Classic and Contemporary Poetry: Explained

Charles Olson’s "Lustrum for You, E.P." is an intense and scathing poetic address to Ezra Pound, grappling with his controversial legacy as both a literary innovator and a deeply problematic figure due to his fascist sympathies and antisemitic broadcasts during World War II. The poem oscillates between moments of denunciation, reluctant acknowledgment of Pound’s literary achievements, and a broader meditation on art, politics, and morality. Through its fragmented structure, biting tone, and layered allusions, Olson constructs a deeply conflicted elegy—one that neither absolves Pound of his flaws nor denies his place in literary history.

The opening lines set a confrontational tone, depicting Pound as having "found the gallows tree," a metaphorical reckoning for his betrayal of ethical and political principles. Olson immediately invokes the image of execution, aligning Pound’s fate with that of historical traitors, such as Booth’s collaborators during the American Civil War. The mention of "Matthew Brady?s camera" situates the imagery in a historical context, linking Pound’s moral failure to the broader American tradition of punishing those perceived as traitors. Olson’s use of "canto maker" as a sardonic epithet underscores the tragedy of Pound’s fall: a poet of immense talent undone by his own actions and beliefs.

In the second section, Olson adopts a mocking tone, addressing Pound as "Yorick," the archetypal fool from "Hamlet." This label positions Pound as a figure of ridicule, a once-great artist reduced to absurdity by his own hubris. Olson critiques Pound’s broadcasts ("Mug the mike with your ABCs") and his antisemitism, calling him an "anti-semite in the nose" whose rhetoric stinks like "vomit." The visceral language reflects Olson’s revulsion at Pound’s betrayal of the ethical responsibilities of the artist. Yet, in quoting Pound’s own observation about the modern city’s sensory overload, Olson slyly acknowledges the sharpness of Pound’s critique of modernity, even as he condemns its moral implications.

The third section offers a more somber reflection, addressing Pound directly: "You are your own best witness." Olson denies the possibility of greatness in Pound’s later days, contrasting his earlier poetic achievements with the moral and artistic decay symbolized by "the rattle of cans." This image suggests both emptiness and dissonance, capturing the disillusionment many felt toward Pound’s legacy after his wartime actions.

In the fourth section, Olson tempers his critique with a grudging acknowledgment of Pound’s insights, particularly his analysis of American culture and history. By referencing Pound’s ideas about the aftermath of the Civil War and his emphasis on the "irregular movement UNDERNEATH" regular verse, Olson recognizes the depth of Pound’s poetic and cultural contributions. However, Olson juxtaposes this recognition with a sharp critique of Pound’s failure to channel these insights into meaningful action. Through the story of Heine—a blind poet who risked his life during a revolution to see Venus in the Louvre—Olson contrasts Heine’s courageous pursuit of beauty with Pound’s retreat into a "broadcasting studio," a space associated with propaganda and betrayal rather than artistic or moral bravery.

The fifth section explores the notion of "order" as both an aesthetic and political principle, linking Pound’s obsession with structure to his alignment with fascism. Olson accuses Pound of standing "with the lovers of ORDER," a sharp indictment of his complicity in oppressive systems. The section shifts into a lyrical meditation on beauty and transience, contrasting the fleeting "hyacinth and burnt feathers" with the horrors of war and human cruelty. This juxtaposition underscores Olson’s belief in the artist’s duty to uphold humanity and grace, even in the face of chaos.

The final section delivers a devastating verdict: "lover of the obscene / by the obscene undone." Here, Olson crystallizes his argument that Pound’s downfall was self-inflicted, a result of his moral failings and willingness to align with destructive ideologies. The repetition of "fecit, Pound fecit" ("he made it, Pound made it") serves as both a condemnation and a grim acknowledgment of Pound’s agency in shaping his legacy, for better and worse.

Structurally, Olson’s fragmented, multi-voiced approach mirrors the complexity of his subject. The poem resists linearity or resolution, reflecting the tangled legacy of Pound himself. Olson’s use of historical allusion, sharp invective, and lyrical reflection creates a layered narrative that oscillates between critique and reluctant admiration, embodying the contradictions inherent in grappling with a figure as polarizing as Pound.

"Lustrum for You, E.P." is ultimately a reckoning with the duality of genius and failure. Olson neither absolves Pound of his moral lapses nor dismisses his contributions to poetry. Instead, the poem invites readers to confront the uncomfortable truths of Pound’s legacy, recognizing the enduring tension between art and ethics, creation and destruction, beauty and betrayal. In doing so, Olson offers a powerful reflection on the responsibilities of the artist and the enduring impact of their choices on both their work and the world.

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