George P. Elliot has drawn a parallel between Pound and Adolf Eichmann based on their anti-Semitism while at the other Marjorie Perloff places Pound's anti-Semitism in a wider context by relating it to the political attitudes of many of his contemporaries, and says, "We have to try to understand why and not say let's get rid of Ezra Pound, who also happens to be one of the greatest poets of the 20th C." In another exercise in contextualisation, Wendy Stallard Flory (1939) made a close study of the poem and concluded that it contains, in all, seven passages of anti-Semitic sentiment in the 803 pages of the edition she used. Pound has always had serious if select defenders and disciples. Louis Zukofsky was both of these, and also Jewish; according to Cookson he defended Pound on the basis of personal knowledge from anti-Semitism on the level of human exchange, even though, as reported by Basil Bunting, their correspondence contained some of Pound's "offensive" views. What is more, Zukofsky's similarly formidable but distinctive long poem "A" follows in its ambitious scope the model of The Cantos. Legacy Despite all the controversy surrounding both poem and poet, The Cantos has been influential in the development of English-language long poems since the appearance of the early sections during the 1920s. Amongst poets of Pound's own generation, both H.D. and William Carlos Williams wrote long poems that show this influence. Almost all of H.D.'s poetry from 1940 onwards takes the form of long sequences, and her Helen in Egypt, written during the 1950s, covers much of the same Homeric ground as The Cantos (but from a feminist perspective), and the three sequences that make up Hermetic Definition (1972) include direct quotations from Pound's poem. In the case of Williams, his Paterson (1963) follows Pound in using incidents and documents from the early history of the United States as part of its material. As with Pound, Williams includes Alexander Hamilton as the villain of the piece. Pound was a major influence on the Objectivist poets, and the effect of The Cantos on Zukofsky's "A" has already been noted. The other major long work by an Objectivist, Charles Reznikoff's Testimony (1934–1978), follows Pound in the direct use of primary source documents as its raw material. In the next generation of American poets, Charles Olson also drew on Pound's example in writing his own unfinished Modernist epic,