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Self ImpressionLife-Writing, Autobiografiction, and the Forms of Modern Literature$
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Max Saunders

Print publication date: 2010

Print ISBN-13: 9780199579761

Published to Oxford Scholarship Online: May 2010

DOI: 10.1093/acprof:oso/9780199579761.001.0001

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Auto/biographese and Auto/biografiction in Verse: Ezra Pound and Hugh Selwyn Mauberley

Auto/biographese and Auto/biografiction in Verse: Ezra Pound and Hugh Selwyn Mauberley

Chapter:
(p.371) 9 Auto/biographese and Auto/biografiction in Verse: Ezra Pound and Hugh Selwyn Mauberley
Source:
Self Impression
Author(s):

Max Saunders (Contributor Webpage)

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199579761.003.0010

This chapter suggests a new reading of one of Pound's most contested works in terms of the contexts provided in Part I. In particular, Pound's parody of aestheticism is compared to Beerbohm's in Seven Men. The critical tradition has been excessively preoccupied with trying to identify the speakers and ‘originals’ of each section of Mauberley. It argues that, seen in relation to the growing interest in portrait collections, composite portraiture, the disturbances in auto/biography, and imaginary art‐works, this poem sequence can be read as a parody of the forms of literary memoir, through which Pound also explores autobiography.

Keywords:   Ezra Pound, modernism, Hugh Selwyn Mauberley, aestheticism, Max Beerbohm, Seven Men, portrait collection, parody, memoir, auto/biography, autobiography, allobiography, metabiography, Peter Brooker, Ford Madox Ford, Enoch Soames, Logopoeia, autobiographese, turn of the century, Fin de siècle, decadence

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