Abstract
Some recent scholarship on the final volume of Ezra Pound’s Cantos. Historical research and textual criticism on the final volume of Ezra Pound’s Cantos - the so-called Drafts & Fragments section - have in recent years made great strides in improving our understanding of its curious evolution and highly problematic status. The result is a fascinating and at times maddeningly complex story of multiple authorship involving not only Pound but also his editors and readers. The end of The Cantos, which was first published as an official response to an act of literary piracy, is an example of what Pound specialist Peter Stoicheff has termed, in an apt prhase, «interwoven authority ». The aim of this paper is to review some of the recent scholarship on the Drafts & Fragments volume and, on that basis, to give a summary account of its history and conditions of textual production, and finally to suggest what is at stake in the many changes the text has undergone over the years.
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