T.H.: Usura is a central theme in Pound’s political writings and his poetry, especially in the Cantos XLV-LI. Critical discussion has focussed the relationship between the economic thesis of usura and his attitude towards fascism. What’s your view on this?

P.N.: Well, in some ways he was right. All these people like Pound and Céline they were anti-Semitic, but I do respect them for their ideas, even though I’m completely against them. Céline is a great writer and Pound is a great poet, so I have to respect that. Usura was written before the Second World War and everything is there. Pound was emphasizing that art is not for making money, because everything that is made for the purpose of money will collapse. As we are living in such a materialistic society, Pound seems pure. I thought it would be a good thing for the bank to be reminded of that, although their job is to sell money on credit.

T.H.: Was it of any importance that Pound himself was photographed by Cartier-Bresson and Richard Avedon?

P.N.: A friend of mine just sent me a press print from an archive; a fantastic photograph that was taken after Pound was tried for treason in America. It’s alright that Avedon took that wonderful picture of Pound at William Carlos Williams’ house, but I discovered Pound earlier and solely through his poetry when I was young. This man’s life was always a mystery to me. The sound of his voice recorded reading Usura makes my skin shiver!

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