Charles Bernstein, quoting Robert Castillo on Ezra Pound: “Pound turned to Fascism because he shares not only its deep fear of indeterminacy"--of the vague, inchoate, and incommensurable, of all that is mysterious or ambiguous or unknown--"but also its central desire, which is to banish the indeterminate from social life"
“What grotesque views for someone whose work is filled with indeterminacy, abstraction, obscurity, verbiage, equivocation, ambiguity, [and] allegory”—“the utopian chaos of a negative dialectic”
"his [Fascist] rantings are absorbed into The Cantos not as truth but as befouled rubble, not as privileged material but as debased material"