Fenollosa's scholarly papers, Pound poeticized a number of Fenollosa's line-by-line translations of the works of Chinese poet Li Po (Rihaku in Japanese), publishing the result as the much-noted volume Cathay... and by 1940 Chinese characters and ideas took a central place in the text of his Cantos.
Between 1920 and 1933, the American writer Ezra Pound, known for his revelatory work concerning the music of language, turned as well to the language of music. Composing two complete operas and several pieces for solo violin, all in a very personal language which drew from sources as diverse as troubadour music and Igor Stravinsky, Pound set texts by Guido Cavalcanti and François Villon which he felt resisted translation, in order to share his appreciation of these poets with his contemporaries.
"Ezra Pound, of whom I have been seeing more rather than less, is a queer duck. He wears a pointed yellow beard and an elliptical pince-nez and open Byronic collar and an omelette-yellow bathrobe. On entering a restaurant, one has observed him so awkward as unintentionally to knock over a waiter and then so self-conscious as to be unable to say he is sorry. But like most other people he means well, and unlike most other people he has a fine imagination. At close quarters, he is much more fair in his judgements than his correspondence and his books would warrent one to believe." -- Scofield Thayer
Ezra Loomis Pound (1885-1972) studied languages at the University of Pennsylvania, and befriended there the young William Carlos Williams.
Ezra Pound knew H.D. from the time she was a young woman in Pennsylvania throughout her life and later years in Europe. He wrote a sheaf of poems for her, Hilda's Book, around the time of their romance, about 1905.
Pound is credited with coining the term Vorticism. His essay “Vortex” appeared in BLAST, published by Lewis, in 1914. Here Pound emphasizes Vorticism’s relationship to motion, noting, “The vortex is the point of maximum energy. It represents, in mechanics, the greatest efficiency. We use the words ‘greatest efficiency’ in the precise sense—as they would be used in a text book of MECHANICS.”
[T]he real difference between imagism and vorticism was that the latter movement distinguished Pound from the mediocre artists that had overtaken imagism [Pound's first "movement"]. Vorticism "implied his alliance with his own kind," which included a brilliant sculptor like Henri Gaudier-Brzeska and the painter Wyndham Lewis. He rejected [Amy] Lowell's "democratized committee" [used in the imagist movement] because it would mean accepting "a certain number of people as my critical and creative equals" who didn't deserve the honor.