Abstract
Humphrey Carpenter has done for Pound what Ian Hamilton did for Lowell in 1983: produced a biography which also compels a revaluation of the poetry. Pound has always been presented by his admirers as an impersonal poet, whose work somehow transcends the follies (as they would put it) of the Rapallo period and after. Even hostile biographers such as C. David Heymann and E. Fuller Torrey subscribe to this view, speaking of Pound’s poetic genius while correcting the myths that had grown up around the wartime broadcasts, the insanity hearing, and the time at St Elizabeths. The political debate over the Cantos has continued unabated since the award of the Bollingen Prize to the Pisan Cantos, but the question of Pound’s literary achievement has remained largely unexamined.
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