No More Learning

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21: Tami Koume to Ezra and Dorothy Pound APCS-1 [n. p. ] 1 January 1919
22: Michio Ito to Ezra Pound
TLS-3 Michio Itow's School, 121 West 83rd Street, New York City. 19 December 1920
Dear Ezra:
Forgive me, I have been neglected for many years to write to you. I hope you are quite well. I do not know, how to begin this letter, it's already four years, since I left from you, there is thousand things happened to me during these years, and I should like to tell you all about it, but, it's impossible to write.
SinceI cametoNewYork,thereweremanypeopleswhoaskedmeto perform "Noh drama" to the American public, but I hesitated to do this, on account of my imperfect English, as I find the real value of "Noh Drama" would be lost to the western public, if performed in the Japanese language; also, 1 did not find any actors or musicians who has suitable training to take part in this kind of drama; for these reasons 1 could not perform this before. Two years ago, I started my school here in New York, with an idea to make dancer as an artist. Through study with my pupils, 1 find a strong possibility to carry out "the Noh drama's movement," for the Western stage, as the Universal drama.
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So, last summer I took twenty-five pupils, and went in a mountain in East Stroudsburg, PA. and we worked very hard on the Noh drama. Of course,yourbook"NOH"I hadalwaysinmyhand.
We stayed two months in the mountain, we were very pleased with our study. Beginning of October, we came back to New York, then, I picked out fifteen pupils from my school and formed a group of players, we have no name yet, because our idea in forming this group is not [tol copy or imitate the Japanese Noh drama or Greek drama, we are going to produce modern drama, on the same foundation as the Greek drama and Noh drama, our production will belong to the universe.
Our players production is not for the momentary art, we want to build up play which will last forever: so we will work on the one drama until so durable, that our production would be beyond criticism and would have to be what they assert the Japanese Noh drama to be for all time.
Our fifteen players are studying English diction and chanting, Dalcroze Eurhythmies for training of Rhythm and solfege (ear training) and dancing as material foundation, so we are all musicians, actors, chorus, we hope that in the future we will become as professional actors. First, we did not wish to perform our study before public during period of our studies, but as we need money so badly for our studies, so we are planning to give our first performance about end of January 1921. 1 am going to give program of three Japanese Noh drama and one Kyogen.
The program will be:
SHO/O KAGEKIYO HACOROMO BUSU
The above three Noh drama, I should like to use from your book. Will you allow us to use them? My plan is going to perform twice in a week, about four weeks. Also I am planning [to] go back to Japan with my players, next summer, and we will stay in Japan three months. And next winter I am hoping to go back [to] England.
Fortunately I received sixteen old Japanese Noh masks, from Noh actors, and also Tami Koume is here in New York at present helping me every day. We hope you are here. Tami will tell you all about my plan. I wonder, where is Mr. Yeats, will you please tell him, that very soon Itow will be ready at his service.
Please kind regard to Mrs. Pound, Mr. & Mrs. Dulac, and Mr. & Mrs. Yeats.
Ever Yours Michio
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19
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23: Tami Koume to Ezra Pound
ALS-2 33 West 67, New York 21 January 1921
My dear Ezra,
I haveexpectedyourlettereveryday. Whathaveyoubeendoingover there? where are you now, please tell me. I am awfully sorry I lost the chance to meet you in London. But I shall come to Paris about March. So please let me know your address. My exhibition in New York will com- mencing from 1st of February until 12th. And then I want exhibit at Paris for announce to public of my new art. And I need your help great deal. If possible I want you to ask arrange the best gallery for that purpose. And some articles for my art. I will send to you some critics of New York art world. But I am afraid they will hardly understand as my art come from essence of Buddism "zen. " And its so far from such a materialistic New York people. And I want your help to explain this to Parisian. They have more quality in that way. I think my art will be talked about by next week's papers. I will send them to you. And I will send cable, as soon as I shall settle up when I leave here for London. I can stay very short in France so I want [tol arrange for my exhibition before I shall arrive at Paris. Please let me know whether you could do this or not. Itow will go to japan for his production by Jan. And I must go with him. And if you should manage I hopeyouwillcometoJapanwithus. Forthetravellinginpeace,1 think either Itow's Company or myself could do it for you. Simply I want to know if you have the idea of going to Japan or not. Please write to me soon for all these questions, will write again soon. Love
from Tami
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24: Tami Koume to Ezra Pound TLS-1 New York 10 March 1921
My dear Ezra,
POEMS
MAN who has no shape and shadow
To draw water from a well When the water has a ripple The well which has never been created.
WHEN I listen to the silent
Caws of crows in the dark night, Much beloved of my parents Beyond my existence.
WHAT you call the soul
Is!
Hearing the inaudible voice From the picture of dorian grey.
Tami Koume
25: Tami Koume to Ezra Pound
ALS-3 33 W. 67 [New York) 11 April 1921
Dearest Ezra,
Thank you so much for your letter, zen means nothing! & everything, without bodily experience, zen is nothing. How could I explain this noth- ing by our inperfect language! ! However! I am not zen monk. I do not care what it would be.
I suppose it was my fault that 1 have written the essay of my art. There is no ratiocination nor logic in my art. However, I feel the most spiritual art in west is far [more] materialistic than most material art in Japan. I do not know about Kandinsky. . . . News Paper in New York spent quite large space for me. But I do not know how far they would understand me!
I think I will sail for my home land, as I realized. Most spiritual work of art is appreciated in spiritual country.
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I am sorry I could not send to you, copy of paper's critic, as I have none.
I have some Japanese papers ahhough! May call me genious but they won't interest you any bit!
Well Dear Ezra.
How it would be lovely when we should meet again, some where on this earth.
Write to me again. Best wishes to your wife.
26: Tami Koume to Ezra Pound ALS-2 [n. p. ] 1 January 1922
Dear Ezra,
Ever Tami
Presence of New Year. Towards nearer to the next existence. We have to work hard. How are you since? last when I saw you on the street? How is Mrs Pound? Please send my greeting of New Year to her.
How is M. Picabia at the hospital? I know him by his work. Promoteur of Dada, isn't he?
We are standing (M. Picahia et moi] absolutely other side spiritual (This distance is quite near) material yet. We are quite near.
Especially against to the old past art we are the same apostle. I probably like to meet him if you will kindly introduce me. Let me come and see you one morning of this week.
Love Tami
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27: Card jov Qx\\\h\\\on of paintings by Tami Koume TC-1 [1922]
Mr. EZRA POUND
KOUM^ AND CAPT. J. BRINKLEY
INVITE YOU TO TEA AT Mr POUND'S STUDIO.
70? " , Rue
Notre-Dame-des-Champs
On Tuesday July 11^*^ From 3-G.
TO SEE SOME PAINTINGS BY. TAMI KOUMe
28: Tami Koume to Ezra Pound ALS-l [n. p. ] [n. d. ]
Dear Ezra,
So sorry found you out.
1. I am engaged with MJJe. Lazarus whom you know. 2. will exhibit pictures soon. Can I come to fetch the picture tomorrow morning?
with Love Tami
Mr. tami
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23
29: Tami Koume to Ezra Pound
ALS-2 Chez M. Lazarus, La Chaumi^re Landemer par Nacqueville Manche. Wednesday (n. d. ]
Ezra,
So sorry for my long silence, hope that you are quite fit. I am awfully sorry that I could not come the other evening. Do forgive me. I left Paris last Thursday and come here, and breathing lot of sea air. Setting very much better health now. Not having single faint but eat much meals. Here I enclose the photo of the other evening, not good, but still can you amuse, I believe. And I will enclose the photo of the picture as well, expecting your "Terrible critic"? !
I will be back to Paris on Thursday week. I will come and see you as soon as get back.
With Love Tami
P. S. If you think this photo will be all right, I will print more.
30: Tami Koume to Ezra Pound ALS-5 Saigon. 24 Mars 1923
My dear Ezra,
It seems ages since I saw you last, on the evening before your departure for Italie. How did you enjoy your voyage? As for myself, I left France 23rd Feb. And now I am on way back to Nippon. After a fortnight I shall be [in] the Country of cherry blossom. I shall not stay there long. However, I will try my best and will manage my affairs, at the same time I will [talk to] some people of Gakushuin or University for to find you [a] situation. I hope I could do something for you. Anyway I will try my best.
Now, my dear old friend! I must tell you about my fiancee. Tell you the truth,1 loveherverymuchnow. Itseemsveryunnaturalformenottomarry with her. So I decided to marry with her. At last, I have to marry!
Denise, she is not very pretty. However, I am sure she will help my art. Sheisanartistandshehasasentiment. Sheisverygoodhearted. I amsure you will like her, as you do like me, after you shall know her a little more.
I strongly hope that you will be glad for my marriage. Toshi is in Paris.
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Very unfortunately we could not marry each other. We have a reason that we cannot go en together.
Toshi and Denise know each other. They have understanding. I have nothing to keep secret with them.
I went very often to Miss Barney after you've left Paris. She is very good. I like her very much. I am going to send three hundreds of lanterns from Japan, as we are going to have Japanese party, what can I bring for you? Just write to me, in care of my secretary c/o Kawakami, 44 Matsumoto cho, Shiba Tokio.
Well, my dear old thing 1 have to stop now. 1 will let you know about Gakushuin as soon as I shall get some informations.
Please send my best wishes and hearty love to madame. I might not write often from Japan as 1 shall stay there only six weeks and shall be very much busy.
with Love Yours Ever Tami
? II POUND / KITASONO CORRESPONDENCE: 1936-66
In this section are collected fifty letters of Ezra Pound to Katue Kitasono, a Japanese avant-garde poet, and thirty-four letters of Kitasono to Pound, exchanged over the period 1936-66. It also contains one letter from Kitaso- no's VOU Club members to Pound; one letter of Pound to the Japanese Ambassador in Italy; one letter of Pound to Yasotaro Mori, the editor of the Japan Times whom Kitasono introduced to Pound; one letter of Mori to Pound; one letter of Fosco Maraini, an Italian art historian and an- thropologist in Japan, to Ezra Pound; one letter of Ezra Pound to Maraini; one letter of Dorothy Pound to Kitasono; eight letters of Kitasono to Dorothy Pound; one letter of Shotaro Oshima to Pound; and three letters of Kitasono to Maria Pound (later Mary de Rachewiltz).
Katue Kitasono (1902-78) was one of the jnost important Modernist poets in Japan. He was also known as a vigorous avant-garde literary critic, versatile essayist, haiku poet, book designer and painter.
About the time he began writing poetry, he was much influenced by contemporary Western schools of thought: Futurism, Cubism, Expressionism and Dadaism, and in 1924 he started as co-editor, a little magazine, GE GJMGJGAM PRRR GJMGEM, which continued its publication for two years. In December 1927, Kitasono, according to John Solt, wrote a note on surrealism with two other poets in Japan; published on January 1, 1928, it is considered as "the declaration of surrealism in Japan" (Yasuo Fujitomi). About this time, according to Kikyo Sasaki, he began using the pen name "Katue Kitasono," his real name being Kenkichi Hashimoto. He published his first book of poems, White AJbum, in 1929, which includes "Semiotics":
white plates flowers
spoons
3 p. m. in spring white
white red
prism architecture white animals space
blue flag
apple and lady white scene
evening dress evening dress evening dress evening dress evening dress uninteresting
In 1931 he started another poetry magazine. White Paper, but he changed its title to Madame Blanche in 1932 when he organized the "Arcueil Club" (after Erik Satie) and decided the Club should publish the magazine. In 1933 he published two books of poetry, Ma Petite Maison and Conical
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SECTIONII: 1936-66
--
? Poetry. He also published a book of criticism, Heaven's Glove, and a book of translations (of poems by Paul Eluard], Les Petites Justes in the same year. In 1935 he began working at the Library of Japan Dental University
where he was to work until retirement. In the same year he organized the "VOU Club," started the widely-known avant-garde magazine VOU (pro- nounced "vow"), and continued to edit it until his death. Before he began his correspondence with Pound, Kitasono was already an established poet in Japan. He had been familiar with Imagist poetry and its traces can be found in such a poem as "Shower":
Apollo is again running from the sea His harp of rain glittering
My friend
Evening glow is pooled in a shell
He continued to write poetry vigorously all through his life. His poetry in later years is sometimes tenderly lyrical, sometimes extremely abstract and close to geometry, and sometimes humorously "concrete. "
When he first wrote to Pound, the latter quickly responded: "Two things I should do before I die, and they are to contrive a better understand- ing between the U. S. A. and Japan, and between Italy and Japan. " Pound introduced Kitasono and other Japanese poets to Western readers, and Kitasono reciprocated, introducing Pound to Japanese readers. When Pound's literary outlet had become limited due to the approaching war, Kitasono arranged for him to publish articles in Japanese newspapers. (See Part IV. ]
Through the Japan Times and Mail, to which Pound subscribed. Pound was able to obtain information about Japan and the world at large. "J. T. my last remaining source of information re/ the U/S," Pound wrote on October 29, 1940. How this affected his thought, writing and broadcasting would be worth serious investigation. Further information on Kitasono is available in Kikyo Sasaki, Katue Kitasono and Modernist Magazines (Tokyo: Press Biblioman, 1981) and Yasuo Fujitomi, Katue Kitasono: A Biographical Study (Tokyo: Yuseido, 1983); see also Plastic Poems: Kitasono Katue and the VOU Group (Museum of Art, Rhode Island School of Design, 1986). [The publication of John Solt's study of Kitasono is eagerly awaited. ]
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31: Katue Kiiasono to Ezra Pound
TLS-2 No. 1649, Nishi 1-chome, Magomemachi, Omori-ku, Tokio. Japan. 26 April 1936
Dear Sir,
You will please excuse me that I take the liberty of writing you. For a long time, since Imagism movement, we have always expected you as a leader on new literature. Especially your profound appreciation in the Chinese literature and the Japanese literature has greatly pleased us.
Last year, we established "VOU Club" and have continued our lively strife for the newest art. Now the existence of our group has come to be attentively watched by the younger generations of this country.
We started from Dada and passed Surrealism. And at present we are connected with no "-ism" of Europe. Under the close influence of contem- porary architecture and technology, we are making progress in our theory on art and are forming a characteristic form of ourselves.
"VOU Club" consists of poets, artists, composers, architects and tech- nologists. The members are now twenty one, two-third of them being poets. I send you two copies of our review VOU under separate cover. I shall be very much obliged if you will kindly make some ideas of our group by
them.
Hoping you will receive this letter as soon as possible.
I remain. Yours truly, Katue Kitasono
32: Ezra Pound to Katue Kitasono
TLS-2 On stationery imprinted: Anno XIV 1936, Via Marsala 12-5, Rapallo, with Gaudier-Brzeska profile head. 24 May 1936
Dear Mr Katue
Thank you for your friendly letter of April 26. YoumustnotrunawaywiththeideathatI reallyknowenoughto
read Japanese, or that I can do more than spell out ideograms very slow- ly with a dictionary.
I had all Fenollosa's notes, and the results of what he had learned from Umewaka Minoru, Dr. Mori. Dr. Ariga. But since Tami Koume was
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killed in that earth quake I have had no one to explain the obscure pas- sages or fill up the enormous gaps of my ignorance.
Had Tami lived I might have come to Tokio. It is one thing to live on the sea coast and another to have traveling expenses.
Your magazine will, I suppose, arrive in due time. Printed matter takes longer than letters.
Your technologists can perhaps follow what people suppose, WRONGLY, to be no fit subject for a poet (despite Dante, Shakespear, and various other excellent writers who have understood why a poet can not neglect ethics, and why an ethic which is afraid of analyzing the motives of actions is very poor sham).
I believe C. H. Douglas' writings are known in Tokio. I wonder whether Gesell is yet known there?
Two things 1 should do before I die, and they are to contrive a better
understanding between the U. S. A. and Japan, and between Italy and
Japan.
And this line of action I should always be glad to discuss with
any traveling student, or any official who came through Rapallo or whom I could meet in Rome or Venice.
Surrealism existed in Italy (though I think the young frenchmen do not in the least know it) in {a. d. ) 1290, and Cavalcanti was certainly sur- realist.
And if (some of) the Noh plays are not surrealist in the best sense, I shd. welcome a statement as to what they shd. be called.
I am sending you my Cavalcanti. I wonder whether my ABC of Reading has yet got to Japan.
May the club, whatever the number of its members, stay 21 years young.
33: Katue Kitasono to Ezra Pound TLS-2 [n. p. ] [17 July 1936]
Dear Mr. E. Pound,
Many thanks for your kindly letter of May 24, and your wonderful work Cavalcanti. They were brought to my Mediterranean blue desk, passing through the garden where smell sweet the white flowers of Gardenia.
very truly yours Ezra Pound
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29
I cannot do more than spell out Italian very slowly with a dictionary as wellasyoucannotdomorethanonJapanese. ButI hopeyouwouldnever give up your interest and love over Japanese as I should never be desperated of Italian.
It is a great regret that I have no more knowledge of Noh than an ordinary Japanese. I think you have a better appreciation of it than I. ThoughI maynotbeabletobecomeagoodassistant,foryou,likeTami Koume of whom I don't know at all, I should be happy to be of service to you for your study.
I am pleased with your idea of our technologists and a poet. Our technologists follow what people suppose to be no fit subject for a poet, and our poets give up over what people suppose, wrongly, to be a fit subject for a poet.
In Japan, there are very few who know about Mr. C. H. Douglas' writ- ings, and Mr. Gesell is not known here.
I express my respect and gratitude for your great idea to establish a better understanding between Japan and the U. S. A. , and between Japan and Italy. Please let me know any proper method about it if you have.
I will tell your kindly will to any Japanese student or any official who will travel in Italy.
Cavalcanti is known very little in Japan. But through your translation and your interesting essays I could have some idea about this great poet. Your CavaJcanti will lead me to understand the strange and wonderful Mediaevalism in Italy.
I havealreadyreadyourABCofReading,andapoetessofourclubis now reading it, very interested. Surely it is the best pioneer to show young poets their right course to follow.
In the end of May, Mr. Jean Cocteau passed Japan. He was not as a poet, but an ordinary tourist.
I sendyoumypoeticalworkKonwhichmeansanimaginarygigantic fish. I intended, in each poem, to express the classical atmosphere of Tea Ceremony and Zen, the "l'esprit du japon. " I made only one hundred copies to give them to my most intimate friends.
All the members of our club are very happy with your friendship. At present those who live in Tokio signed for you to show their gratitude.
I remain,
Yours very sincerely, Kitasono Katue
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34: Katue Kitasono to Ezra Pound TLS-1 [n. p. ] 17 July 1936
Dear Mr. Ezra Pound,
We greet you with our deepest thanks for your sending us your beauti- ful book. How glad we were when we saw your splendid work. Mr. Katue Kitasono has shown your friendly letter to all of us.
We, the Japanese younger generation, heartily wish to success in our work, staying always at the twenty-one years old, as you hoped us in your letter.
Thank you again for your present.
Minoru Nakahara Katue Kitasono
Yours truly,
Soko Yoshida Shuichi Nagayasu M. Yasoshima Itiro Isida
35: Ezra Pound to Katue Kitasono ALS-3 Siena. 12 August 1936 [Anno XIV]
Dear Mr Katue And friends.
Shozo Jwamoto Akiko Ema Haruki Sou Takeshi Fuji Chio Nakamura
Thank you for your two letters. I have come here for the Palio, one of the last ceremonies left in Europe--a horse race with banners & memories. And not having a typewriter with me, I shall answer as briefly as possi- ble.
I. Foranunderstanding,thefirstmovestowardcommunication could be to send any traveling friends to me.
II. Let the Japanese legation in Rome have my Rapallo address or ar- range for me to call there when I next go to Rome.
III. Print a few lines of french or english in your magazine giving such news as you want a few european & american poets to get.
Last year Izzo & Camerino of Venice, Bunting then in the Canary Is- lands, Laughlin & Zukofsky in the U. S. , Angold & a welsh scholar in
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31
England thought they could communicate by circular letter about verse technique, all of them knowing several languages, but alas none of them either Japanese or Chinese ideogram. Bunting writes a beautiful hand in Persian.
IV. I remember that Mr. Yeats was invited to Tokyo university some years ago, but I think he declined the invitation.
Since then several English writers have lectured there, but none of them has been a poet of first rank, so far as 1 remember.
This is the only town where I have ever been able to live in a palace with a painted ceiling. With a pine tree and the cornice of a renaissance church under this window.
36: Ezra Pound to Katue Kitasono ALS-4 Siena. [13 August 1936]
Dear Mr Katue
Continuing yesterday's letter.
you will not think me unappreciative of Zen if you see my edition of Noh plays & Tami Koume in 1922 was already dreaming of the in- cidence of Zen in abstract art.
But neither Zen nor Christianity can serve toward international understanding in practical action in the way the Ta Hio of Kung fu Tseu can.
I mean that gives us a basis of ethics & of national action, (patriotic) which does not produce international discord.
Do you know anything of a new international confucianist associa- tion? (I have not the Japanese addresses with me here in Siena. )
To save time I am asking this question (in ink, without waiting to get to a typewriter) to the eleven poets of Tokio. Also note the new phase of Italian fascism (not the externals).
The first fascists consecrated themselves to the regeneration of Italy. The latest developments are
1. Bank reform, (money controlled by the nation not by financial
bandits. )
--
? Cordially. EZRA Pound
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2. 3.
Wheat law. (just price of wheat. )
This week the raise in wages for several million workers.
The reasons for Italo-Japanese understanding lie deep, (notice even the postage stamp which commemorates the 2000th anniversary of the ro- man poet Horace. )--(Orazio). The span to America may be longer. But Italy can serve as middle.
This I tried to indicate in my Jefferson and/or Mussolini. I will try to keep from writing any more until I get to Venice and a means of being more legible.
Yours
Ezra Pound
37: Katue Kitasono to Ezra Pound
TLS-3 1649 Nishi 1-chome, Magomemachi, Omori, Tokio, Japan. 7 November 1936
Dear Mr. E. Pound,
Excuse me for my long silence since I received your two letters from Siena. 1 have never forgotten you, but it was from two reasons, first that I was too busy in my business at the library of the Nippon Dental College, and secondly that I wanted to introduce you in the best way to the Japanese legation in Rome.
The other day I called Mr. Ken Yanagisawa who is a powerful official of the Department of Foreign Affairs, and he himself an intellectual good poet. He willingly promised me that he would immediately arrange to introduce you to the Japanese legation in Rome. Therefore, the letter of introduction will reach Italy almost at the same time with this letter, and I hope this will come to be an opportunity to you and us Japanese to come nearer with each other.
Has our magazine VOU 13 arrived at you? Following your advice I added certain lines in English, and I want to print some news in English or French hereafter.
It is our sorrow that, as you mentioned in your letter, we have not any foreign poet of first rank in Tokio, and therefore we desire eagerly to communicate with European and American poets, and if possible, to ex- change magazines. Though our ideography and idiom is a great obstruc-
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tion, we will try hard for their appreciating us. Will you please let us know some good magazines of poems?
Very interested, I translated your "Mediaevalism," and published it in our magazine. We shall be very much pleased, if we can have your latest poetical work or some writings for our magazine.
Have you returned from your travel already? What a charm! a painted ceiling, a pine tree, and the cornice of a renaissance church.
Now it is fall in Tokio. The sky is crystalline, blue. The cold wind makes a mosaic of yellow leaves and Ford on the pavement of Ginza.
I am trying to write a poem of steel-like strength by combinating bombard UNKER no. 17 and pendant of Bopoto.