Pound's pedagogy is "revolutionary" in the sense that he continually directed his attention to marginal figures such as Remy de Gourmont, opposing the traditionalist and more conventional critical approach of T.S.

Lindberg concludes her study with a chapter that relates the history of Pound's critical writings to the more contemporary thought of Gilles Deleuze and Félix Guattari, in which their rhizomatic theory of culture sets forth a vision of artistic creation and influence that resembles a system of tendrils and roots rather than a trees and branches.

Cordell D. K. Yee, reviewing the book for the journal American Literature, stated that Reading Pound Reading "aims to unsettle critical orthodoxy.... By identifying affinities between Pound and Nietzsche, Lindberg seeks to undermine widely accepted views of early twentieth-century literary history.

Lindberg's wish to avoid, in the main, 'the Poundians' is part of a necessary project to redeem Pound (and modernism) from what has so often been a debate that formalizes, dehistoricizes, and anaesthetizes its subject.

[5]Martin Melaver, reviewing Reading Pound Reading for Poetics Today, described the book as follows: For Lindberg, it is precisely the poet-critic's lack of system—his disdain for copyright laws; his marginal commentaries; his use of tropes such as punning, cliche, and folk etymology to counter abstract thought; his manipulation of wide-ranging references and heterogeneous catalogs to inhibit generalization and hinder the recognition of simple facts, his efforts to break down generic distinctions; his fragmented borrowings, free translations, and misreadings; his destabilizing use of metaphor—that locates Pound within a modernist coterie, all of whose reading practices challenge and disrupt basic assumptions about a cultural tradition.