Dear Charmion: --/--/ I am very glad to know that you have been keeping up the writing,--whether prose, poetry, or drama doesn’t so much matter. The point about it all is that it serves to keep you alert and alive much more than any other activity I know of,--and especially anything as warm as a “Byzantine drama of blood” sounds interesting. The historical drama seems to me as legitimate as any other provided it has enough organic life of its own and doesn’t depend merely on the fame, etc., of the protagonists for effect. Have you read Stendhal’s _Chartreuse de Parma_? So far as I know it has never been dramatized, and there is much good material in it. I find Stendhal, incidentally, one of the few men who wear deeper with familiarity. You probably have read his _Rouge et Noir_. --/--/ 75: TO GORHAM MUNSON _Cleveland, Ohio_ _Sept. 19th ’21_ My dear Gorham: --/--/ _The L. R._, I was informed on a card from j.h. the other day, is recovering, will shortly re-appear as a quarterly under Pound, Picabia, etc., 24 illustrations and 96 pgs! Mart Anderson also recovering “sanity,” etc. -- -- -- -- I sold them [_The Dial_] the poem you read just before leaving, “Pastorale”--which will come out soon. I also sold one, “Persuasion,” to _The Measure_--and “Porphyro in Akron” came out in the last _Double Dealer_ in first place. The result of all this is that I am “sold out” and will have to rush rhymes and rhythms together to supply my enthusiastic “public” as fast as I can. But the family is all upset about my unemployment and money _is_ needed. I am too uneasy to accomplish a thing, but hammer out a translation of de Gourmont’s marginalia on Poe & Baudelaire for _The D.D._ I have projects and a few lines started on poems,--but nothing “comes through”--it is at times discouraging. I do not expect to hear from Josephson again. He wrote me several letters full of brilliant criticism and suggestions--but we do not exactly agree on theory and he has become so complex--that the lack of sympathy my last letter offered him will bring no response from [him] I’m quite sure--especially now after an unusually long interstice. But this extremity of hair splitting palls on one after awhile. A little is interesting--but goes a long ways. He seems afraid to use any emotion in his poetry,--merely observation and sensation,--and because I call such work apt to become thin, he thinks me sloppy and stupid,--as no doubt I am. But after all,--I recognize him as in many ways the most _acute_ critic of poetry I know of--the only trouble is that he tries to force his theories into the creative process,--and the result, to me, is too tame a thing. --/--/ 76: TO GORHAM MUNSON _Cleveland_ _Oct. 1, ’21_