, and published in Dublin in 1883 by J. Duffy and Sons. There is, however, confusion about the dates of the various editions; for a detailed discussion see Anne MacCarthy, This rather brief biographical sketch was first printed in the third edition of The Poets and Poetry of Munster: A Selection of Irish Songs by the Poets of the Last Century with Poetical Translations by the Late James Clarence Mangan, 2001.

, Mangan's autobiography is first cited in the "Brief Chronology of James Clarence Mangan" (NCM, 95), which contains just twenty-three entries (years only). Four other mentions/quotations follow on pages 101, 105, 109, and 117; the latter two cite the work as "Fragments From An Unfinished Autobiography, Howe quotes from Meehan's preface to this work on pages 103 and 107 (though referencing the publication date as "1883?" and "undated," respectively). In "Melville's Marginalia, p.13

, A part of Howe's research and examination of Shelley's manuscripts in facsimile included the Romantic poet's "Drowned Notebook," referred to as such for having been recovered, severely damaged by its immersion in water, by Captain Roberts after Shelley's death at sea on 8 July 1822, as the poet was sailing his boat the Don Juan from Livorno to Lerici

S. Howe, Detective Work, The Poetry Foundation, 2015.

S. Howe, Vagrancy in the Park, The Quarry: Essays, 2015.

B. M. Howe, , vol.175

R. Back, Led by Language: The Poetry and Poetics of Susan Howe, p.7, 2002.

, Two stages for the typescript of NCM 132, with the specific instructions for the letters' spatial arrangements in the left-hand image, realized in Howe's retyped version on the right, SHP Box, vol.48, p.61

, This notion is further expressed, and connected to Melville's works, by Howe's deliberate use of the multiple definitions of coffin

, It is, furthermore, this material coffin that allows Ishmael 61 The indications in bold were apparently made for Howe herself (as opposed to the editors at New Directions): the later "final" draft on the right is pasted over a reprint of the prior typescript, which is visible through the verso of the page, suggesting Howe retyped the poem on her own typewriter. Both archival pages are part of the same folder, marked "paste-ups"?one stage in Howe's compositional process for typographically abstract poems

, As a noun, it suggests that 'th se woorD' or 'these words' of Howe's are dead. As a verb, however, it suggests that death, the death of the voices of lost authors, is being packaged and carted off in Melville's Marginalia, Sieburth, Vilgrain, and Rival in negotiating the French translation, which, over the successive lines, includes "cell, p.126

N. Machiavelli, W. Bonaparte, J. Benjamin, G. Nehru, W. Orwell et al.,

G. Dekker, Sailing after Knowledge: The Cantos of Ezra Pound, p.138, 1963.

M. Harper, Truth and Calliope: Ezra Pound's Malatesta, p.100, 1981.

P. J. Harper-refers-to, Jones's Oxford dissertation, written some twenty years before its publication in 1974

1. Dekker and . Harper, , p.99

S. Howe, J. Interview, F. Thompson, and . Verse, This idea is later echoed in Souls of the Labadie Tract, vol.9, 2005.

E. Pound, The letter to his father referred to by Pound is from 25 October 1924, which mentions the U.S. Presidents (specifically Jefferson) as possible figures to follow the precedent of Malatesta (545), Ezra Pound To His Parents: Letters 1895-1929, p.547, 2010.

P. Nicholls, Beyond The Cantos: Pound and American Poetry, p.155, 1999.

. Nicholls, 155-56. The term "counter-memory

H. Aji, Aji's title is a reference to Ezra Pound's important essay "I Gather the Limbs of Osiris, Gather the Limbs of Osiris': Susan Howe's Transcendent History, vol.2, 1911.

. Aji,

, This statement is made on the subject of Eikon Basilike, and is followed by Robinson's comment that the role of editors and printers is "to enjoin meaning to a specific subject in order to prevent its slippage. In pursuit of a stable subject, this team then turns to rules of law, of grammar, of propriety, of identity. What becomes the unspoken or erased, by implication, is all that is 'written over' by the totalizing project, pp.226-253

M. Williams, Contemporary Literature 38.1 (Spring 1997) 107. compared and revised, by His Majesty's special command, Howe Not to Erase(Her): A Poetics of Posterity in Susan Howe's 'Melville's Marginalia, p.40

, Mechanical reproduction: 19th and 20th-century editions of the King James Version

, Reception and annotation: Herman Melville obtains a copy of The New Testament and the Book of Psalms

, Material manipulation: Melville's marks in pencil are subsequently erased, allegedly by one of his daughters

, Archival transcription: Cowen consults Melville's library, transcribing all marginalia aphetically, for his Harvard dissertation in American and English literature, 1965.

, Edit and Reprinting: Cowen's two-volume work Melville's Marginalia is, 1987.

, Poetic appropriation and re-composition: Susan Howe's textual manipulation in typescript (c. 1991) of Cowen's work and Melville's original copy of The New Testament and the Book of Psalms, vol.114

, Republication: Howe's sequence "Melville's Marginalia" is included in New Directions's publication of The Nonconformist's Memorial, 1993.

, Reception by contemporary readers: the fragmented passage from the KJV is read on page 119 of Howe's book

, Bibliographic research: said reader identifies and consults the source of Howe's poem, thereby "completing" the truncated quotation with its textual origin in the verbalization of reading

, Translated out of the / original Greek; / and with the / former translations / diligently compared and revised, The subtitle in the copy Melville owned reads, 1844.

. Melville, New Testament, Houghton Library, *AC85.M4977.Zz844b

H. Aji,

, Howe's handwritten notes to New Directions's galley proofs for this section of

. Marginalia, ?all of which were single-spaced?indicate that the poems should "all [be] spaced differently

H. Melville and . Bartleby, The Scrivener: A Story of Wall-Street, Billy Budd and Other Stories, p.11, 2014.

, Additionally, though, this reference bears a striking resemblance to the final lines to Canto CXVI, one of the last poems from the latest section, Drafts & Fragments

. Pound's-epic, A little light, like a rushlight / to lead back to splendour, vol.817, pp.19-20

, Howe's concluding poem resonates even more with Pound's in light of the shared

S. Percy-bysshe, Melville's Marginalia" that was attached to a manuscript of the sequence Howe sent to Michael Davidson, she writes "He [Shelley] is buried here and there elsewhere, The Masque of Anarchy. A Poem, vol.42, p.79, 1993.

, Melville's Marginalia" the sequence's poetic "end" achieves a textual return to its prose "beginning" in several respects. The last poem's "rushing light" is included as an inspirational symbol connected to the notion of an immaterial poetic enthusiasm?the original impetus for composition, represented materially in the blank page which surrounds the poem. The sequence, therefore, leaves its readers where they began, with the absent center of the original thought's escape from the material page. Will Montgomery is correct in seeing this symbolic rushlight as

M. For and . Shelley, Shelley's statement that "all is changed" is reframed within the context of editorial emendations, and the seclusion and withdrawal Montgomery identifies within the final absence after an author's death. Herein lies the second manner in which the conclusion circles back to its starting point. In almost the exact vertical and horizontal middle of the poem Howe writes, Philip Massinger is mentioned in only two other places in "Melville's Marginalia

, The beginning is the end"; indeed, the entire sequence starts with an epigraph that quotes Massinger's epitaph

P. Massinger, NCM, 91). 81 Megan Williams's article on the theme of posterity in the sequence states the following on this opening

B. M. Howe, I think a lot of my work is about breaking free: starting free and being captured and breaking free again and being captured again

. Montgomery, , p.129

, Ecclesiastes 3:7, as translated in the Latin Vulgate. Pound's quotation reverses the order of the original. The phrase was also the personal motto of Sigismondo Malatesta, and is inscribed, at his request, on the tomb of Isotta degli Atti in the Tempio Malatestiano in Rimini, Contemporary Literature, vol.36, p.23, 1995.

, From start to end, Pound's trip in 1922 progresses as follows

, these poems were first published in Poetry magazine in 1917, and constitute Pound's initial foray into The Cantos. Parts of these drafts form certain sections of the final version of the cantos, especially Cantos I-III. Of relevance here, for example, is Pound's ending of Ur-Canto III with an adaptation of Andreas Divus's 1538 Latin translation of Homer's Odyssey

E. Pound and E. Pound, The Art of Poetry No, The Paris Review, vol.28, issue.5, 1962.

, Literary Essays, 86. The latter quote is a portion of the poet's definition for "paideuma, Ezra Pound's Poetry and Prose: Contributions to Periodicals, vol.7, p.77, 1991.

, Melville's Marginalia" behind her, Howe's documentary poetics continues to plunge into the same textual depths, pushing the blank space of the page with which every poem ultimately concludes to even greater prominence in the metaphrastic process of her poetic oeuvre, whose materiality is evolving yet. Across time and space, perhaps Howe replies to Pound's experience of being unable to finish what was begun each new day, p.26

B. M. Howe, Howe's essay "Submarginalia," from which the words are quoted here, was considered by her as a companion piece to "Melville's Marginalia, Marginalia I: Abbt to Byfield, vol.12, 1980.

H. Melville, T. Moby-dick;-or, and . Whale, Random House, 1950) 131. The quote also serves as the epigraph to Howe's preface for "Melville's Marginalia, vol.97

M. Arnold, A Speech at Eton, Mixed Essays, Irish Essays, and Others, 1883.

, coming into honour

T. Hobbes, The Whole Art of Rhetoric, The English Works of Thomas Hobbes, vol.VI, 1840.

, And honourable are those things which are just. And revenge is honourable. And victory. And honour. And monuments. And those things which happen not to the living. And things that excel. And what none can do but we. And possessions we reap no profit by

M. Arnold, ;. Sweetness, &. Light, A. ;. Culture, &. Friendship et al., The impulse of the English race towards moral development and self-conquest has nowhere so powerfully manifested itself as in Puritanism; nowhere has Puritanism found so adequate an expression as in the religious organisation of the Independents. The Independents have a newspaper, the Nonconformist, written with great sincerity and ability, 1883.

. James-clarence-mangan, Another Coptic Song, Poems of James Clarence Mangan

. Haverty, , 1859.

. Title, , vol.77

, Thou must either soar or stoop, / Fall or triumph, stand or droop ; / Thou must either serve or govern, / Must be slave, or must be sovereign ; / Must, in fine, be block or wedge, / Must be anvil or be sledge

, A SPEECH AT ETON, p.106

, Homeric context of Greek revenge and honor (e.g. Hector, Achilles, etc.), subjects mentioned in Arnold's essay

, Melville did not mark this passage in his copy

, Arnold's discussion of the Nonconformist may certainly have brought the pages to Howe's attention. An alternative source, though one not in Melville's library, is a letter from December 1857 sent by Arnold to his brother Thomas, in which he writes the following: "The eternal greatness of the literature of the Greece of Pericles is that it is the adequate expression of a first-class epoch. Shakespeare again is the infinitely more than adequate expression of a second-class epoch, However, considering the title of Howe's work, vol.52, p.263, 1955.

, The paragraph with the Latin quotation and English translation is marked with a triple line in

, Melville's copy, as well as another of the same, which immediately follows the above citation

, Whether this really is so or not, it seems as if it ought not to be so. 'Government,' says Burke (to go back to Burke again), 'is a contrivance of human wisdom to provide for human wants. Men have a right that these wants should be provided for by this wisdom

&. Eton, , p.106

M. Arnold, The Literary Influence of Academies, Essays in Criticism (Ticknor and Fields, 1865.

, qualities which are the distinctive support of poetry. But, as I have said, the qualities of genius are less transferable than the qualities of intelligence ; less can be immediately learned and appropriated from their product ; they are less direct and stringent intellectual agencies, though they may be more beautiful and divine

, I say, that is extravagant prose ; prose too much suffered to indulge its caprices ; prose at too great a distance from the centre of good taste ; prose, in short, with the note of provinciality, p.9

, Burke's writing on the French Revolution, from which the quotation originates, is also mentioned in Arnold's essay "The Function of Criticism at the Present Time, pp.12-13

, Also note the phrase "note of provinciality," which Howe quotes (from page sixty-nine of the same essay) in one of the poems on NCM, 104. The poet's use of quotation in this manner creates intratextual documentary links across the sequence. 2. "[...] a store of that which Goethe calls Halt ; ? since greatness can never be founded upon frivolity and corruption, p.17

, Passage underlined and checked by Melville. The annotation to the phrase reads

, Phantom" is also frequently found in Mangan's poems, as well as in Nathaniel Hawthorne's Twice Told Tales. Its reoccurrence in these sources for Howe's sequence may have led to her line "verbal phantoms, Melville's marginal markings are found on both pages

, whither his swift and secret footsteps cannot bring him,-then what is to become of poor M. du Miroir!, p.24

, 21 The first two phrases are marked by Melville, as well as the passages that precede the third. 22 The line "THE FOOL WHO SOLD WISDOM," ultimately not included in the publication of

, Why should we ever treat of any dead authors but the famous ones?" (308); and Mangan, Poems

, Melville has drawn a wavy vertical line and notes

, Le fait que le monument, au sens propre, qui constitue la fondation des «

, Malatesta Cantos » ait trouvé son équivalent dans le monument figuratif d'un livre d'archive qui a formé la base de « Marginalia de Melville » n'est pas sans importance, en ce qui concerne les projets documentaires des deux poètes

A. Sigismond and . Qu, Sigismond est présenté dans le paradis terrestre de Pound comme un « tourbillon » d'intelligence créative liée aux pouvoirs sociaux. Pour Howe, d'autre part, les personnalités d'auteurs tels que possibilité illimitée de la page blanche, en parallèle de l'inarticulation limitée des effacements partiels, de la syntaxe fracturée et de l'illisibilité superposée, agit contre les formes fermées de la représentation historique et/ou littéraire. Grâce à sa méthode qui ouvre simultanément l'histoire à la poésie, et la poésie à l'histoire, Howe fait avancer une des innovations principales des « Malatesta Cantos

». Quand-ezra-pound-mentionne-que-la-difficulté-d'écrire-une-Épopée-moderne-«-Était-de-trouver-une-forme and . Rock, Drill laisse entendre « le martèlement » nécessaire à « transmettre une certaine thèse », son intérêt principal est d'identifier et d'établir précisément la structure du langage appropriée à sa vision poétique 10 . Charles Olson, qui continuait la tradition objectiviste du poète-historien au milieu du vingtième siècle, a noté que la réussite de Pound avait été d'offrir aux poètes des générations suivantes la forme du « sac fourre-tout » et le « champ spatial » qui permettaient de rassembler une diversité de matériaux historiques 11 . La méthodologie poétique, évidemment, reste intégrée dans cette forme

, Susan Howe aussi développe la tradition en assimilant l'hétérogénéité textuelle de la poésie Poundienne dans la composition ouverte par champ typographique d'Olson, mais elle s'approprie à cette forme tout en questionnant l'acte de transférer le matériau à la page poétique?autrement dit le processus compositionnel et les décisions méthodologiques derrière la forme. Par conséquent, de la même façon qu'elle déstabilise l'histoire, une séquence comme « Marginalia de Melville » fait preuve d'une sorte de déconstruction du mode poétique hérité de Pound, révélant le dispositif éditorial qui, peut-être inéluctablement

, Un aspect de la continuation de cette tradition chez Howe consiste à développer certains éléments structurels et formels clés de la poétique documentaire de Pound de manière à les modifier en fonction des implications compositionnelles qui y sont enracinées. De plus, elle fait avancer les intérêts thématiques des « 10 Pound

C. Olson, Letters for Origin, p.82, 1966.

, Il écrit à John Quinn le 10 août au sujet du poème sur Malatesta : Je fais de la recherche sur le contexte historique du Canto IX. Je ne suis pas sûr qu'elle serve à améliorer la version actuelle du poème. Probablement je ne serai qu'encore plus confus, mais peut-être éviteraije quelques bêtises historiques, Malatesta Cantos » liés aux manipulations de l'histoire. en Italie

, Le mystère cachant le sujet ne pouvait selon lui être élucidé de manière satisfaisante qu'en étudiant les vrais textes à partir desquels il avait été créé. Susan Howe suit les mêmes démarches, et tout comme Pound, rédige une séquence de poèmes qui ne dissipe pas le mythe et n'essaie pas de résoudre le mystère, mais invite plutôt les lecteurs à parcourir un réseau intertextuel qui leur permet de participer eux aussi à la recherche d'archives. Alors que la structure et les thèmes des « Malatesta Cantos, Pourtant ce poème unique que Pound considérait plus ou moins terminé finirait par en devenir quatre à l'issue de la décision du poète de consulter les documents originaux aux archives mentionnées plus haut

M. Marginalia-de, est en fait basé sur l'idée que les auteurs sont représentés par la matérialité des textes qui, en parallèle de l'histoire, sont soumis à un cycle de révisions pendant qu'ils continuent à « vivre ». Illustré dans la matérialité typographique de la poésie Howienne, le palimpseste est copié et recopié

. D'un-certain-point-de-vue,

, Malatesta Cantos » . La « personnalité factive » de Sigismond est devenue le modèle et la base de toutes les personnes historiques que les séquences successives du projet épique du poète ont reconstruites textuellement. « La poésie consiste en une constante

E. Pound, The Selected Letters of Ezra Pound to John Quinn: 1915-1924, p.217, 1991.

. Et-une-variante-»-Écrit-pound-À-robert-creeley, . Le-tempio, and . Malatestiano,

. Sigismond, Tel une pie, Pound n'a jamais cessé de ramasser et de recycler des fragments, coupant et collant même le langage sur les pages de son propre texte, Canto LXXXVI

. Pound-modifie, X. Dans-le-canto, and . Intermédiaire, Il est « la trace d'un processus temporel », selon l'argument de Christine Froula, « ni contenu et délimité par l'auteur pendant sa vie, ni conclu et fermé par sa mort

S. De-façon-appropriée and . Howe-conclut-«-marginalia-de-melville, en reconnaissant que même si un document publié semble fixer un auteur ou une pensée poétique dans une forme concrète, la surface apparemment statique de la matérialité est en réalité trompeuse. Elle court vers l'espace blanc d'une autre page et d'un autre avenir

, Howe tient devant son propre nom dans le dernier poème indique que les fragments trouvés sur les pages reliées dans The Nonconformist's Memorial finiront un jour sur les étagères des archives inconnues. Dans cet espace d'ouverture, d'autorité et de transgression, « Marginalia de Melville

E. Melville and . La, séquence pourrait également être le sujet de recherches et de révisions 13 Cité par Creeley dans The Collected Essays of Robert Creeley, p.591, 1989.

E. Pound and T. Cantos, , p.86, 1993.

C. Froula, To Write Paradise: Style and Error in Pound's Cantos, p.176, 1984.

, « cormorans des bibliothèques » comme Howe elle-même 16 . Suivant les pas de Melville, Howe a plongé et « nagé dans des bibliothèques 17 », collectionnant et citant, fragmentant et collant, et a donc à son tour laissé sa propre empreinte sur

S. Howe, The Birth-mark, p.26, 1993.

H. Melville, T. Moby-dick;-or, and . Whale, , p.131, 1950.

E. Pound, O. Lume-spento, and . Early-poems, Personae: The Collected Poems of Ezra Pound, Michael John King. New York: New Directions, vol.4, p.12, 1912.

. Criticism, E. Pound, . Of-reading, and . London, Ezra Pound and Music: The Complete Criticism, Ezra Pound and the Visual Arts, ed. Harriet Zinnes. New York: New Directions, vol.1, pp.200-206, 1913.

, A List of Books, Instigations Together with an Essay on the Chinese Written Character. New York: Liveright, vol.10, pp.54-58, 1911.

, Jefferson and/or Mussolini: L'Idea Statale Fascism as I Have Seen It. London: Stanley Nott, Impact: Essays on Ignorance and the Decline of American Civilization, vol.1, pp.306-313, 1914.

, Rosing, Pavannes and Divagations. New York: New Directions, pp.10-11, 1918.

, The Spirit of Romance. London: J.M. Dent and Sons, vol.13, pp.495-97, 1909.

-. Hio, ;. Correspondance-pound, E. E. Pound, and &. Globe'-magazine, Ezra Pound to His Parents, Letters 1895-1929, The Selected Letters of Ezra Pound to John Quinn: 1915-1924. Ed. Timothy Materer, vol.28, pp.1935-1952, 1928.

A. Material,

E. P. Papers and Y. Mss, Yale Collection of American Literature, Beinecke Rare Books and Manuscript Library, vol.43

, Contains material written and sent by Pound to Harriet Monroe, Magazine of Verse Records

. Works, S. Howe, and . Debths, New York: New Directions, The Europe of Trusts. New York: New Directions, p.4, 1974.

-. De-melville, . Trans, B. Bénédicte-vilgrain, D. Rival, R. Fourcade et al., Courbevoie: Théâtre Typographique, Spontaneous Particulars: The Telepathy of Archives. New York: New Directions, 1976.

S. Howe, The Birth-mark: Unsettling the Wilderness of American Literary History, Choir Answers to Choir: Notes on Jonathan Edwards and Wallace Stevens, vol.10, pp.51-61, 1989.

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T. Beckett, The Difficulties interview, The Difficulties, vol.3, pp.17-27, 1989.

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R. Creeley and S. Howe, Four-Part Harmony: Robert Creeley and Susan Howe Talk it Out, p.12, 1994.

J. Falon and . Ruth, Speaking with Susan Howe, The Difficulties, vol.3, pp.28-42, 1989.

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, AUDIO RECORDINGS

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W. Whitman, Leaves of Grass, 1900.

W. Williams and . Carlos, The Collected Poems of William Carlos Williams, 2 vols, Christopher MacGowan. New York: New Directions, vol.14, pp.124-153, 1967.

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W. B. Yeats, Oxford Book of Modern Verse 1892-1935, 1936.

D. Albright, The Cambridge Companion to Ezra Pound, pp.59-91, 1999.

M. Alexander, The Poetic Achievement of Ezra Pound, 1981.

C. Beach and . Of-influence, Ezra Pound and Harold Bloom: Influences, Canons, Traditions, and the Making of Modern Poetry, Ezra Pound and the Remaking of American Poetic Tradition, vol.56, pp.463-83, 1989.

R. Beasley, Theorists of Modernist Poetry, 2007.

M. Bernstein and . André, The Tale of the Tribe: Ezra Pound and Modern Verse Epic, 1980.

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D. Bornstein, The Poet as Historian: Researching the Malatesta Cantos, Paideuma, vol.10, issue.2, pp.283-91, 1981.

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R. Bush, Unstill, Ever Turning': The Composition of Ezra Pound's Drafts & Fragments, Text, vol.7, pp.397-422, 1994.

J. Childs and . Steven, Modernist Form: Pound's Style in the Early Cantos, 1986.

M. Davidson, From the Latin 'Speculum': The Modern Poet as Philologist, Contemporary Literature, vol.28, issue.2, pp.187-205, 1987.

G. Dekker, Sailing after Knowledge: The Cantos of Ezra Pound, 1963.

P. D'epiro, A Touch of Rhetoric: Ezra Pound's Malatesta Cantos, 1983.

M. Dickie, The Cantos: Slow Reading, ELH, vol.51, issue.4, pp.819-854, 1984.

C. Doria, Pound, Olson, and the Classical Tradition, pp.127-171, 1973.

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A. Fang, A Note on Pound's 'Papyrus, Modern Language Notes, vol.67, issue.3, pp.188-90, 1952.

C. Froula, To Write Paradise: Style and Error in Pound's Cantos, 1984.

P. Furia, Pound's Cantos Declassified, 1984.

A. Ginsberg, Pound's Influence, The American Poetry Review, vol.15, issue.4, pp.7-8, 1986.

T. Gitlin, Inaccessibility as Protest: Pound, Eliot, and the Situation of American Poetry, Theory and Society, vol.10, issue.1, pp.63-80, 1981.

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R. Hallberg and . Von, Olson's Relation to Pound and Williams, Contemporary Literature, vol.15, issue.1, pp.15-48, 1974.

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M. F. Harper, Truth and Calliope: Ezra Pound's Malatesta, pp.86-103, 1981.

L. Henriksen, Ego Scriptor Cantilenae): Deixis, Parentheses and Metonymy in" The Cantos, Concentric: Literary and Cultural Studies, vol.27, pp.130-178, 2001.

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H. Kenner, . The-mechanic-muse, and . Oxford, The Rose in the Steel Dust, The Poetry of Ezra Pound, vol.3, pp.66-123, 1950.

B. D. Kimpel and T. C. Duncan-eaves, Pound's 'Ideogrammic Method' as Illustrated in Canto XCIX, American Literature, vol.51, issue.2, pp.205-242, 1979.

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R. Mcnamara, Pound's Malatesta: An Alternative to the Martial Ideal, Pacific Coast Philology, vol.20, issue.1, pp.57-64, 1985.

F. Moramarco, Concluding an Epic: The Drafts and Fragments of The Cantos, American Literature, vol.49, issue.3, pp.309-335, 1977.

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G. Reynolds, Pound's Letters: Towards a Poetics Including the 'EZpistolary, Cambridge Literary Review, vol.1, issue.2, pp.209-237, 2010.

R. Sieburth, The Design of the" Cantos": An Introduction, South Atlantic Quarterly, vol.83, issue.2, pp.12-33, 1983.

, In Pound We Trust: The Economy of Poetry/The Poetry of Economics, Critical Inquiry, vol.14, issue.1, pp.142-72, 1987.

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P. Simonsen, Typewriter Poetry Makes Nothing Happen, Aktuel Forskning, pp.1-15, 2010.

M. Slatin, A History of Pound's Cantos I-XVI, 1915-1925, American Literature, vol.35, issue.2, pp.183-95, 1963.

R. Stoicheff and . Peter, The Composition and Publication History of Ezra Pound's Drafts & Fragments, Twentieth Century Literature, vol.32, issue.1, pp.78-94, 1986.

C. F. Terrell, A Companion to the Cantos of Ezra Pound, 1993.

T. Tost, Machine Poetics: Pound, Stein and the Modernist Imagination, 2011.

D. P. Tryphonopoulos, J. Stephen, and . Adams, The Ezra Pound Encyclopedia, 2005.

S. On and . Howe,

H. Aji, I [will not] Gather the Limbs of Osiris': Susan Howe's Transcendent History, Jacket, vol.2, p.40, 2010.

E. Allen, Visible Earshot': The Returning Voice of Susan Howe, The Cambridge Quarterly, vol.41, issue.4, pp.397-421, 2012.

R. Back and . Tzvia, Led By Language: The Poetry and Poetics of Susan Howe, 2002.

S. Barbour, Spiritual Hyphen': Bibliography and Elegy in Susan Howe's The Midnight, Textual Practice, vol.25, issue.1, pp.133-55, 2011.

D. Beachy-quick, Ghosting the Line: Susan Howe and the Ethics of Haunting, The Denver Quarterly, vol.46, issue.2, pp.3-18, 2012.

C. Bernstein, Passed by Examination': Paragraphs for Susan Howe, The Difficulties, vol.3, pp.84-88, 1989.

M. Bloomfield, Aftershock of Iconoclasm': Ambivalence of the Visual Page in Susan Howe's Eikon Basilike, Textual Practice, vol.23, issue.3, pp.417-454, 2009.

G. L. Bruns, Voices of Construction: On Susan Howe's Poetry and Poetics (A Citational Ghost Story), Contemporary Literature, vol.50, issue.1, pp.28-53, 2009.

A. Cazé, Self & Selves / Howe & Thoreau : Forêts politiques du moi en Nouvelle-Angleterre, pp.157-76, 2011.

, Susan Howe: TransParencies: Leafing Through, Jacket, vol.2, p.40, 2010.

S. Chakroborty, Meaning, Unmeaning & the Poetics of, The Indian World Review of Literature in English, vol.4, pp.16-17, 2008.

K. ;. Crown, H. D. , and S. Howe, Documentary Memory and Textual Agency, vol.1, 2000.

M. Davidson, Ghostlier Demarcations: Modern Poetry and the Material Word, 1997.

J. K. Dick, Invisible Collisions: Considering Susan Howe's Reform of the Poetic, Critical and Autobiographical Essay, pp.7-24, 2013.

, La Pop Culture. De la publicité dans la poésie : un renversement de l'ordre économique, 2010.

R. Duplessis and . Blau, Our law / vocables / of shape or sound': The Work of Susan Howe, HOW(ever), vol.1, issue.4, 1984.

, The Pink Guitar: Writing as Feminist Practice, 2006.

C. Dworkin, The Sound of Poetry, The Poetry of Sound, pp.166-83, 2003.

K. Fraser, Translating the Unspeakable: Poetry and the Innovative Necessity, 2000.

A. ;. Golding, . Authority, E. Marginality, S. Ireland-in-the-work-of, and . Howe, Something We Have that They Don't: British and American Relations Since 1925, pp.168-81, 2004.

A. Goody, The Subject of Hypertextual Poetry: Performing Susan Howe, How2, vol.1, issue.6, 2001.

U. Gosmann, Poetic Memory: The Forgotten Self in Plath, 2012.

F. Green, Plainly on the Other Side': Susan Howe's Recovery, Contemporary Literature, vol.42, issue.1, pp.78-101, 2001.

D. Grubbs, Shadowy Hush Twilight: Two Collaborations, Chicago Review, vol.55, issue.1, pp.186-90, 2010.

R. Hallberg and . Von, Susan Howe, Poet in the Academic Zone, Lana Turner: A Journal of Poetry and Opinion, vol.4, 2017.

. Harris and P. Kaplan, Susan Howe's Art and Poetry, Contemporary Literature, vol.47, issue.3, pp.440-71, 1968.

W. Howard and . Scott, TANGIBLE THINGS / Out of a stark oblivion': Spellbinding TOM TIT TOT, Talisman: A Journal of Contemporary Poetry and Poetics, vol.44, 2015.

, writing ghost writing': A Discursive Poetics of History; or, Howe's hau in 'A Bibliography of the King's Book; or, Eikon Basilike', Teaching, How/e?: not per se, vol.35, pp.108-138, 1995.

E. W. Joyce, The Small Space of a Pause": Susan Howe's Poetry and the Space Between, vol.3, 2008.

B. Lerner, Lana Turner: A Journal of Poetry and Opinion 4, 2017.

J. Lewis, Grappling Bigman: The Secret History of the Dividing Line, The Difficulties, vol.3, pp.59-62, 1989.

K. Lilley, Blackwork: On Susan Howe's The Midnight, Heat Literary Journal, vol.21, pp.11-33, 2009.

M. Ma, Articulating the Inarticulate: Singularities and the Counter-Method in Susan Howe, Contemporary Literature, vol.36, issue.3, pp.466-89, 1995.

, Poetry as History Revised: Susan Howe's 'Scattering As Behavior Toward Risk, American Literary History, vol.6, issue.4, pp.716-753, 1994.

N. Marsh, Out of My Texts I Am Not What I Play': Politics and Self in the Poetry of Susan Howe, College Literature, vol.24, issue.3, pp.124-161, 1997.

W. Montgomery, The Poetry of Susan Howe: History, Theology, Authority, 2010.

M. Muresan, G. "l'ecriture-de-l'histoire-littéraire-chez, V. Stein, S. Forrest-thomson, and . Howe, Fabula-LhT, issue.7, 2010.

P. Naylor, Poetic Investigations: Singing the Holes in History, 1999.

M. Nichols, Radical Affections: Essays on the Poetics of Outside, 2010.

P. Nicholls, The Pastness of Landscape': Susan Howe's 'Pierce-Arrow, Contemporary Literature, vol.43, issue.3, pp.441-60, 2002.

, Unsettling the Wilderness: Susan Howe and American History, Contemporary Literature, vol.37, issue.4, pp.586-601, 1996.

R. Olsen, Book-Parks and Non-sites: Susan Howe's Scripted Enclosures, Jacket, vol.2, p.40, 2010.

M. Perloff, Avant-Garde Tradition and Individual Talent: The Case of Language Poetry, pp.117-158, 2005.

, Collision or Collusion with History': The Narrative Lyric of Susan Howe, Contemporary Literature, vol.30, issue.4, pp.518-551, 1989.

, Language Poetry and the Lyric Subject: Ron Silliman's Albany, Susan Howe's Buffalo, Critical Inquiry, vol.25, issue.3, pp.405-439, 1999.

, Spectral Telepathy: The Late Style of Susan Howe, Unoriginal Genius: Poetry by Other Means in the New Century, vol.1, 2010.

P. Quartermain, And the Without: An Interpretative Essay on Susan Howe, The Difficulties, vol.3, pp.71-83, 1989.

, Disjunctive Poetics: From Gertrude Stein and Louis Zukovsky to Susan Howe, 1992.

B. Reed, Eden or Ebb of the Sea': Susan Howe's Word Squares and Post-linear Poetics, Postmodern Culture, vol.14, issue.2, 2004.

L. M. Reinfeld, Language Poetry: Writing as Rescue, 1992.

H. Reszies, Scissors, Paper, Glue: Collage and the Making of Poems, Monthly Journal of Poetics, vol.54, 2015.

B. Rival, Formes critiques contemporaines, 2012.

K. Robinson, Woman's Borderline Figure: Representation and Woman's Voice in the Poetry of Lorna Goodison, Medbh McGuckian and Susan Howe, 2000.

N. Selby, Created Space': Mapping America as Poem in Gary Snyder's Mountains and Rivers Without End and Susan Howe's Secret History of the Dividing Line, Journal of American Studies, vol.39, issue.1, pp.41-64, 2005.

D. Stutesman, Without Words, What Are Facts?: Looking at Susan Howe Looking at Marker, Framework: The Journal of Cinema and Media, vol.53, issue.2, pp.429-66, 2012.

C. Swensen, Against the Limits of Language: The Geometries of Anne-Marie Albiach and Susan Howe, pp.630-671, 1998.

J. L. White, The Landscapes of Susan Howe's 'Thorow, Contemporary Literature, vol.47, pp.236-60, 2006.

J. L. Wilkinson, Out of Bounds of the Bound Margin': Susan Howe Meets Mangan in 'Melville's Marginalia, Criticism, vol.53, issue.2, pp.265-94, 2011.

M. Williams, Howe Not to Erase(Her): A Poetics of Posterity in Susan Howe's 'Melville's Marginalia, Contemporary Literature, vol.38, issue.1, pp.106-138, 1997.

, ON MODERNIST POETS AND POETICS

R. Aldington, Modern Poetry and the Imagists, The Egoist, vol.2, issue.1, pp.201-204, 1914.

A. Dunn, Williams's Liberating Need, Journal of Modern Literature, vol.16, issue.1, pp.49-59, 1989.

C. Altieri, The Objectivist Tradition, Chicago Review, vol.30, issue.3, pp.5-22, 1979.

H. Aji, E. Pound, C. William, and . Williams, L'Harmattan, 2001.

E. Berry, The Free Verse Spectrum, College English, vol.59, issue.8, pp.873-97, 1997.

M. Bollard and . Lloyd, The 'Newspaper Landscape' of Williams' 'Paterson, Contemporary Literature, vol.16, issue.3, pp.317-344, 1975.

G. Bornstein, Material Modernism: The Politics of the Page, 2001.

R. Bradford, Poetry and Painting: An Essay on Visual Form in Modern Verse, Writing Ulster, pp.48-66, 1990.

, A Companion to Modern Literature and Culture, 2006.

B. A. Bremen, The Radiant Gist': 'The Poetry Hidden in the Prose' of Williams' Paterson, Twentieth Century Literature, vol.32, issue.2, pp.221-262, 1986.

, The Cambridge Companion to Modernist Poetry, 2007.

L. S. Dembo, Louis Zukofsky: Objectivist Poetics and the Quest for Form, American Literature, vol.44, issue.1, pp.74-96, 1972.

, Geomodernisms: Race, Modernism, Modernity, 2005.

J. Drucker, The Visible Word: Experimental Typography and Modern Art, pp.1909-1923, 1994.

F. Fiero and . Douglass, Williams Creates the First Book of" Paterson, Journal of Modern Literature, vol.3, issue.4, pp.965-86, 1974.

H. Fox, The Genuine Avant-Garde: William Carlos Williams's Credo, Southwest Review, vol.59, issue.3, pp.285-99, 1974.

J. Frank, The Idea of Spatial Form, 1991.

S. Fredman, Williams, Eliot, and American Tradition, Twentieth Century Literature, vol.35, issue.3, pp.235-53, 1989.

J. Gee and . Paul, The Structure of Perception in the Poetry of William Carlos Williams: A Stylistic Analysis, Poetics Today, vol.6, issue.3, pp.375-97, 1985.

Y. Hakutani, Haiku and Modernist Poetics, 2009.

F. J. Hoffman, Williams and His Muse, vol.84, pp.23-27, 1954.

S. Kern, The Modernist Novel: A Critical Introduction, 2011.

R. Jarrell, Poetry and the Age, 1953.

M. Levenson, A Genealogy of Modernism: A Study of English Literary Doctrine 1908-1922, 1948.

P. Lewis, The Cambridge Introduction to Modernism, 2007.

A. Lowell, Poetry and Poets: Essays, 1930.

A. Maccarthy, A Study of the Sources for James Joyce's Essays on James Clarence Mangan, vol.7, pp.67-79, 2001.

L. D. Mcneil, Toward a Rhetoric of Spatial Form: Some Implications of Frank's Theory, Comparative Literature Studies, vol.17, issue.4, pp.355-67, 1980.

J. E. Miller, Bloom's Modern Critical Interpretations: The Waste Land, Updated Edition, pp.49-74, 2007.

J. Miller and . Hillis, Spring and All" and the Progress of Poetry, Daedalus, vol.99, issue.2, pp.405-439, 1970.

R. J. Morgan, Chaos and Order: The Cycle of Life and Art in Williams' 'Spring and All, Interpretations, vol.11, issue.1, pp.35-51, 1979.

E. Mottram, The Making of Paterson, vol.7, pp.17-34, 1965.

P. Nicholls, Modernisms: A Literary Guide, 2009.

C. Oudart, Les Métamorphoses du modernisme. De H.D. à Robert Duncan: vers une poétique de la relation, 2010.

J. Rabaté, The Cradle of Modernism, 1913.

H. M. Sayre, American Vernacular: Objectivism, Precisionism, and the Aesthetics of the Machine, Twentieth Century Literature, vol.35, issue.3, pp.310-352, 1989.

, Ready-Mades and Other Measures: The Poetics of Marcel Duchamp and William Carlos Williams, Journal of Modern Literature, vol.8, issue.1, pp.3-22, 1980.

, The Visual Text of William Carlos Williams, 1983.

J. Schuster, William Carlos Williams, Spring and All, and the Anthropological Imaginary, Journal of Modern Literature, vol.30, issue.3, pp.116-148, 2007.

R. Sheppard, Modernism, Language, and Experimental Poetry: On Leaping over Bannisters and Learning How to Fly, The Modern Language Review, vol.92, issue.1, pp.98-123, 1997.

M. K. Spears, The Failure of Language, Poetry, vol.76, issue.1, pp.39-44, 1950.

W. Sutton, Dr. Williams' 'Paterson' and the Quest for Form, vol.2, pp.242-59, 1960.

, A Visit with William Carlos Williams, The Minnesota Review, vol.1, issue.3, pp.309-333, 1961.

T. Eyck and D. , Ezra Pound's Adams Cantos. London: Bloomsbury, 2014.

C. Tichi, Shifting Gears: Technology, Literature, Culture in Modernist America, 1987.

M. Weaver and . Williams, The American Background, 1971.

H. Witemeyer, Modernism and the Transatlantic Connection, Neil Roberts, pp.7-20, 2003.

L. Zukofsky, Sincerity and Objectification: With Special Reference to the Work of Charles Reznikoff, Poetry, vol.37, issue.5, pp.272-85, 1931.

, ON POSTMODERNIST POETS AND POETICS

C. Altieri, What Is Living and What Is Dead in American Postmodernism: Establishing the Contemporaneity of Some American Poetry, Critical Inquiry, vol.22, issue.4, pp.764-89, 1996.

S. Ballew, History as Animated Metaphor in the Maximus Poems, The New England Quarterly, vol.47, issue.1, pp.51-64, 1974.

M. Blanchot, . L'espace-littéraire, and . Paris, The Space of Literature. Trans. Ann Smock, 1955.

G. F. Butterick, Charles Olson and the Postmodern Advance, The Iowa Review, vol.11, issue.4, pp.3-27, 1980.

, A Guide to the Maximus Poems of Charles Olson, 1980.

A. Calder, The Trouble Is, It Is Difficult to Be Both a Poet and, an Historian': Olson, Lowell, Foucault, and Problems of Series in the Late Modern Long Poem, Australasian Journal of American Studies, vol.5, issue.2, pp.37-45, 1986.

K. Case, Henry Thoreau, Charles Olson and the Poetics of Place, The Concord Saunterer, vol.17, pp.44-72, 2009.

A. Cazé, Vers une archéologie du collage: The Tablets d'Armand Schwerner, Revue française d'études américaines, vol.1, pp.50-63, 2005.

M. Davidson, Archeologist of Morning: Charles Olson, Edward Dorn and Historical Method, ELH, vol.47, issue.1, pp.158-79, 1980.

, The Objectivist Nexus: Essays in Cultural Poetics, 1999.

S. Fredman, The Grounding of American Poetry: Charles Olson and the Emersonian Tradition, 1993.

G. ;. Genette, . Trans, . E. Jane, . Lewin, and . Berkeley, The Architext: An Introduction, Palimpsests: Literature in the Second Degree. Trans. Channa Newman and Claude Doubinsky, 1979.

N. Joost, S. Thayer, and &. Dial, , 1964.

H. Kenner, The Making of Modernist Canon, Chicago Review, vol.43, issue.2, pp.49-61, 1984.

B. Lerner, Afterword to Selected Poems, pp.306-313, 2016.

M. Perloff, Charles Olson and the 'Inferior Predecessors': 'Projective Verse' Revisited, Poetry On and Off the Page: Essays for Emergent Occasions, vol.40, p.285, 1973.

P. Quartermain, Reading the Difficult, Poetry, vol.203, issue.1, pp.72-83, 2013.

R. Waldrop, Dissonance (if you are interested), 2005.

E. Auerbach, Mimesis: The Representation of Reality in Western Literature, Trans. Willard R. Trask, 1953.

W. Benjamin, . Illuminations, . Trans, and . Harry-zohn, The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, vol.1, pp.1913-1926, 1996.

W. Cowen and . Walker, Melville's Marginalia. Harvard Dissertations in American and English Literature. 2 Vols, 1987.

M. Davidson, Refiguring Shelley: Postmodern Recuperations of Romanticism, Keats-Shelley Journal, vol.42, pp.48-57, 1993.

J. Derrida, Archive Fever: A Freudian Impression, Trans. Eric Prenowitz, 1996.

E. ;. Fenollosa and L. Klein, The Chinese Written Character as a Medium for Poetry: A Critical Edition, Haun Saussy, Jonathan Stalling, 2008.

L. Frobenius and . Leo, Frobenius on African History, Art, and Culture: An Anthology, 2014.

J. A. Frow, Michel de Certeau and the Practice of Representation, Cultural Studies, vol.5, issue.1, pp.52-60, 1991.

P. Greaney, Quotational Practices: Repeating the Future in Contemporary Art, 2014.

A. Hansen, R. Mette, W. Lüdeke, and . Streit, The Book as Artefact, Text, and Border, 2005.

R. Huisman, The Written Poem: Semiotic Conventions from Old to Modern English, 1998.

L. Marx, Melville's Parable of the Walls, The Sewanee Review, vol.61, issue.4, pp.602-629, 1953.

R. Lowe and . Liddell, Two Arnold Letters, Modern Philology, vol.52, issue.4, pp.262-64, 1955.

W. J. Mitchell, . Iconology:-image, . Text, . Ideology, and . Chicago, North, Michael. Novelty: A History of the, 1980.

S. Paul, Maximus: Volume 3 or Books VII and After, pp.557-72, 1977.

D. Pease, New Americanists: Revisionist Interventions into the Canon, vol.17, pp.1-37, 1990.

M. L. Werner and . Dickinson, Radical Scatters: Emily Dickinson's Fragments and Related Texts, pp.1870-1886, 1995.

S. West and S. Coleridge, Textual Engagement. London: Routledge, 2016. ADDITIONAL WORKS HISTORICAL WORKS ON THE QUATTROCENTO

, Images of Quattrocento Florence: Selected Writings in Literature, History, and Art, 2000.

L. Banchi, La Guerra de' Senesi col conte di Pitigliano, Archivio storico italiano. Series, vol.4, pp.184-97

F. Battaglini and . Gaetano, Basini Parmensis opera praestantiora nunc primum edita et opportunis commentariis illustrata, Ex Typographia Albertiniana, 1794, vol.2, pp.259-698

A. Beltramelli, Un tempio d'amore. Palermo: Remo Sandron, 1912.

G. Broglio, Cronaca universale. Manuscript in the Biblioteca Civica Gambalunga

J. Burckhardt, The Civilization of the Renaissance in Italy, Trans. S.G.C. Middlemore, 1945.

C. Clementini, Raccolto istorico della fondazione di Rimino e dell' origine e vite de' Malatesti. 2 vols. Rimini: 1617, 1969.

A. F. D'elia, Pagan Virtue in a Christian World: Sigismondo Malatesta and the Italian Renaissance, 2016.

C. Fletcher, The Black Prince of Florence: The Spectacular Life and Treacherous World of Alessandro de' Medici, 2016.

J. Godwin, The Pagan Dream of the Renaissance, 2005.

C. Grigioni, Un Capriccio di Sigismondo Malatesta, pp.40-41, 1908.

P. J. Jones, The Malatesta of Rimini and the Papal State: A Political History, 1974.

G. Mittarelli and . Benedetto, Bibliotheca codicum manuscriptorum Monasterii S. Michaelis Venetiarum prope Murianum. Venice: ex typographia Fentiana, p.1779

L. Pastor and . Friedrich, Geschichte der Päpste seit dem Ausgang des Mittelalters. 2 vols, p.1889

E. Piccolomini and . Silvio, Epistolae. Milan: Antonius Zarothus, vol.1, 1487.

C. Ricci, Il tempio malatestiano, 1924.

F. Schultze, . Georgios-gemistos-plethon, and . Jena, , 1874.

G. Soranzo, . Pio, and . Malatesti, Un'invettiva della Curia Romana contro Sigismondo Malatesta, Padua: Drucker, vol.7, pp.241-84, 1910.

A. Stokes, . Stones, and . Rimini, , 1934.

L. Tonini, Rimini nella signoria de' Malatesti, Storia civile e sacra di Rimini, vol.1880, p.1882

C. Yriarte and . Un-condottiere-au-xve-siècle, Rimini: Etudes sur les Lettres et les Arts à la cour des Malatesta, p.1882

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