ROBERT HUNTER (2) Grazia Gun "A Nothing Point"
ROBERT HUOT Film Information
ROBERT HUOT On the Red Classic Series
CAROL KINNE (2) Notes on Carol Kinne's Paintings
LUCY LIPPARD "Full of it" sur Robert Huot (trad. fr.)
LUCY R LIPPARD lecture du 26.4.2012
LAURA MARELLO Lecture du 28 juin 2012
CARMENGLORIA MORALES Textes théoriques années 70-80
MARIA MORGANTI (2) Walls of Work on Paper
PIERO MORGANTI Diario di Viaggio Parigi 23-28 ottobre 1992
JUDITH NELSON (2) "How Paper Responds To..."
FRANCOIS RISTORI (2) Proposition-peinture
BARBARA ROSE interview Carl Andre
MARIANNE SCHARN (2) A Correspondence with Carl Andre
EIJI SUZUE (2) Fragments de "L'Éclair de Paris"
RYO TAKAHASHI (2) Écrits d'expositions


1929, Washington, D.C. born.

1932, New Iberia, LA, picked up Cajun phrases from playmates.

1939, Began to piece together that my paternal grandfather, Alexander was born in Sialkot, in the Punjab of Pakistan, which city was founded by an uncle of the Pandavas, heros of the Mahabarata. As a young child Alexander spoke Punjabi; his missionary parents had escaped by a 60 mile night ride to Lahore by horse and buggy through the midst of the Sepoi Mutiny, where more than 70,000 Sepois were massacring foreigners. As a kid I puzzled over some of the mysterious inscriptions.

1941, Just after Pearl Harbor my father mentioned a Huguenot ancestor’s horror tales about Louis XIV’s dragoons being quartered in the citizens’ homes without their consent.

1945, Met Yehudi Menuhin in an ice cream parlour, who expounded a 15 minute music lesson that remains useful to this day.

1948, Trombonist in a Navy Band, where in Guam I heard  some Polynesian dialects. Got polio.

1949, Renewed interest in Sanskrit at an Indian temple.

1952-58, Met Ezra Pound (at St. Elizabeths in Washington, DC while I attended George Washington University): he published my translation of a poem by Li Tai Po. Studied mainly English, Chinese, Greek, Italian, French, and some Provencal poetry with him on weekly visits.

1955, Corresponded with Noel Stock who was printing my new translations of Mencius in Edge in Melbourne.

1953, Met, talked, and corresponded with Louis Zukofsky about his Catullus.

1956, Met, worked, and corresponded with Hollis Frampton, one of the most interesting geniuses fate ever allowed a brief floruit in the second half of the Century. He introduced me to the splendors of a restored Iliad, benevolently mimeographed a rogue translation of Mencius, and lectured on Stravinsky and the possibility of a 20th Century Culture.

1956, Published “Through The Needle’s Eye” (performed and reviewed by Dudley Fitts, S.R.O. at Oberlin College).

1956, Met and observed e.e.cummings’ seraphics as he withstood the bombardment of Pound’s ironies at St. Elizabeths.

1956, Met Guy Davenport at St. Elizabeths, who was excavating a palaeographical Sappho.

1956, B.A. from George Washington University; Washington, DC. Greek, French, Biology (mainly).

1957, Met Reno Odlin, polymath (at St. Elizabeths); corresponded, and worked with him in continuing APO Bulletin, and other  endeavors.

1958-1962, Continued study of poetics with Pound in Italy.

1962, MA, University of Wisconsin; Greek, Latin, Provencal, Beowulf (for the most part).

1962, met Hugh Kenner who held forth on late 20th Century Culture under a blistering electrical storm on a lake in Madison, Wisconsin.

1964, Mang Tzu, experimental translation of Mencius, published.

1962-2001, Corresponded with James Laughlin; also made a selection of EP-JL Letters (1994).

1975, “Equinox,” a translation of T’ang poets.

1980, At about this time, the first symptoms of post-polio syndrome appeared.

1983, Began (while contributing to Carroll F. Terrell’s Paideuma, in Orono), a five year experiment to show “The Confucian Basis for Ezra Pound’s Cantos,” which was  read by Reno Odlin and Guy Davenport.

1985, “The Wild Old Man,” a translation of Lu Yu.

1986, In these years, corresponded with and met the amazing sculptor and poet Carl Andre.

1988, Met (at the Chamberlain Conference), discussed, and later corresponded with Barry Goldensohn on  Chaucerian  metrics. About this time I began to look more closely into Akkadian, and Sanskrit.

1988, “Outward,” part I of a long poem. Had begun about 10 years earlier to build on a framework derived from the Great Learning of Confucius, and the Bill of Rights (among other things). The National Poetry Foundation at the University of Maine offered publication of the ten proposed volumes. Reno Odlin, typographer, critiqued, cursed, urged, cut the fonts, put it on the page, and would stay the course for a life-time.

1991, “Repairs,” part II of a long poem.
(Confucian Make it New, Amendment II)

1992, Met and corresponded with the artist Judith Nelson.

1993, “Rest,” part III of a long poem.
(Confucian Come to Rest, Amendment III)

1996, Began “Stem” (Part Four of the long poem).
(Planned according to  the principle of the “roots and branches” gradation of the Confucian schema which entails a detailed search through  earliest records for convergent ethical bases, still innate in human make-up but  it has proved much more intractable than any of the othervparts till now completed.) Preliminary versions of the six sections of Stem:
‘Tyrant,’ ‘Peer,’ ‘Backlash,’ ‘Scorpion,’ ‘Dragonflies,’ and ‘Flood’ were printed on the following dates:

    1996, Dragonflies,’ Constance Hunting’s Puckerbrush Review, Orono, xiv, ii, Winter-Spring.

    1997, Scorpion,’ Puckerbrush Review, xv, i, Summer-Fall.

    1997, Tyrant,’ Puckerbrush Review, xv, ii, Summer-Fall.

    1998, Peer,’ Puckerbrush Review, Summer-Fall.

    1999, Backlash,’ Puckerbrush Review, Winter-Spring.

    2000, Flood I,’ Puckerbrush Review, Winter-Spring.

    2001, Flood II,’ Puckerbrush Review, Winter-Spring.

    2001, Tyrant II,’ (revised).

    2002, Tyrant’ (final) Puckerbrush Review, Autumn.

    2003, DragonFlies’.

    2003, Tyrant’ (end).

    2004, Peer’.

    2005, THE RADIATA TRIPTYCH: “Learn,” “Define,” “ Heart,” parts V, VI, VII.

    2006, SURVIVE IN TRIAD: “Self,” “Famille,” “Earth,” parts VIII, IX, X.

    2007, Introduction to “VOYAGE”.

BOOKS PUBLISHED :Through The Needle’s Eye, (translation of Jean Cocteau's La Machine Infernale), performed and reviewed by Dudley Fitts. (New York: The William-Frederick Press, 1956).

La Martinelli [photographs of paintings], with an introduction by Ezra Pound (Milan: Vanni Scheiwiller, 1956).

Mang Tzu [an experimental translation from the Chinese of Mencius] (Florence: Typo-Stiv, 1964).

Equinox [a translation and selection of T’ang Chinese poets] (Athens, Ohio: Ohio University Press, 1975).

Living in the Stream: translations of Lu Yu (Buffalo, New York: White Pine Press, 1977).

Translations of Lu Yu, (La Crosse, Wisconsin: Juniper Press, 1978).

The Wild Old Man: The Poems of Lu Yu (San Francisco: North Point Press, 1985).

Outward, Part I of a Long Poem, (New York: the New York Monograph Society, 1988; second revised edition [typography by Reno Odlin of all of the published poem] (Orono, Maine: The National Poetry Foundation, 1991).

Repairs, Part II of a Long Poem, (Orono, Maine: The National Poetry Foundation, 1991).

Rest, Part III of a Long Poem (Orono, Maine: The National Poetry Foundation, 1993).


Academia Bulletin,
issues I and II begun in Washington, D.C., 1956; issues III and IV, continued in Wiscasset, Maine, 1979, 1980, (issues III and IV with contributions and drawings by Reno Odlin.)
'L’influence de Whitman sur Pound,' in Les Cahiers de L’Herne, Paris, 1965.
Six poems in The Maine Writer’s Conference Chapbook No. 11, Brunswick, Maine, 1969.
'It’s Already Time,' 'For a Hermit' (Tu Fu), Anthology Yearbook of Modern Poetry, 1971.
'Three Notes on Zukofsky’s Catullus' in Louis Zukofsky Man and Poet (Orono, Maine: The National Poetry Foundation, 1979).
'Tributes to Louis Zukofsky' in New Directions 39, co-edited with Hugh Kenner (New York: New Directions, 1979).
'The Structure of Bunting’s Sonata' in Basil Bunting , Man and Poet (Orono, Maine: The National Poetry Foundation, 1980).
A Companion to The Cantos of Ezra Pound, as research contributor, two volumes, (Berkeley: University of California Press, 1980).
'Mary Barnard' in Paideuma (XXIII,1.Spring, 1994), as guest editor.
Ezra Pound and James Laughlin: Selected Letters (New York: W.W. Norton, 1994).


(not Lu Yu) in Periodicals :
'There Remain Words for Separation,' by Li Po, The Washington Spectator (selected by Ezra Pound), November, 1952.
'Five Chinese Poems,' a translation, Three Hands V, editor, Michael Reck, 1953.
'Staying in the Mountain at Autumn’s Dusk,' by Wang Wei, Shenandoah, Winter, 1954.
'Plum Time,' by Li Po, The Black Mountain Review, editor, Robert Creeley, Spring, 1956.
'Willow Mountain Marriage Ballad,' 'War Wall South I,' 'Watch Wind,' 'The Withered Mulberry Spring,' by Li Po, 'My Scattered Brothers,' by Tu Fu, Hierophant, Four, April, 1970.
'Goodbye to Cheng Shih Erh,' by Li Chang-ch'ing, Concerning Poetry, III, no.1, Spring, 1970.
'Touched is Met,' by Chang Chiu-ling; 'The Gate and the Plant,' by Wang Ch’ang-ling; 'The Gorges of the Upper Yang Tse,' by Shen Ch’uan-ch’i; 'At Black Mountain The Water Unrolls like Cloth,' by Chang Chiu-ling, Arx Magazine, June, 1970.
'Sweet Crag of Shore,' 'Taking Lotus,' Dark Bird of Afternoon,' Quitting Po Cheng at Dawn,' The Red Beach Shoal Song,' 'New as It,' 'Return, Night at West House,' 'Frontier Moon,' 'For My Kids,'Clear Rind of Pond,' 'News from the Lake,' Experiment Magazine, February 1970.
'Whenever She,' 'Above Tung Ting Lake,' 'At an Outer Wall,' 'To See What Keeps Reaching,' 'Lo Yang Road,' 'Song from I Chou,' Hierophant, Five, October 1970.
'She Pounds Clothes,' by Tu Fu, The Seneca Review, December, 1970.
'A Visit to a Priest who is Not Home,' 'Sore Wind Binds,' 'Song Old Style,' 'Tracked Sun Rays, 'Crow Wall,' Cow Island’s Fade-Tide at Dark,' Chinese translations, Roots Forming, June, 1970.
'The Autumn, Its Night, to Ch’u Yu-ian-wai,' by Wei Ying-wu, Yes, A Magazine of Poetry, 1, Autumn, 1970.
'Branch Lifts to Oriole’s Song,' by Kai Chia-yu-in; 'In the Small Park,' by Ling Hu-ch’u, Hierophant, Five, October, 1970.
Three Translations from Wang Wei: 'To Chao Chien Returning to Japan,' 'The Gorges of Seh,' 'Wang Sun Driven to Hiding by An Lu Shan,' College English, Vol.32. No. 3., December 1970.
'The Walk to the Fragrant Temple,' by Wang Wei, Spectrum, 6, 1, Fall- Winter, 1970.
'The Autumn its Night,' 'Swallow Lane,' 'The Yen Upstream,' Yes, A Magazine of Poetry, 1970.
'Letter to Li Ch’an,' by Wei Ying-wu, Maine Times, Jan. 1, 1971.
'Recall at Nan T’ing,' by Meng Hao-jan; 'Staying overnight on a Mountain Farm,' by Ch’u Kuang-hsi, Yes, A Magazine of Poetry, Spring, 1971.
'Anchored at Night,' by Tu Mu; 'Leaving for An Hsi,' by Wang Wei; 'Winter View,' by Su Shih; 'Tower on the River,' by Ch’ao Chia; 'A Month,' by Cheng Hao, Poetry Australia, April, 1971.
'Bamboo Within,' by Wang Wei; 'In the Middle,' by Tu Mu, Monument in Cantos & Essays, 5, 1971.
'Cashiered,' 'The Time of Chang Hau,' 'Man-sun Day: A Gathering of Some Days for Tu,' by Ts’en Ts’an,' Tentacle, #1, 1971.
'Shed on the River,' by Tsan Ch’ueh; 'Ch’u River Bank,' by Wei Ying-wu; 'Shan in Summer,' by Kao P’ien; 'Down North Mountain,' by Wang An-shih, Poet Lore, Winter 1971.
'Letter to Li Ch’an,' 'Fine Rain,' Chinese translations, Maine Times, January 1971.
'Plum Flowers Are,' by Wang Ch’i, Northeast, Fall/Winter, 1971-2.
'They Had Headed South', by Tu Fu, New England Review, 6, 1972.
'Mang Cheng Slope,' 'At Dusk Village,' Madrona, 1972.
'Frontier Song,' Northeast, March, 1972.
'Li on his way to Chang Chou,' by Ku Chih; 'Yo Yang, An Evening,' by Chang Chu-ian; 'At Anchor, Sunfall,' by Ch’ang Chien; 'The Mounds, Early Spring, Lifting,' by Liu Tsung-yu-ian; 'On Jo Yeh Stream,' by Ts’ui Hao,' Literature East & West, xv, no. 3., 1973.
'A Small Valley,' by Liu Chang-ching; 'Autumn Begins,' by Liu Wu-tzu; 'South Chiang in Spring,' by Tu Mu; 'The Lake: Autumn,' by Hsieh Ying; 'Lodging by the Chiang River,' by Tu Fu; By Boat overnight, Not Making it to a Friend's,' by Tu Fu; 'Looking from Kuo Temple,' by Shih Ch’u-me; 'While Waiting,' by Kao Shan; 'River Night,' by Tsui Tao-yung; 'What is Carried,' by Wang Ch’ang-ling, Bruises, Spring, 1973.
'Diverse Customs, Tsui South,' by Li Shang-yin; 'Staying at Ch’iung Chou,' by P’i Jih-hsiu, Poetry East West, VI, 1973.
'By This Letter,' by Li Shang-yin, Steppenwolf, 5, 1973-74.
'Country Life,' by Lu Yu, Maine Times, January 1974.
'At the Same Time,' 'The Lesson of I Kung,' 'Travelling to Chang Gardens,' 'Hearing Geese,' 'On the River,' Chinese translations, Softstone, February, 1974.
'Waiting by Kao Shan,' 'Above the River,' 'Meeting an Old Friend, Tsui Tao-yung,' 'By Boat Overnight in Rain,' 'A Small Valley,' Chinese translations, The Antigonish Review [hereinafter TAR], Stream,' by Ts’ui Hao,' Literature East & West, xv, no. 3., 1973.
'A Small Valley,' by Liu Chang-ching; 'Autumn Begins,' by Liu Wu-tzu; 'South Chiang in Spring,' by Tu Mu; 'The Lake: Autumn,' by Hsieh Ying; 'Lodging by the Chiang River,' by Tu Fu; By Boat overnight, Not Making it to a Friend's,' by Tu Fu; 'Looking from Kuo Temple,' by Shih Ch’u-me; 'While Waiting,' by Kao Shan; 'River Night,' by Tsui Tao-yung; 'What is Carried,' by Wang Ch’ang-ling, Bruises, Spring, 1973.
'Diverse Customs, Tsui South,' by Li Shang-yin; 'Staying at Ch’iung Chou,' by P’i Jih-hsiu, Poetry East West, VI, 1973.
'By This Letter,' by Li Shang-yin, Steppenwolf, 5, 1973-74.
'Country Life,' byLuYu, Maine Times, January 1974.
'At theSame Time,' 'The Lesson of I Kung,' 'Travelling to Chang Gardens,' 'Hearing Geese,' 'On the River,' Chinese translations, Softstone, February, 1974.
'Waiting by Kao Shan,' 'Above the River,' 'Meeting an Old Friend, Tsui Tao-yung,' 'By Boat Overnight in Rain,'
'A Small Valley,' Chinese translations, The Antigonish Review [hereinafter TAR], Summer, 1974.
'Early On Sung River,' by P’i Jih-hsiu; 'Lodging at Hsing Te Courier House,' by Li Shang-yin; 'As Though to See,' by Li Shang-yin; 'In Ch’u Marsh,' by Li Shang-yin, Poetry Newsletter, Fall, 1976.
'Egrets Leaving,' by Cheng Ku; 'In the Outskirts,' by Ch’eng Hao, Monument in Cantos & Essays, 7, 1978.
'War Wall South,' by Li Po; 'Old Field,' by Tu Fu; 'For Wei Pa in Quiet,' by Tu Fu; 'In Answer,' by Mu Tung; 'Not Finding Yuan,' by Meng Hao-jan, The Literary Review, Farleigh Dickenson University, Madison, N.J.,Spring, 1989.

Translations of Lu Yu in periodicals:
'To Be in the Village,' Kennebec, Summer, 1978, University of Maine at August, Augusta, Maine, 1 page.
'After One Day’s Sun,' 'Dream of Teng Courier House' [revised], 'Autumn Evening a Few Steps,' 'Floating Back to East Village,' 'Watching a Village Gathering,' 'A Few Steps Southward,' 'Night Travel,' 'Mountain Walking,' 'Going Out in the Rain,' 'Where I Live,' Literature East and West [of the Modern Language Association], Editor: Roy Teele, University of Texas, 8 pages, 1978.
'Long Time Gone,' Kennebec, April, 1979, 1 page.
'The Small Market,' 'Evening Anchoring at Pine-Thrive,' 'Night Rain Stirs Old Dust,' 'At Night Hearing the Home Call of the Cuckoo,' TAR, Spring, 1980, 5 pages.
'Night Mind,' 'Wine Midst,' 'Third Month, 17th Day, I wrote this,' White Pine Journal, 24-25, 1980. Editor: Dennis Maloney, 3 pages.
'Evening, Anchoring Where Pines Grow,' 'At the Ferry Harbor,' Kennebec, editor: Terry Plunket, vol vii, 1983, 1 page.
'Big Sigh, 'Later Spring Sadness Song,' 'Crossing A Mountain Village,' 'Autumn Thanksgiving,' 'A Small Skiff Drawn Up,' Address, Vol. 1. No. 1, May-June 1987. Editor: Douglas Alan Jones, 2 pages.
'Crossing a Boat-bridge,' 'Going Out In the Rain,[revised]' 'A Gardener’s Mixed Notes,' The Literary Review, 6 pages, 1989.
'My Ramshackle House,' 'Drifting in my Boat,' 'At South Yang Meeting Heavy Wind,' 'Crossing a Mountain Village to Give out Medicinal Herbs,' 'Keeping in Mind Farm Sayings,' 'Looking into a Mirror,' Edge : A Literary Forum For Japan, Autumn, 1990. Editor: Sherry Reniker, Tokyo, 6 pages.
'A Letter on a Theme to Chu Hsi,' 'At Sunset Out for a Stroll,' 'Crossing a Mountain Village,' 'Jotting a Thing Down,' 'Fertile Year,' 'In Fall Rain,' 'Knowing Shame,' 'Spring Altar-Day,' 'Rambling over Deep Mountain,' 'Gate Wall as a Theme,' 'Spare time Bent,' 'Heard Geese.' Lift, . Editor: Joseph Torra, January 1991, 9 pages.
'Translations from Waking Up to Life,' with an introduction, Puckerbrush Review, XIV, 1 Summer-Fall 1995.

Translations of Mencius in Journals :
'Mencius,' New Times of Melbourne, 1955; Edge, 1, Melbourne, Australia, 1956; Edge, 5 1957; Agenda, London, 1958; Ana Eccetera, Genova, 1959; Odysseus Magazine, Seattle, Washington, 1972.


'Your Main Attraction,' Four Quarters, 1967;
'The River’s Red,' Cape Rock Quarterly, 1968;
'The Milk Man,' Jean’s Journal, 1968;
'To the Dawn,' Quartet, 1969;
'The FishermenCome Up,' Creative Review, 1969;
'Trees the Air,' The Maine Times, 1969;
'Round Woman,' New England Review, 1969;
'Last Year’s Leaves,' The Small Pond, 1969;
'The Tree’s Knees,' The Husson Review, 1969;
'Star Flames Drown,' Drummer, 1969;
'Yehudi,' Word Jock, 1969;
'Oriole’s Answer,' 'Oriole’s Nest,' Spectrum, 1970
'Fog Man Fades,' Maine Times, 1970;
'Down Wind,' Arx, 1970;
'Traction,' Cinquefoil, 3, 1970;
'The County Fair,' Hierophant, 5; October 1970;
'Even the Swallows,' Hoosier Challenger, 1970;
'La Sylphide,' Monument, 1971;
'By This Letter,' Steppenwolf, 1973-74;
'They All Sleep,' (a version from Alcman’s Greek), Maine Times, January, 1974;
'Beneath the Skin,' TAR, Autumn, 1974;
'It All Floats,' Bartleby’s Review, June 1975;
'Conversation between a Young Girl and her Grandmother,' 'Tremor,' TAR, March 1976;
'Tsin Hiao-Ti,' TAR, Summer 1978;
'Februry Dawn,' 'It Only was Cold,' Northern New England Review, March 1982;
'Le chat opaque' (a version in French) Puckerbrush Review, X, i, Summer 1991;
'From Rest...' (an excerpt) Poetry in Review, vol.17, no.2 & 18 (1993);
'November Dusk,' Hummingird, Vol.V, .No.2, December 1994;
'From Stem...' (an excerpt) Puckerbrush Review, xiii, ii, Winter-Spring 1995;
'From Stem...' (two excerpts), Backwoods Broadsides, Chaplet Series number 8, 1995;
'Dragonflies'[from Stem], Puckerbrush Review, xiv,ii, Winter-Spring, 1996;
'Scorpion' ['from Stem], Puckerbrush Review, xv, i, Summer-Fall, 1996;
'Tyrant' ['from Stem], Puckerbrush Review, xv, ii, Summer-Fall, 1997;
'Peer' [from Stem], Puckerbrush Review, summer-fall, 1998;
'Backlash' ['from Stem], Puckerbrush Review, winter-spring, 1999;
'Flood I' ['from Stem], Puckerbrush Review, Winter-Spring, 2000.
'La Trousse des fleurs à outils ezratique,' in Paris Revue, No 2, June 2001, Galerie A. Lefebvre.
'Flood II' ['from Stem], Puckerbrush Review, Winter-Spring, 2001;
'Tyrant' ['from Stem], Puckerbrush Review, Autumn, 2002.
Poem (translation) in NKadias, galerie A. Lefebvre, 2004.
THE RADIATA TRIPTYCH: Learn, Define,  Heart, parts V, VI, VII
SURVIVE IN TRIAD: Self, Famille, Earth, parts VIII, IX, X
'Renga', 'Renga de Loin', Galerie Arnaud Lefebvre, 2005
'The Survival of the Beautiful', 2007


'The Tree by the Wall,' Grande RondeReview, March 1972;
'The Best Painting,' TAR, June 1973;
'The Night Storm,' Hierophant, 4, 1970;
'The Square,' Beyond Baroque, November,1971.


'Selections from Stravinsky’s Poetics of Music', Edge, editor Noel Stock, Melbourne, Australia, August 1957;
'Psychology of Mencius,' Odysseus Magazine, Fall 1972;
'Root/Br.../By Product' Notes on Ezra Pound’s technique for the Odes, editors Hugh Kenner and Eva Hesse, Paideuma, III, I, 1974;
'EP Translating a Li Po Poem,' Paideuma, III, I, 1974;
'From the Blue Serpent to Kati,' Paideuma, III, 2, 1974;
'The Sacred Edict,' Paideuma, III, 2, 1974;
'Academia Bulletin 1 & 2' (A note on Pound’s forming an academy), Paideuma, III, 3, 1974;
'An Interview: Meeting EP' (A note on Pound as pedagogue), Paideuma, III, 3, 1974;
'More on the Sacred Edict' (Note on Chinese in Cantos 98 and 99), Paideuma, IV, 1, 1975;
'Edward Coke: The Azalea is Grown' (Some notes on Thrones), Paideuma, IV, 2-3, 1975;
'Ezra Among the Old Bones' (on Pound’s use of the Seal-text characters), Paideuma, IV, 2-3, 1975;
'Confucius, Philosophe,' Paideuma, V, 3, 1976
'The Sources of Canto LIII' (Study of Pound’s use de Mailla’s History of China), Paideuma, V, 1, 1976;
'A Place for Buddhism in Canto 97,' Paideuma, VI, 2, 1977;
'Notes and Observations' (on Pound’s use of Legge), Paideuma, VI, 1, 1977;
'A Northumbrian Sabine' (on Basil Bunting’s cunning with Horace), Paideuma, IX, 1, 1980;
'Bunting Obiter' (interview with BB), Paideuma, IX, 1, 1980;
'The City of Dioce and China,' Paideuma, XI, 1, 1982;
'Corpus Juris and Canto XCIV,' Paideuma, XI, 2,1982;
'The Slim White Canoes Are Smashed' (a review), Puckerbrush Review, V, 1, Spring 1983;
'A Note on `Crusaders’Bows',' (tie-up between Yong Cheng and William IX), Paideuma, XIV, 1, 1985;
'The Great Digest: A Pattern,' (a sketch of how Pound uses the Confucian levels of orderasthe structure of the The Cantos,) Paideuma, XIV, 2&3, 1985;
'Notes on 'Katze' and 'Wand',' (how Pound had consistently misread Frobenius’ tale about a donkey; and about David Wang’s Chinese name,) Paideuma, XV, 1, 1986;
'A Rayogram, Yao4,' (to show that the ideogram is metaphorically alive in the structure of all its radicals,) Paideuma, X, 3, Winter 1987;
'LXIX’s `Kei...Kai' and Fang’s P.S.,' (that the Seven Lakes Canto uses the Chinese National Anthem, and EP’s reflections on it,) Paideuma, XVIII, 1 & 2, Spring & Fall 1989;
'Pound’s Chinese: A Dead Language?' (which denies Chang Yao-Xin’s statement that the Chinese Language is made up of nothing but dead phonetics,) Paideuma, XVIII, 1 & 2, Spring & Fall 1989;
'Troy: Trade-war or Helen?' (reaffirms Pound’s trust in Homer by the researches of Cedric Whitman, Paideuma, XVIII, 3, Winter 1989;
'And Moore: Marianne on Ezra’s Confucius,' (as MM sees EP bringing Confucius into a new life,) Paideuma, XVIII, 3, Winter 1989;
'From Cheop’s Pyramid to Homer and Pound: The Golden Caesura,' (giving evidence that the golden section may be found as a constituent in Homer(s and Pound(s metrics, [with a note on measurement by Iain Odlin]); Paideuma, XX, 1 & 2, Spring and Fall, 1991;
'A Guide to The Cantos of Ezra Pound by William Cookson,' (a review,) Paideuma, XX, 1 & 2, Spring and Fall, 1991;
'The Golden Caesura (2),' Paideuma, XXI, 1 & 2, Spring and Fall, 1992;
'Ezra Pound to Mary Barnard: An ABC of Metrics,' Paideuma, XXIII, 1, Spring 1994;


Epitaph for Hollis
Frampton (homage to Frampton at the time he was seeing Ezra Pound in 1956, 1957), privately publishedby Reno Odlin, Sedro-Woolley, Washington, 1984, and later excerpted by Alan Jones in Arts Magazine, Summer 1989.


The Sacred Edict: Translation and Commentary, (A study in light of Cantos 98 and 99).

William Blackstone, Selections, (A study of Sophoklean common-sense).

The Confucian basis of Ezra Pound’s Cantos, (five year experiment, read critically by Reno Odlin and Guy Davenport).

Waking Up To Life/ Translations of The Poetry of Lu Yu (These selections continue from my earlier volumes of his work).


"The Coe Research Award of 1969" (The University of Maine, Orono) for Mang Tzu, an experimental translation from the Chinese of Mencius (Florence, Typo-Stiv, 1964).

"The Best Poetry Award" by Spectrum: Richmond Tri-annual Review of 1969 for "Orioles Answer."

"The Arx Foundation Poetry Award" of 1970 for "Downwind."

"The Choice Award for Outstanding Academic Book of 1994," for Ezra Pound and James Laughlin: Selected Letters (New York:W.W. Norton, 1994).


1996,  ‘Dragonflies,’ galerie   Arnaud Lefebvre, Paris, 3-30 May.
1997,  ‘Scorpion,’ galerie  A. Lefebvre, 8  Jan.-8 March.
1997, ‘Tyrant,’  galerie A.  Lefebvre, 13 sept.-25  oct.
1998, ‘Peer,’ galerie A.   Lefebvre, 30 Apr.
1999, ‘Backlash,’  galerie A. Lefebvre, 16  Apr.-15  May.
2001, ‘Flood II,’ galerie A. Lefebvre,  20  Oct.-18  Nov.
2001, ‘Tyrant II,’ (revised), galerie A. Lefebvre,  Paris,  25  Jun.-7 Jul.
2003, ‘DragonFlies,’ galerie A.  Lefebvre, 28 Jan-1   March.
2003, ‘Tyrant’ (end), galerie A.  Lefebvre, 9 Sept.-4  Oct.
2004,  ‘Peer,’ galerie A. Lefebvre,  14 Sept.-16 Oct.
2005,  THE RADIATA TRIPTYCH:  “Learn,”  “Define,” “ Heart,” parts V, VI, VII,  galerie A. Lefebvre, 4 Oct.-12   Nov.
2006, SURVIVE IN TRIAD: “Self,”  “Famille,” “Earth,”  parts VIII, IX, X,  galerie A. Lefebvre, 14  Sept.-14  Oct.
2007, ‘Three Fragments,’ galerie A.  Lefebvre, 18   Jan-24 Feb.    
2007,  ‘Introduction to    “VOYAGE”,’ galerie A. Lefebvre, 8 Mar.-28 Apr.
2007, ‘The   Survival,’ ‘Free  Renga’ (collective), galerie A. Lefebvre, 10  May-30  Jun.
2007, ‘Poem in  Progress,’ galerie A. Lefebvre,   6 Dec.  2007-2 Feb.2008
2008, ‘Trout,’  galerie Arnaud  Lefebvre, 19 Jun-12  Jul.          
2008, ‘Daria’s   Dream,’ galerie  A. Lefebvre, 12 Sept.-18 Oct.
2009, ‘Lip  The  Ecliptic,’ galerie A.  Lefebvre, 15 Jan.–14 Feb.          
2009,  ‘Long,  lean,  balance,’ galerie A. Lefebvre, 7 May-8 Jun.
2009, ‘Odys,’   galerie  A. Lefebvre, 10 Sept.-10 Oct.
2010, ‘Kneel-Worthy  Lady,’ ‘My   Ramshackle House’ by Lu Yu,

8 Apr.-15 May.

Artist Images


at Lewis Cove
© Keith Petersen, 2007

David Gordon
2003 © Ellen Gordon