Why dunt you NEVER talk TURKEY
I don't mind earning the rent, but whazz use of a letter all full of irrelevance. If I interrupt the flow of soul, life of reason, luminous effulgence of internal mediatation, stop playin tennis against Palmieri and in general lower the TONE of the tenor of my life, I gotter be PAID.
Why don't you say / will you do IO quid worth of hack work?
I mean if that's what you do mean. and say how many pages of typescript is necessary to keep the goddam M. 1 Econome from shaving off the last 8/ and 3d. I take it all I gotter do is to talk about Britches, not necessarily read the ol petrification?
so DO be specific / Rabbit Britches indeed!!!
whaaar he git the plagazization of Rabbit aza name ANYHOW//
and as it we. stop my doing an article already begun on three blokes that aren't yet mortician's, I spose I cd. be aloud to make an occasional confronto between Britches' dulness and the serious unreadability of a few blokes that would write if they could, but at any rate don't pretend, like the buzzardly [lacuna]
proposed title of the article
Testicles versus Testament
an embalmsamation of the Late Robert's Britches.
all the pseudo rabbits / Rabbit Brooks, Rabbit Britches / whot-ter hell / your own hare or a wig sir???
I spose I can cite the what I once said of Britches?
I managed to dig about IO lines of Worse Libre out of one of his leetle bookies. ONCT.
and then there iz the side line of Hupkins / couldn't you send and / or loan. In fact the pooplishers OUGHT to donate a Hup-kins, and the Pubkins LETTERS so az to treate Britches properly.
bak ground for an articl that wen't be as DULL oh bloodily as merely trying to yatter about wot be WROTE
Something ought certaintly to be done to prevent the sale of Oxford Press publications / thaaaar I AM wiff yuh.
and now getting to BIZNIZ / whatter bout that vullum of ez/?
who iza sleeink in THAT.
and PUTSCH to the last degree. . . .
- Ezra Pound in Rapallo writing to T.S. Eliot in London in 1936 in response to Eliot's invitation to contribute an article on Robert Bridges to The Criterion.
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