The Little Review Anthology

The Little Review Anthology

The Little Review Anthology

The Little Review Anthology


There is nothing stronger than the force of a conviction. It will drive you to success.

My conviction in founding the Little Review was that people who make Art are more interesting than those who don't; that they have a special illumination about life; that this illumination is the subject-matter of all inspired conversation; that one might as well be dead as to live outside this radiance. I was sure that I could impose my conviction by creating a magazine dedicated to Art for Art's sake.

I see, today, that I succeeded.

William Carlos Williams once wrote me: "As always, most of the stuff the Little Review prints is bad, I suppose, but the Little Review is good." How right he was. But it is only by condensing the Little Review to its quintessence that one can see how good it was.

I know now the sources of this "goodness." Much of it came from Ezra Pound and his genius for discovering and aiding the important artists of our time; much of it came from my own flair for distinguishing between the "interesting" and the "uninteresting"; but most of it came from Jane Heap and her possession of that special illumination.

Someone has defined great Art as a struggle for communication. As I read through the files of the Little ReviewI feel more strongly than anything else this "strange necessity" to communicate those matters that lie just beyond the range of common understanding. Jane and I, to all who came, were those good companions whose talk led to exaltation.

It is ironic that this magazine of my high purpose should have lacked, in two of its three phases, the very quality it was created for . . .

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