John Allan Wyeth, Ezra Pound and the random particularity of war

Excerpted from Before the Clangor of the Gun:\

"More than any other English-language poet of the war, Wyeth’s language is stripped clean of 19th-century tonalities and devices. A contributing factor to Wyeth’s modernist style might have been that, during the years immediately prior to the publication of This Man’s Army, when he was almost certainly composing his sonnets, Wyeth resided in the American colony in Rapallo, Italy, where he was known to be friends with Ezra Pound (see “Notes on Wyeth’s Years in Rapallo,” p. 99).

While it is impossible to know the nature, or extent, of Pound’s influence on Wyeth, there is no denying that Wyeth’s stringently honed descriptions—where every word contributes to the presentation and every image is distilled to its essentials—accord closely to the Imagist principles which Pound espoused in the years before the war. Even the Imagist stricture that the rhythm of a poem should possess the fluidity of a musical phrase rather than the beat of a metronome, is not violated by Wyeth’s sonnets, which display an unprecedented metrical freedom within the general constraint of the form.

Whether Wyeth developed his acute descriptive powers under the influence of Pound, or from earlier influences, is a matter of conjecture. It is at least as plausible that the minutely observed and needle-sharp descriptions of Henry James provided the primary influence on Wyeth’s technique. According to Edmund Wilson, only he and Wyeth—of their literary circle at Princeton—read James seriously while they were there, and it was Wyeth who led Wilson to a full appreciation of James’ technique.

            Wyeth’s reliance on chance, on working with whatever objects circumstance might provide, even when they serve no apparent thematic or metaphoric purpose, has a basic affinity with a precept of another major theorist of Imagism, T.E. Hulme, who was a direct influence on Pound. Hulme’s contention was that it is not the object itself that matters, but only its description. Any object will do as well as any other, including random objects served up by chance.

The idea of employing randomness as a compositional principle may have been unusual in literary theory in those years, but in the visual arts the notion of the objet trouvé (“found object”) had been in the air since well before the war, from Picasso’s Still-life with Chair Caning, to Duchamp’s “ready-mades,” to Dada’s reliance on whatever the artist happened to pick up in the street.  It is certainly no stretch to assume that Wyeth, with his years spent in New York, London and Paris, and his lifelong interest in contemporary movements in art, would have keep well abreast of such developments.

Wyeth’s reliance on circumstantial subject matter might tempt a less well-informed critic to dismiss Wyeth’s sonnets as mere documentary reportage, but if that were all his sonnets amounted to, they would lie flat and lifeless on the page.  What we find instead is a body of work where the unsettled randomness of actual events infuses each sonnet with an élan vital, a vital spark. Far from being the equivalent of old newspapers fit only for wrapping fish, Wyeth’s sonnets are living vignettes, rich in chaos, chlorine, and all the random particularity of war."

BJ Omanson