Hugh Kenner

And of course, that's what makes it great is because, you know, Joyce loves to write badly in air quotes.

So, of course, that's, you know, Hugh Kenner famously in his book about Ulysses, he's like, this is, it's almost impossible to get through.

It's so, it's so perfectly terrible.

Yeah.

So that's why I was fascinated with that.

So talk more about you, Max.

Hugh Kenner has a wonderful line where he says, like, you know, like, I doubt any, you know, I forgot exactly the words, but like any sentence took such craft to make it sound so bad, you know.

So I take it as a given that, of course, that the badness is intentional.

Dead-o-dead-do, dead-o-dead-do, dead-o-dead-do, da-ka-ta-kai.

We can trace many of these currents of thought and sensibility in the work of Ezra Pound, particularly as elucidated by Hugh Kenner in his seminal book titled The Pound Era.

Writing about T.S. Eliot's The Wasteland, James Joyce's Ulysses, and Ezra Pound's long sequence of poems The Cantos, early iconic modernist works, Kenner suggests that the province of these works is the entire human race speaking in time as well as space.

and he notes the borrowings from Greek, Latin, Chinese, Italian, French, Provençal, Spanish, Arabic and Egyptian hieroglyphic languages.