Family therapy goldenberg 9th edition pdf

After receiving his master’s degree in 1906, Pound briefly taught languages at a small Presbyterian college in Indiana. His eccentric manner did not fit well with the school’s character, and, at the age of 23, Pound left for Europe. He settled first in London, then Paris, and finally in Italy. There he wrote poetry and criticism and translated verse from nine languages. He also served as an overseas editor for Poetry magazine—a position he used to nurture the careers of Robert Frost and T. S. Eliot, among others. In 1912, Pound helped establish Imagism’s manifesto. It called for “direct treatment of the ‘thing’” and the use of “the language of common speech, but . . . always the exact word.”

A Complex Writer Though Pound declared that writers should “Make it new!” he did not believe in newness for its own sake and relied heavily on the literature of the past. In The Cantos, his longest and best-known work, Pound combined materials from different cultures and languages, historical texts, and newspaper articles. The Cantos is an extremely complex work, notorious for its diffi- culty and uneven quality.

Politics, Prison, and Exile During World War II, Pound supported Fascist Italian dictator Benito Mussolini and made radio broadcasts openly criti- cizing the United States and the efforts of the Allies in the war. After Italy fell, Pound spent six months as a prisoner of war near Pisa. Here he wrote The Pisan Cantos, generally considered the greatest section of his long work.

After being declared mentally unfit to stand trial for treason, Pound was sent to St. Elizabeth’s Hospital for the criminally insane in Washington, D.C. He spent the next twelve years at the hospital, after which the charges against him were dropped. Pound then left the United States, returning to Italy, where he stayed until his death in Venice in 1972.

Ezra Pound was born in 1885 and died in 1972.

Author Search For more about Ezra Pound, go to www.glencoe.com.

652 UNIT 5 BEGINNINGS OF THE MODERN AGE

0652-0655 U5P1APP-845481.indd 652 4/7/06 10:38:08 PM

LITERATURE PREVIEW READING PREVIEW

EZRA POUND 653

Connecting to the Poems Have you ever experienced a moment in which an image, a sound, or an idea grabbed your attention and changed how you saw the world? This is what the speaker in each of the following poems experiences. Think about the following questions:

• Have you ever looked at something that you see every day as if for the first time? Explain.

• How can striking images change the way we think about mundane aspects of the world?

Building Background “In a Station of the Metro” and “A Pact” were originally published together in Poetry in 1916. Pound was impressed with the brief but evocative Japanese haiku form (see Literary Terms Handbook, p. R1). After experiencing the moment that inspired “In a Station of the Metro,” Pound composed a thirty-line poem. He destroyed this first attempt, calling it a work “of second intensity.” After two other tries, he created a short, haiku- like poem with a single powerful image.

Setting Purposes for Reading Big Idea New Poetics As you read, notice how Pound employs free verse and the rules of Imagism in his work.

Literary Element Imagery Imagery is the “word pictures” that writers create to make their subject more vivid or to evoke an emotional response in the reader. In creating effective images, writ- ers use sensory details, or descriptions that appeal to one or more of the five sense: sight, hearing, touch, taste, and smell. As you read the poems, examine how Pound uses imagery to heighten the effect of his words.

• See Literary Terms Handbook, p. R9.

Reading Strategy Questioning Questioning is asking yourself regularly whether you’ve understood what you have read. In an Imagist poem such as “In a Station of the Metro,” it is impor- tant to use questioning to slow down your reading in order to fully understand the poet’s meaning.

Reading Tip: Taking Notes As you read “In a Station of the Metro” and “A Pact,” note in a double-entry jour- nal any questions that occur to you.

Vocabulary

apparition (aṕ ə rish� ən) n. a ghostlike or nearly invisible appearance; p. 654 Those who saw the shadowy apparition in the cemetery believed it was a ghost.

bough (bou) n. tree branch; p. 654 The baby bird clung to the bough as it waited for food.

detest (di test�) v. to greatly dislike or loathe; p. 654 I have detested television ever since my favorite show was canceled.

sap (sap) n. a watery source of nutrients that flows through a plant’s circulatory system; p. 654 I decided never to park under a tree again after finding my car covered in sap.

commerce (kom� ərs) n. exchange of ideas and opinions; p. 654 Through lively debate and com- merce, the two opposing political sides were able to reach an agreement.

Vocabulary Tip: Context Clues When you look at the words and sentences surrounding a new or unfamiliar word to define it, you are using context clues. Interactive Literary Elements

Handbook To review or learn more about the literary elements, go to www.glencoe.com.

AnswersQuestions How does Pound feel about Walt Whitman?

In studying this selection, you will focus on the following:

• analyzing literary periods • monitoring comprehension with questioning • analyzing imagery

OBJECTIVES

0652-0655 U5P1APP-845481.indd 653 1/10/07 8:53:15 PM

1 The Metro refers to the Paris subway.

New Poetics What does line 6 suggest about Pound’s understanding of Walt Whitman’s rela- tionship to modern poetry?

Big Idea

654 UNIT 5 BEGINNINGS OF THE MODERN AGE

apparition (aṕ ə rish ən) n. a ghostlike or nearly invis- ible appearance bough (bou) n. tree branch

Vocabulary

detest (di test) v. to greatly dislike or loathe sap (sap) n. a watery source of nutrients that flows through a plant’s circulatory system commerce (kom ərs) n. exchange of ideas and opinions

Vocabulary

I make a pact with you, Walt Whitman— I have detested you long enough. I come to you as a grown child Who has had a pig-headed father; 5 I am old enough now to make friends. It was you that broke the new wood, Now is a time for carving. We have one sap and one root— Let there be commerce between us.

The apparition of these faces in the crowd; Petals on a wet, black bough.

Ezra Pound

Ezra Pound

S11-219-01C-635423 Kingsbury CnBkSG David Reed

S11-112-01C-635423 Kingsbury CnBkSG David Reed

1

0654 U5P1SEL-845481.indd 654 4/8/06 12:21:28 PM

EZRA POUND 655

AFTER YOU READ

Respond 1. Which of these poems do you think reveals more

about the poet? Explain.

Recall and Interpret 2. (a)In the first line of “In a Station of the Metro,”

what word does the speaker use to describe how the faces look to him? (b)Wh