Pub Date : 2022-12-01DOI: 10.5325/willcarlwillrevi.39.2.0231
C. Macgowan
{"title":"Two American Poets—Wallace Stevens & William Carlos Williams: From the Collection of Alan M. Klein. The Grolier Club, New York, 2019.","authors":"C. Macgowan","doi":"10.5325/willcarlwillrevi.39.2.0231","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.2.0231","url":null,"abstract":"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46205284","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 : 2022-12-01DOI: 10.5325/willcarlwillrevi.39.2.0234
Alec Marsh
{"title":"Open Form in American Poetry: Essays by Burton Hatlen. Ed. Bruce Holsapple. U of Maine P, 2021. 309 pp. plus seven color plates. ISBN 978-0-89101-131-6. $28.00.","authors":"Alec Marsh","doi":"10.5325/willcarlwillrevi.39.2.0234","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.2.0234","url":null,"abstract":"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43733008","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 : 2022-12-01DOI: 10.5325/willcarlwillrevi.39.2.0242
Simon D. Trüb
{"title":"William Carlos Williams Bibliography 2021","authors":"Simon D. Trüb","doi":"10.5325/willcarlwillrevi.39.2.0242","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.2.0242","url":null,"abstract":"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43996857","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 : 2022-12-01DOI: 10.5325/willcarlwillrevi.39.2.0135
Jonathan Cohen
ABSTRACT:William Carlos Williams’s translation of the Spanish Golden Age novella El perro y la calentura (The Dog and the Fever), by Pedro Espinosa, is a major work in Williams’s canon that has yet to receive the degree of attention it deserves from scholars. The omission from scholarly understanding of this translation of proto- modern fiction limits the full appreciation of both his development and his achievement as a major American author. My essay examines the translation and its importance to Williams, his idea of modernism, and his epic verse.
{"title":"William Carlos Williams’s The Dog and the Fever: Baroque Proto-Modernism as American Modernist Innovation","authors":"Jonathan Cohen","doi":"10.5325/willcarlwillrevi.39.2.0135","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.2.0135","url":null,"abstract":"ABSTRACT:William Carlos Williams’s translation of the Spanish Golden Age novella El perro y la calentura (The Dog and the Fever), by Pedro Espinosa, is a major work in Williams’s canon that has yet to receive the degree of attention it deserves from scholars. The omission from scholarly understanding of this translation of proto- modern fiction limits the full appreciation of both his development and his achievement as a major American author. My essay examines the translation and its importance to Williams, his idea of modernism, and his epic verse.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44410335","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 : 2022-12-01DOI: 10.5325/willcarlwillrevi.39.2.0215
Zachary Tavlin
ABSTRACT:This article departs from J. Hillis Miller’s notion of “copresence” in Williams’s poetry to consider ekphrasis as a specific mode of access to the world, revealing differences between art forms as differences between how and what they make present. It focuses, as a primary example, on Williams’s “The Hunters in the Snow,” from Pictures from Brueghel.
摘要:本文从米勒在威廉姆斯诗歌中的“在场”概念出发，将短语视为一种特定的接近世界的方式，揭示了艺术形式之间的差异，即它们如何呈现和呈现什么内容的差异。作为一个主要的例子，它关注的是威廉姆斯的《雪中的猎人》(The Hunters in The Snow)，出自布鲁盖尔的作品。
{"title":"Ekphrastic Copresence: “The Hunters in the Snow” as a Style of Poetic Access","authors":"Zachary Tavlin","doi":"10.5325/willcarlwillrevi.39.2.0215","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.2.0215","url":null,"abstract":"ABSTRACT:This article departs from J. Hillis Miller’s notion of “copresence” in Williams’s poetry to consider ekphrasis as a specific mode of access to the world, revealing differences between art forms as differences between how and what they make present. It focuses, as a primary example, on Williams’s “The Hunters in the Snow,” from Pictures from Brueghel.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46064481","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 : 2022-12-01DOI: 10.5325/willcarlwillrevi.39.2.0160
James Searle
ABSTRACT:This essay reads Williams’s poetry and poetics from the vantage of pragmatic naturalism to clarify the philosophical and pedagogical importance of Kora in Hell: Improvisations. Drawing on the work of John Dewey and contemporary philosophy of mind, it both reconsiders the status of things and objects in Williams’s compositional practice and clarifies the poet’s radical claims for the enabling role of poetry and the arts for human agency and thinking.
{"title":"Williams’s Profundity: Pragmatic Naturalism and Distributed Poetic Thinking","authors":"James Searle","doi":"10.5325/willcarlwillrevi.39.2.0160","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.2.0160","url":null,"abstract":"ABSTRACT:This essay reads Williams’s poetry and poetics from the vantage of pragmatic naturalism to clarify the philosophical and pedagogical importance of Kora in Hell: Improvisations. Drawing on the work of John Dewey and contemporary philosophy of mind, it both reconsiders the status of things and objects in Williams’s compositional practice and clarifies the poet’s radical claims for the enabling role of poetry and the arts for human agency and thinking.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44098730","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 : 2022-06-01DOI: 10.5325/willcarlwillrevi.39.1.0131
C. Giorcelli
{"title":"Cristina Giorcelli, Botteghe Oscure e la letteratura statunitense, Roma, Edizioni di Storia e Letteratura, 2021, pp. 378.","authors":"C. Giorcelli","doi":"10.5325/willcarlwillrevi.39.1.0131","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.1.0131","url":null,"abstract":"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47267022","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 : 2022-06-01DOI: 10.5325/willcarlwillrevi.39.1.0001
Emily Mitchell Wallace†
This previously unpublished essay by the late author argues that male biographers of Williams have been unfair in their accounts of the women in Williams’s life and counters claims commonly made in previous Williams biographies concerning the nature of Williams’s relationship with specific female friends. Williams’s relationship to his wife, Florence Williams is also seen to be built on mutual understanding and loyalty despite published claims of infidelity which are directly refuted here by focusing in detail on the nature of Williams’s relationships with, in particular, Evelyn Scott, Nancy Cunard, Myra Marini, Kathleen Hoagland, Baroness Elsa von Freytag-Loringhoven and Marion Strobel. The use by Williams’s most recent biographer, Herbert Leibowitz, of poems as “biographical evidence” to support his claims is also countered through close readings of the same poems.
{"title":"“All the Girls”","authors":"Emily Mitchell Wallace†","doi":"10.5325/willcarlwillrevi.39.1.0001","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.1.0001","url":null,"abstract":"\u0000 This previously unpublished essay by the late author argues that male biographers of Williams have been unfair in their accounts of the women in Williams’s life and counters claims commonly made in previous Williams biographies concerning the nature of Williams’s relationship with specific female friends. Williams’s relationship to his wife, Florence Williams is also seen to be built on mutual understanding and loyalty despite published claims of infidelity which are directly refuted here by focusing in detail on the nature of Williams’s relationships with, in particular, Evelyn Scott, Nancy Cunard, Myra Marini, Kathleen Hoagland, Baroness Elsa von Freytag-Loringhoven and Marion Strobel. The use by Williams’s most recent biographer, Herbert Leibowitz, of poems as “biographical evidence” to support his claims is also countered through close readings of the same poems.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42834965","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 : 2022-06-01DOI: 10.5325/willcarlwillrevi.39.1.0059
Elin Käck
ABSTRACT:This article analyzes Williams's use of foreign words, primarily in Kora in Hell, as well as his employment of signs in various poems, in order to consider his poetic response to a consumerist society characterized by inequality. Drawing on Adorno's theory on the use of foreign words, this article argues that Williams crafts his challenge to the entanglement between market forces and language in part through recourse to foreign languages. Moreover, within the overall frame of a socially inequitable consumer culture, the article discusses Williams's inclusion of wandering or immobile figures, such as vagrants, and his own conflicted position in relation to these presences in his poems. The insertion of foreign words and the inclusion of socially marginalized, wandering figures are here, together with procedures of citation and collage, seen as employed in order to expose the ways in which we are bound by a language that is made to serve consumerism and market forces and which only art has the capacity to challenge.
{"title":"Signs of Language Beyond Calculation: Williams's Use of Foreign Languages, Citation and Collage against Consumerism","authors":"Elin Käck","doi":"10.5325/willcarlwillrevi.39.1.0059","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.1.0059","url":null,"abstract":"ABSTRACT:This article analyzes Williams's use of foreign words, primarily in Kora in Hell, as well as his employment of signs in various poems, in order to consider his poetic response to a consumerist society characterized by inequality. Drawing on Adorno's theory on the use of foreign words, this article argues that Williams crafts his challenge to the entanglement between market forces and language in part through recourse to foreign languages. Moreover, within the overall frame of a socially inequitable consumer culture, the article discusses Williams's inclusion of wandering or immobile figures, such as vagrants, and his own conflicted position in relation to these presences in his poems. The insertion of foreign words and the inclusion of socially marginalized, wandering figures are here, together with procedures of citation and collage, seen as employed in order to expose the ways in which we are bound by a language that is made to serve consumerism and market forces and which only art has the capacity to challenge.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46227179","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 : 2022-06-01DOI: 10.5325/willcarlwillrevi.39.1.0078
Zhan-ru Yang
ABSTRACT:This essay aims to investigate William Carlos Williams's interaction with Chinese landscape aesthetics by arguing that he adapted an idea of seeing prevalent in Chinese landscape poetry into his own poetics. Seeing, meaning zhiguan (直观 direct observation and perception), is an important way of accessing nature's "sufficiency" in Daoist philosophy. Williams blends the idea of seeing into his important collection Sour Grapes, which prompted him to theorize it further in the prose fragments of Spring and All. Seeing and sufficiency are rephrased by Ezra Pound as "direct treatment of the thing" and "completeness," and are developed by Williams far beyond Pound's applications into his work, notably in Williams's two versions of "The Locust Tree in Flower."
{"title":"Landscape and Seeing in Williams's Poetry: A Chinese Perspective","authors":"Zhan-ru Yang","doi":"10.5325/willcarlwillrevi.39.1.0078","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.39.1.0078","url":null,"abstract":"ABSTRACT:This essay aims to investigate William Carlos Williams's interaction with Chinese landscape aesthetics by arguing that he adapted an idea of seeing prevalent in Chinese landscape poetry into his own poetics. Seeing, meaning zhiguan (直观 direct observation and perception), is an important way of accessing nature's \"sufficiency\" in Daoist philosophy. Williams blends the idea of seeing into his important collection Sour Grapes, which prompted him to theorize it further in the prose fragments of Spring and All. Seeing and sufficiency are rephrased by Ezra Pound as \"direct treatment of the thing\" and \"completeness,\" and are developed by Williams far beyond Pound's applications into his work, notably in Williams's two versions of \"The Locust Tree in Flower.\"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45028907","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}
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