To think English Literature should take cues for "greatness and excellence" from Masters of Classic Latin verse, like Dante, whom well-known, but unsettlingly political, mercurial, and controversial Idaho-born poet Ezra Pound did, may have led to his diametrically opposing stances and political allegiances. Like intellectually lugubrious T.S. Eliot, Pound thought Dante "an Epitome of Civilizational ?] expression in Literature" non-pareil. But to believe that all that English connotes and denotes, starts and ends with Roman, Greek, Babylonian, or Mediterranean culture, as Pound's commentator-critic Donald Davie (1975) thinks is justifiable, is like thinking Other Cultures do not matter at all for an international language, or that only paradigmatic (culturally idiomatic) translations from European languages are productive and "truly creative" breeding grounds for something outstanding. Pound himself dabbled in Chinese and other "Sinoid cultures" for inspiration and creativity, only to discover, later, that he was confused about Confucianism and Taoism. Towards the end of his life, Pound gave up commenting on his own leaps of innovation in Modernism in Literature. The wellsprings of his creativity were really too much "out of reach" for his personality. He became silent about his own life and works, reticent and seemed deluded. But if "East is East, and West is West/And Never the Twain Shall Meet," does it mean true creativity in English Literature died in the 20th Century? Here are fresh ideas and experiments with form that mediate between images and feelings and their resonances, as true poetry does, in a manner different from painting, in remembrance and tribute to such a creative person, who ended up silent about his own contribution. "Leaps of Fate", as this book's title suggests, are like "Leaps of Faith", to "traverse life" so that we can "try to express in verse, Life", what it means to so many minds all over the world, even if fewer persons today read poems and appreciate the Art.
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