What follows are the authors’ discussions on the first stirrings, the germination of a poem, or a work of fiction. Any number of headings would be appropriate: Beginnings, The Starting Point, etc. Inspiration would be as good as any.

The following pages have been set aside as a kind of tribute to honor the work of Terry Southern, who died last October in New York City — appreciations, reminiscences, critiques, as well as some original work from his files.

The Paris Review Eagle, or “the bird” as it was referred to, was designed by William Pène du Bois, the magazine’s art editor, in the spring of 1952. The symbolism is not difficult: an American eagle is carrying a pen: the French association is denoted by the helmet the bird is wearing—actually a Phrygian hat originally given a slave on his freedom in ancient times and which subsequently became the liberty cap or bonnet rouge worn by the French Revolutionists of the 19th Century. 

In Italy in the summer of 1952 Truman Capote was asked by the director John Huston (on the recommendation of David Selznick, who had admired Capote’s work on an ill-fated Vittorio De Sica movie entitled Indiscretion of an American Wife) to collaborate with him on the script for a movie called Beat the Devil. 

The remarkable document here published for the first time is an explanatory note to the censor at the Pisa Detention Camp where Pound was held after the war.

Entered U.P. Penn at 15 with intention of studying comparative values in literature (poetry) and began doing so unbeknown to the faculty. 1902 enrolled as special student to avoid irrelevant subjects. 1903—5 continued process at Hamilton College under W.P. Shepard, “Schnitz” Brandt and J.D. Ibbotson. 1905—7 P.G. at U. of Penn. Chiefly impressed by lack of correlation between different depts, and lack either of general survey of literature or any coherent interest in literature as such (as distinct for example from philology). 

Ezra Pound was obsessed with language. Quotations from seventeen languages, from hieroglyphics to the dialect of the Na-Khi tribe of China are scattered through the Cantos. Two cantos were written completely in Italian: numbers 72 and 73. It is not perfect Italian, though Pound had lived in Italy, off and on, for thirty years when he wrote the poems in Rapallo in 1944 toward the end of the war. There are minute errors of syntax and a few slight slips in verbal tone. But Pound’s ear was so keen, the finest of his generation according to Yeats, it was nearly impossible for him to write a line that was not melodic.