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Rummaging through his papers in 1958, Ezra Pound came across a cache of notebooks dating back to the summer of 1912, when as a tender man he had walked the troubadour landscape of southern France. Pound had been occupied with the poetry of medieval Provence since his college days. His experiments with the complex lyric varieties of Amaut Daniel, Bertran de Born, and others were included in his earliest books of poems; his scholarly pursuits within the field found their way into The Spirit of Romance (1910); and the troubadour mystique was once to change into a resonant motif of the Cantos. At some point of transcribing and emending the text of “Walking Tour 1912,” editor Richard Sieburth retraced Pound’s footsteps along the roads to the troubadour castles. “What this peripatetic editing process found out,” he writes, “was once a remarkably readable account of a journey searching for the vanished voices of Provence that on the same time chronicled Pound’s gradual discovery of himself as a modernist poet.”
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