By Luke Carson

The profession of Ezra Pound has come to symbolize the political traits which, it's been claimed, are inherent to modernist aesthetics. however the political impulses of the modernists can't be effectively represented by means of Pound's severe positions; Pound's personal political actions and commitments don't correctly articulate the contradictory attitudes and ideology that made them attainable. by way of contrasting Pound's politics to the political values and ideology of Gertrude Stein and Louis Zukofsky in the course of the melancholy, this booklet argues that those 3 very varied writers proportion a fancy set of attitudes and ideology that are grounded in a collective social myth resembling the increase of mass intake and the emergence of company social forms.

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Additional resources for Consumption and Depression in Gertrude Stein, Louis Zukofsky and Ezra Pound

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Dennis too demonstrates an awareness of the resources made available to the fascist leader by the fact that material abundance is not enough: To be successfully adjusted, an individual does not have to have two cars or even a full stomach. He merely needs to have a place, or, to belong. . People don't mind suffering. On the contrary, some of them love to suffer all of the time, and all of them love to suffer some of the time. What people cannot endure is not belonging. The tragedy of capitalism - unemployment does not inhere in the phenomena of want and privation, but in the spiritual disintegration of large numbers of people from 'Enough is not enough' 33 the group culture.

Apart from those who are unemployed and destitute - a large number absolutely but a small number relative to the whole population - the problem is not yet one of actual privation or even of a serious reduction in the standard of life. The problem is one of fear of what is to come: the fear of the wage-earner that his wages will be cut or even that he will lose his job entirely, the fear of the employer that he will not be able to meet his obligations, the fear of men that they will not be able to pay their taxes, or the interest and instalments on mortgages, the fear that savings will be lost, and so forth.

Spengler argues, in what amounts to a parody of Marxist Hegelianism, that the concentration of power effected by capitalism lays the groundwork for the emergence of a true culture that is productive of values undreamed of by either capitalism or communism. According to Spengler's historical dialectic, as presented in The Decline of the West, which had wide currency in the English-speaking world after its translation in 1928, the concentration of capital in the hands of a few corporations set the conditions for the emergence of the universality promised by the Enlightenment: 'money is the form of intellectual energy in which the ruler-will, the political and social, technical and mental, creative power, the craving for a full-sized life, are concentrated'.

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