Pub Date : 2024-07-01DOI: 10.5325/willcarlwillrevi.41.1.0058
Christopher MacGowan
Since Charles Bernstein’s influential essay on William Carlos Williams and the Academy, in some ways little has changed in the way Williams’s work is treated in critical discussion and his presentation in some standard college textbooks. This article looks at some examples and considers work by Stephanie Burt and Robert Pinsky, which suggests an alternative perspective.
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Pub Date : 2024-07-01DOI: 10.5325/willcarlwillrevi.41.1.0021
Juliana Spahr
This article is a response to Charles Bernstein’s “The Academy in Peril,” the essay in which he first uses the term “official verse culture.” Using Williams’s convoluted history with leftist magazines in the 1930s and 1940s as an example, it both agrees with Bernstein about their being an official verse and also points to how verse that is often unofficial is also official. It concludes with the author reflecting on poetry’s embeddedness in higher education and what that means for the future.
本文是对查尔斯-伯恩斯坦（Charles Bernstein）的《岌岌可危的学院》（The Academy in Peril）一文的回应，在这篇文章中，伯恩斯坦首次使用了 "官方诗歌文化 "一词。文章以威廉姆斯在 20 世纪 30 年代和 40 年代与左派杂志的曲折历史为例，既同意伯恩斯坦关于官方诗歌的观点，又指出往往非官方的诗歌也是官方的。最后，作者反思了诗歌在高等教育中的嵌入性以及这对未来的意义。
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Pub Date : 2024-07-01DOI: 10.5325/willcarlwillrevi.41.1.0012
Bob Perelman
This article reflects on and praises Charles Bernstein’s 1983 MLA talk “The Academy in Peril: William Carlos Williams Meets the MLA” following the occasion of its fortieth anniversary. Picking up on Bernstein’s view of Williams, the article offers a reading of Spring and All, focusing on its varying uses of prose and poetry and its relation to T. S. Eliot’s The Waste Land.
本文对查尔斯-伯恩斯坦（Charles Bernstein）在 1983 年文学和艺术协会成立 40 周年之际发表的演讲 "濒临危险的学院：William Carlos Williams Meets the MLA "演讲。文章以伯恩斯坦对威廉斯的看法为基础，对《春与万物》进行了解读，重点关注其散文与诗歌的不同用法以及与 T. S. 艾略特的《荒原》的关系。
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Pub Date : 2024-07-01DOI: 10.5325/willcarlwillrevi.41.1.0030
Hazel Smith
This article argues that William Carlos Williams’s work foreshadows the evolution of electronic literature, which it suggests is one of the main fields in which poets can now explore new literary directions. The first half of the article inspects concepts of the new in William Carlos Williams’s Spring and All and Charles Bernstein’s landmark essay “The Academy in Peril: William Carlos Williams Meets the MLA.” It speculates on what form the new can now take in contemporary poetry and the relationship between the new and the experimental. It also probes the changes that have taken place in the relationship between poetry, critical writing, and the academy since the publication of Spring and All and Bernstein’s “The Academy in Peril” essay. The second half of the article explores Williams’s involvement in the project The Readies that is a precursor to electronic literature and the manipulation of his poetry in generative computer bots. It also demonstrates how ideas about space, ekphrasis and enjambment expressed in Williams’s essays and creative practice relate to features of electronic literature.
本文认为威廉-卡洛斯-威廉斯的作品预示了电子文学的发展，并认为电子文学是诗人现在探索新文学方向的主要领域之一。文章的前半部分探讨了威廉-卡洛斯-威廉斯的《春天与一切》和查尔斯-伯恩斯坦的里程碑式论文《岌岌可危的学院》中的新概念：William Carlos Williams Meets the MLA "一文中的新概念。文章推测了新诗在当代诗歌中的表现形式，以及新诗与实验诗之间的关系。文章还探讨了自《春与万物》和伯恩斯坦的 "学院危亡 "一文发表以来，诗歌、评论写作和学院之间的关系发生了哪些变化。文章的后半部分探讨了威廉斯参与 "The Readies "项目的情况，该项目是电子文学的先驱，他的诗歌在生成式计算机机器人中得到了处理。文章还论证了威廉斯的散文和创作实践中表达的关于空间、咏叹调和连绵词的思想与电子文学的特点之间的关系。
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Pub Date : 2024-07-01DOI: 10.5325/willcarlwillrevi.41.1.0001
Elin Käck
This article revisits a talk at a William Carlos Williams panel that would come to have a major impact on discussions of poetry and poetics, but which also made clear the problematic critical divide between the Williams of the short lyric and the Williams of genre-defying, experimental work, such as Spring and All. The panel took place at the 1983 MLA Convention in New York City, and the speaker was Charles Bernstein. This introductory article to this special issue discusses the original event as well as the talk itself—“The Academy in Peril: William Carlos Williams Meets the MLA”—which has since been published in essay form. In addition, this introduction considers the lasting importance of Spring and All, which was also the topic of a 2023 MLA Williams panel in which Bernstein participated with Bob Perelman and Juliana Spahr to provide their perspectives on the 100th anniversary of Spring and All and the fortieth anniversary of “The Academy in Peril.”
这篇文章重温了威廉-卡洛斯-威廉斯在一次小组讨论会上的发言，该发言对诗歌和诗学的讨论产生了重大影响，同时也明确了短篇抒情诗的威廉斯与《春天与一切》等突破体裁、实验性作品的威廉斯之间存在的批评分歧。讨论会于 1983 年在纽约市举行的文学和艺术协会大会上举行，发言人是查尔斯-伯恩斯坦。本特刊的这篇介绍性文章讨论了最初的活动以及演讲本身--"岌岌可危的学院"：William Carlos Williams Meets the MLA"（威廉-卡洛斯-威廉姆斯与文学与艺术协会的会面），该演讲后来以论文形式发表。伯恩斯坦与鲍勃-佩雷尔曼 (Bob Perelman) 和朱莉安娜-斯帕尔 (Juliana Spahr) 一起参加了 2023 年文学和艺术协会威廉斯小组讨论会，就《春与万物》出版 100 周年和 "危难中的学院 "出版 40 周年发表了各自的观点。
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Pub Date : 2024-07-01DOI: 10.5325/willcarlwillrevi.41.1.0071
Hélène Aji
This article works through an examination of Bob Perelman’s poems in relation to major Williamsian defining features of the poet, poetic language, and poetics, and asks: Is there a way to recover from a modernist past that has become enshrined and canonized? How to relate to the bewildering inventiveness, as it sometimes walks hand in hand with a stupefying dogmatism? Developing a form of poetic activism over a span of more than fifty years, Perelman has shown growing interest in Williams’s work, the poems and the essays, as possible matrixes for a poetic practice that encompasses the preoccupation with language, the intermedial awareness of the poem’s interactions with the visual, and the ethical commitment to a political and philosophical discourse on the human.
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Pub Date : 2024-07-01DOI: 10.5325/willcarlwillrevi.41.1.0086
Charles Bernstein
Recollections of the author’s 1983 speech on Williams at the MLA Annual Convention led to a critique of his formulation of “official verse culture” with special reference to Randall Jarrell. Are there “sides” in modernist and contemporary American poetry? Some poets seem to be embraced by “both sides” (including, but not at all times, Williams), while others, equally significant, are not. Cultural homogeneity, often unconscious, works against aesthetically necessary diversity. In 1983, as well as in this work, the author employed rhetorical strategies for poetic ends, or possibly vice versa. A strong argument is made for Williams not only as a great poet but a supernal—indeed foundational—thinker for modernist and contemporary poetics.
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Pub Date : 2023-12-01DOI: 10.5325/willcarlwillrevi.40.2.0206
Stephen Hahn
This essay examines how Williams’s approach to the subject of aging in his poetry developed over time, from an early and inchoate desire for deeper knowledge of life to a complex celebration of aging as an integral part of the life process. It argues that Williams’s treatment of aging subjects (whether identified with the lyric speaker of a poem or a person characterized in a poem) is distinct from that of other major poets, encouraging the reader’s empathetic engagement while also pointing up the aging subject’s resistance to care. The essay concludes that Williams’s distinctive view of death, represented in a poem such as “The Descent,” is one of relinquishment rather than resistance.
{"title":"William Carlos Williams and the Subject of Aging","authors":"Stephen Hahn","doi":"10.5325/willcarlwillrevi.40.2.0206","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.40.2.0206","url":null,"abstract":"\u0000 This essay examines how Williams’s approach to the subject of aging in his poetry developed over time, from an early and inchoate desire for deeper knowledge of life to a complex celebration of aging as an integral part of the life process. It argues that Williams’s treatment of aging subjects (whether identified with the lyric speaker of a poem or a person characterized in a poem) is distinct from that of other major poets, encouraging the reader’s empathetic engagement while also pointing up the aging subject’s resistance to care. The essay concludes that Williams’s distinctive view of death, represented in a poem such as “The Descent,” is one of relinquishment rather than resistance.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138624416","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-12-01DOI: 10.5325/willcarlwillrevi.40.2.0165
Florian Gargaillo
Although Williams has been praised for depicting working-class life in verse, many of his poems on the subject are marked by curious evasions. This essay considers three aspects of his approach that have received little attention. First, Williams minimizes or erases working-class people in settings where they would presumably be central. Second, he avoids depicting manual labor entirely or treats it as a metaphor for other forms of work. Third, he opposes any attempts to read his poems about the working class politically, by evoking and then quickly revoking the potential for political allegory. These evasions can be traced back to Williams’s distaste for poetry that places politics over form, as well as his objections to Marxist thought. But the poems also betray doubts about his ability to understand and represent working-class life in light of his more privileged social situation. By close reading a range of canonical and lesser-known poems, this article demonstrates that Williams’s portrayal of the working class is far more slippery, avoidant, and conflicted than the scholarship has acknowledged.
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Pub Date : 2023-12-01DOI: 10.5325/willcarlwillrevi.40.2.0243
Olivier Bochettaz
This essay highlights the numerous evidences of Chinese influences on Williams’s poetry, and particularly on the composition of Spring and All. What was it in Chinese poetry that could help Williams accomplish his poetic modernization which Pound was urging him to perform? In which ways and to which extent did Williams use Chinese poetic forms and concepts to compose his modernist masterpiece? As a continuation of the research of Wai-Lim Yip and Zhaoming Qian, two of the very few scholars who have focused their attention on this topic, this essay asks how much of what is seen by Western critics as poetic innovations by Williams can actually be seen as appropriations or derivations from Chinese language and poetics. It highlights that many of the poetic devices used in Spring and All, Williams’s breakthrough volume as a modernist, are actually either borrowed from traditional Chinese poetics, or result from the fusion of the English language with ideogramic linguistic concepts.
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