{"title":"THE POEM AS STILL-LIFE","authors":"","doi":"10.2307/j.ctv131bwcv.11","DOIUrl":"https://doi.org/10.2307/j.ctv131bwcv.11","url":null,"abstract":"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82239392","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 : 2020-05-29DOI: 10.5325/willcarlwillrevi.37.1.0052
Hahn
ABSTRACT:This article proposes to answer the question of whether William Carlos Williams ultimately reconciles foundational antitheses of style and thought in his work in the affirmative. The author proposes that in Williams's later poetry the idea of memory is key to this resolution: Williams resolves the antithesis between memory and imagination by the figure of mimesis of memory, overcoming an impasse between memory as a memorial of the past in "the old man's dreams" in "The High Bridge above the Tagus River at Toledo" and memory as an enlivening of the creative imagination in the "old man's mind" in Paterson, Book Five, III.
{"title":"\"The old man\": Mimesis of Memory in Williams's Late Poetry","authors":"Hahn","doi":"10.5325/willcarlwillrevi.37.1.0052","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.37.1.0052","url":null,"abstract":"ABSTRACT:This article proposes to answer the question of whether William Carlos Williams ultimately reconciles foundational antitheses of style and thought in his work in the affirmative. The author proposes that in Williams's later poetry the idea of memory is key to this resolution: Williams resolves the antithesis between memory and imagination by the figure of mimesis of memory, overcoming an impasse between memory as a memorial of the past in \"the old man's dreams\" in \"The High Bridge above the Tagus River at Toledo\" and memory as an enlivening of the creative imagination in the \"old man's mind\" in Paterson, Book Five, III.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45104927","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 : 2020-05-29DOI: 10.5325/willcarlwillrevi.37.1.0017
G. Krätli
ABSTRACT:This article uses the recently published correspondence between Williams and the Indian poet Srinivas Rayaprol (1925–1998), spanning Williams's last creative decade, to investigate the former's relationship with Europe still talking to him, in subtly persuasive ways, through the avid, manifold interests and travels of the younger poet. From Bach to Beckett, to Kafka, to Klee, to Monteverdi, Picasso, Ungaretti, Villon, etc.—the list of writers, artists, and musicians the old master and his self-appointed pupil discuss in their letters is patently Eurocentric, and far outweighs any references to American literature and the arts.
{"title":"\"You in the face and the intimacy of the world\": William Carlos Williams's Indo-European Connection","authors":"G. Krätli","doi":"10.5325/willcarlwillrevi.37.1.0017","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.37.1.0017","url":null,"abstract":"ABSTRACT:This article uses the recently published correspondence between Williams and the Indian poet Srinivas Rayaprol (1925–1998), spanning Williams's last creative decade, to investigate the former's relationship with Europe still talking to him, in subtly persuasive ways, through the avid, manifold interests and travels of the younger poet. From Bach to Beckett, to Kafka, to Klee, to Monteverdi, Picasso, Ungaretti, Villon, etc.—the list of writers, artists, and musicians the old master and his self-appointed pupil discuss in their letters is patently Eurocentric, and far outweighs any references to American literature and the arts.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47316987","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 : 2020-05-29DOI: 10.5325/willcarlwillrevi.37.1.0094
Schnur
ABSTRACT:This article analyzes Mina Loy's and William Carlos Williams's depictions of childbirth within the context of the Futurist movement and its approach to gender, sexuality, and the body. Parturient bodies are constantly either erased or hyper-corporealized in ways that pose problems for these poets' aesthetics. This article argues that Williams's constant, simultaneous fascination with, and disgust for, women's bodies in labor—an anxiety that is a hallmark of his career—is a response to the technologically mediated and mechanical bodies at the center of Futurist aesthetics. Using Mina Loy, whose work critics often read as feminist interventions in Futurism, as a departure point for understanding Williams, this article argues that both Williams and Loy use birth as a focal point for understanding the limits of the body and the malleability of its physical boundaries within modernist poetics, effectively rejecting Futurism's avant-garde embrace of the mechanical body.
{"title":"Mechanical Labor and Fleshy Births: Maternal Resistance in Mina Loy and William Carlos Williams","authors":"Schnur","doi":"10.5325/willcarlwillrevi.37.1.0094","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.37.1.0094","url":null,"abstract":"ABSTRACT:This article analyzes Mina Loy's and William Carlos Williams's depictions of childbirth within the context of the Futurist movement and its approach to gender, sexuality, and the body. Parturient bodies are constantly either erased or hyper-corporealized in ways that pose problems for these poets' aesthetics. This article argues that Williams's constant, simultaneous fascination with, and disgust for, women's bodies in labor—an anxiety that is a hallmark of his career—is a response to the technologically mediated and mechanical bodies at the center of Futurist aesthetics. Using Mina Loy, whose work critics often read as feminist interventions in Futurism, as a departure point for understanding Williams, this article argues that both Williams and Loy use birth as a focal point for understanding the limits of the body and the malleability of its physical boundaries within modernist poetics, effectively rejecting Futurism's avant-garde embrace of the mechanical body.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41823581","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 : 2020-05-29DOI: 10.5325/willcarlwillrevi.37.1.0034
Yoshida
ABSTRACT:This article reexamines Williams's notion of the American idiom by means of his iconic 16-word poem "The Red Wheelbarrow" and through his translations of works by Soupault, Char and Éluard. Williams identifies a distinctive rhythmical characteristic of the "American turn of phrase"—a basic anapestic measure as opposed to an iambic pentameter. The poet's determined attempt to render American English distinct from British English and to promote its poetic merits as equal to those of the traditional literary language is seen in his use of the American idiom when translating from French. The article concludes, with reference to theories of translation, that for Williams the act of translation signifies an endeavor to test and demonstrate the unconventional poetic potentiality of the language that he cherished and that his compatriots spoke.
{"title":"Surrealistically \"glazed with\" the American Idiom: Williams's Translations from French Verse and Prose","authors":"Yoshida","doi":"10.5325/willcarlwillrevi.37.1.0034","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.37.1.0034","url":null,"abstract":"ABSTRACT:This article reexamines Williams's notion of the American idiom by means of his iconic 16-word poem \"The Red Wheelbarrow\" and through his translations of works by Soupault, Char and Éluard. Williams identifies a distinctive rhythmical characteristic of the \"American turn of phrase\"—a basic anapestic measure as opposed to an iambic pentameter. The poet's determined attempt to render American English distinct from British English and to promote its poetic merits as equal to those of the traditional literary language is seen in his use of the American idiom when translating from French. The article concludes, with reference to theories of translation, that for Williams the act of translation signifies an endeavor to test and demonstrate the unconventional poetic potentiality of the language that he cherished and that his compatriots spoke.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45891130","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 : 2020-05-29DOI: 10.5325/willcarlwillrevi.37.1.0080
Annadomenica Santacecilia
ABSTRACT:This article offers an analysis of the Italian section, and in particular of the Roman sojourn, of William Carlos Williams's neglected novel, A Voyage to Pagany (1928). A mixture of fiction, autobiography and travelogue, it is the fictional memory of a real trip to Europe taken by the Williamses in 1924, and that proved to be relevant for Williams's creative education and for the development of his poetics. Implicitly through the novel, Williams recalls the autobiographical experience of the composition of his improvisational work Rome, and this article analyses the relationship between this "fragmented" and unfinished manuscript and the Roman ruins and fragments depicted in A Voyage to Pagany, which throw light on many of Williams's unresolved inner conflicts concerning the nature of creativity, the value of Europe to an American artist, and his role as a doctor/writer.
摘要：本文分析了威廉·卡洛斯·威廉姆斯（William Carlos Williams）被忽视的小说《帕格尼之旅》（A Voyage to Pagany，1928）中的意大利部分，尤其是罗马时期的旅居。它是小说、自传和游记的混合体，是威廉姆斯夫妇1924年一次真实的欧洲之旅的虚构记忆，这被证明与威廉姆斯的创造性教育和他的诗学发展有关。通过小说，威廉姆斯回忆起了他即兴创作的作品《罗马》的自传体经历，本文分析了这本“支离破碎”和未完成的手稿与《帕格尼之旅》中描绘的罗马废墟和碎片之间的关系，这些关系揭示了威廉姆斯在创造力本质方面许多尚未解决的内部冲突，欧洲对美国艺术家的价值，以及他作为医生/作家的角色。
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Pub Date : 2020-05-29DOI: 10.5325/willcarlwillrevi.37.1.0004
C. Giorcelli
ABSTRACT:This article shows how, throughout his life, and especially during his last years, William Carlos Williams had a special admiration for St. Francis of Assisi, who, in addition to being an original poet working in a new language, loved and respected nature and was a model of generosity and forgiveness. The article examines Williams's approach to religion and traces the development of his notion of the imagination, in particular in relation to ideas concerning the super-natural.
摘要：这篇文章展示了威廉•卡洛斯•威廉姆斯（William Carlos Williams）在其一生中，尤其是在他生命的最后几年，对阿西西的圣方济各（St.Francis of Assisi）有着特殊的钦佩之情，他不仅是一位用新语言创作的原创诗人，而且热爱和尊重自然，是慷慨和宽恕的典范。这篇文章考察了威廉姆斯对待宗教的方法，并追溯了他的想象概念的发展，特别是与超自然的思想有关的发展。
{"title":"St. Francis in William Carlos Williams","authors":"C. Giorcelli","doi":"10.5325/willcarlwillrevi.37.1.0004","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.37.1.0004","url":null,"abstract":"ABSTRACT:This article shows how, throughout his life, and especially during his last years, William Carlos Williams had a special admiration for St. Francis of Assisi, who, in addition to being an original poet working in a new language, loved and respected nature and was a model of generosity and forgiveness. The article examines Williams's approach to religion and traces the development of his notion of the imagination, in particular in relation to ideas concerning the super-natural.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-05-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49459956","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 : 2020-01-01DOI: 10.5325/willcarlwillrevi.37.2.0117
Copestake
{"title":"Editor’s Note","authors":"Copestake","doi":"10.5325/willcarlwillrevi.37.2.0117","DOIUrl":"https://doi.org/10.5325/willcarlwillrevi.37.2.0117","url":null,"abstract":"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70941975","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}
abstract:This article presents a reading of William Carlos Williams's poetry and poetics through the lens of object-oriented ontology (OOO). While much critical attention has been devoted to Williams's preoccupation with objects, OOO is here seen to provide a rich philosophical framework for his object thought, because OOO allows space for the notion that objects, by their nature, evade human understanding. This is demonstrated through an extended analysis of Kora in Hell alongside Marcel Duchamp's Large Glass, in which similarities between the two works are traced—specifically regarding their shared ontological opacity. The article then discusses the implications of OOO's conception of ontological democracy (or 'flat ontology') for Williams's own egalitarian impulses. An OOO reading of Williams's work is ultimately seen to be more suited to his short poems than it is to such a work as Paterson, which it is argued is fundamentally epistemologically focused.
{"title":"The Well-Wrought Broken Pieces of a Green Bottle: William Carlos Williams and Object-Oriented Ontology","authors":"Michael Delgado","doi":"10.1353/wcw.2019.0008","DOIUrl":"https://doi.org/10.1353/wcw.2019.0008","url":null,"abstract":"abstract:This article presents a reading of William Carlos Williams's poetry and poetics through the lens of object-oriented ontology (OOO). While much critical attention has been devoted to Williams's preoccupation with objects, OOO is here seen to provide a rich philosophical framework for his object thought, because OOO allows space for the notion that objects, by their nature, evade human understanding. This is demonstrated through an extended analysis of Kora in Hell alongside Marcel Duchamp's Large Glass, in which similarities between the two works are traced—specifically regarding their shared ontological opacity. The article then discusses the implications of OOO's conception of ontological democracy (or 'flat ontology') for Williams's own egalitarian impulses. An OOO reading of Williams's work is ultimately seen to be more suited to his short poems than it is to such a work as Paterson, which it is argued is fundamentally epistemologically focused.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/wcw.2019.0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47237709","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}
abstract:This article examines an epistolary exchange between William Carlos Williams and the poet's son, William Eric Williams, between 1942 and 1946, while the latter was stationed in the South Pacific as a US Navy medical officer during the Second World War. The letters chart a development in their relationship as father and son reflect on their respective achievements and hopes regarding writing, but also reveal a deepening of their mutual love for each other. The article also reflects on the themes of violence present in poems by Williams but notes the absence of war references made directly either in his poetry or in the exchanges between the poet father and his son during the conflict.
{"title":"\"As if you had never known me\": William Carlos Williams's Letters to William Eric in the Pacific Theater, World War Two","authors":"T. R. Graham","doi":"10.1353/wcw.2019.0007","DOIUrl":"https://doi.org/10.1353/wcw.2019.0007","url":null,"abstract":"abstract:This article examines an epistolary exchange between William Carlos Williams and the poet's son, William Eric Williams, between 1942 and 1946, while the latter was stationed in the South Pacific as a US Navy medical officer during the Second World War. The letters chart a development in their relationship as father and son reflect on their respective achievements and hopes regarding writing, but also reveal a deepening of their mutual love for each other. The article also reflects on the themes of violence present in poems by Williams but notes the absence of war references made directly either in his poetry or in the exchanges between the poet father and his son during the conflict.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/wcw.2019.0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45777757","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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