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":"1 1","pages":""},"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":"36 1","pages":"64 - 88"},"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":"36 1","pages":"53 - 63"},"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}
{"title":"William Carlos Williams Bibliography 2018","authors":"Simon D. Trüb","doi":"10.1353/wcw.2019.0012","DOIUrl":"https://doi.org/10.1353/wcw.2019.0012","url":null,"abstract":"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"36 1","pages":"139 - 141"},"PeriodicalIF":0.0,"publicationDate":"2019-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/wcw.2019.0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49283075","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 explores the ideology of the avant-garde, with particular reference to sacralization of novelty, technoscience and creativity in modernism in the work of William Carlos Williams. It explores ways in which inherent contradictions in the ideology of the avant-garde problematized substitutions for religious faith, and how Williams navigated questions of belief and doubt in his invented faith. Through readings of poems such as "Light Becomes Darkness" and "The Rose," Williams evokes the perpetual present of the reading experience as a way of escaping the cycle of creation and destruction that threatened to undermine all "new" work and make it representative of the old. Through a semi-spiritual sacralization of the moment of encounter between the reader and the text, the Cult of the New becomes the Culture of Renewal in which the past is not rejected in favor of an essentialized time of the "new."
{"title":"William Carlos Williams and the Cult of the New","authors":"Tony Barnstone","doi":"10.1353/wcw.2019.0009","DOIUrl":"https://doi.org/10.1353/wcw.2019.0009","url":null,"abstract":"abstract:This article explores the ideology of the avant-garde, with particular reference to sacralization of novelty, technoscience and creativity in modernism in the work of William Carlos Williams. It explores ways in which inherent contradictions in the ideology of the avant-garde problematized substitutions for religious faith, and how Williams navigated questions of belief and doubt in his invented faith. Through readings of poems such as \"Light Becomes Darkness\" and \"The Rose,\" Williams evokes the perpetual present of the reading experience as a way of escaping the cycle of creation and destruction that threatened to undermine all \"new\" work and make it representative of the old. Through a semi-spiritual sacralization of the moment of encounter between the reader and the text, the Cult of the New becomes the Culture of Renewal in which the past is not rejected in favor of an essentialized time of the \"new.\"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"36 1","pages":"125 - 89"},"PeriodicalIF":0.0,"publicationDate":"2019-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/wcw.2019.0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45880822","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}
{"title":"Why Should I Write a Poem Now. The Letters of Srinivas Rayaprol and William Carlos Williams, 1949–1958 ed. by Graziano Krätli (review)","authors":"C. Giorcelli","doi":"10.1353/wcw.2019.0011","DOIUrl":"https://doi.org/10.1353/wcw.2019.0011","url":null,"abstract":"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"36 1","pages":"136 - 138"},"PeriodicalIF":0.0,"publicationDate":"2019-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/wcw.2019.0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42410435","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}
{"title":"The Dog and the Fever: A Perambulatory Novella by Pedro Espinosa ed. by Jonathan Cohen (review)","authors":"R. Ratzan","doi":"10.1353/wcw.2019.0010","DOIUrl":"https://doi.org/10.1353/wcw.2019.0010","url":null,"abstract":"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"36 1","pages":"126 - 136"},"PeriodicalIF":0.0,"publicationDate":"2019-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/wcw.2019.0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41541263","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}
The Great American Novel,” which the William Carlos Williams Review is reprinting to celebrate fifty years since its first publication, reminds me of one sunny morning in the late 1970s, when I sat in the garage of the fourroom bungalow my first husband and I rented with our two small children, dangling my legs over the arm of my chair, smoking Kents, and trying to make sense of Williams’s strange, brief book. The garage, with its castoff furniture and the $5 motorcycle that didn’t run, was the only place I could work, a bit removed from the house yet still available in case of emergency. I was preparing to write my dissertation at the time—the dissertation that years later became William Carlos Williams and Autobiography: The Woods of His Own Nature—and was slowly reading and rereading everything Williams had published. To tell the truth, I don’t think I encountered Wagner-Martin’s article back then; mostly, I was focusing on autobiography theory and criticism of Williams’s poetry, and probably the biggest influence on my work was J. Hillis Miller’s 1965 book Poets of Reality. But I wish I had read it. I wish I had had a firmer sense of what’s at stake in The Great American Novel, which Linda Wagner-Martin so beautifully now helps me understand.
《威廉·卡洛斯·威廉姆斯评论》(William Carlos Williams Review)正在重印《伟大的美国小说》，以庆祝其首次出版50周年。这本书让我想起了20世纪70年代末一个阳光明媚的早晨，我和第一任丈夫带着两个年幼的孩子，坐在四室平房的车库里，把腿悬在椅子扶手上，抽着肯特香烟，试图理解威廉姆斯这本奇怪而简短的书。车库是我唯一能工作的地方，里面有废弃的家具和那辆5美元的坏了的摩托车，它离房子有点远，但在紧急情况下仍然可用。当时我正准备写我的论文——那篇论文多年后成为《威廉·卡洛斯·威廉姆斯自传:他自己本性的森林》——我慢慢地阅读和重读威廉姆斯发表的所有东西。说实话，我想我当时并没有读到Wagner-Martin的文章;我主要关注自传理论和对威廉姆斯诗歌的批评，对我的作品影响最大的可能是j·希利斯·米勒1965年出版的《现实的诗人》一书。但我希望我读过它。我希望我能对《伟大的美国小说》的利害关系有更坚定的认识，琳达·瓦格纳-马丁(Linda Wagner-Martin)现在如此美妙地帮助我理解了这部小说。
{"title":"Marking Fifty Years of Williams Scholarship: Linda Wagner-Martin's \"William Carlos Williams's The Great American Novel\"","authors":"A. Fisher-Wirth","doi":"10.1353/WCW.2019.0006","DOIUrl":"https://doi.org/10.1353/WCW.2019.0006","url":null,"abstract":"The Great American Novel,” which the William Carlos Williams Review is reprinting to celebrate fifty years since its first publication, reminds me of one sunny morning in the late 1970s, when I sat in the garage of the fourroom bungalow my first husband and I rented with our two small children, dangling my legs over the arm of my chair, smoking Kents, and trying to make sense of Williams’s strange, brief book. The garage, with its castoff furniture and the $5 motorcycle that didn’t run, was the only place I could work, a bit removed from the house yet still available in case of emergency. I was preparing to write my dissertation at the time—the dissertation that years later became William Carlos Williams and Autobiography: The Woods of His Own Nature—and was slowly reading and rereading everything Williams had published. To tell the truth, I don’t think I encountered Wagner-Martin’s article back then; mostly, I was focusing on autobiography theory and criticism of Williams’s poetry, and probably the biggest influence on my work was J. Hillis Miller’s 1965 book Poets of Reality. But I wish I had read it. I wish I had had a firmer sense of what’s at stake in The Great American Novel, which Linda Wagner-Martin so beautifully now helps me understand.","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"36 1","pages":"24 - 24"},"PeriodicalIF":0.0,"publicationDate":"2019-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/WCW.2019.0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43238595","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}
a distant stage, in May 1979. This was before I had actually settled down to read her pioneer books and articles on William Carlos Williams. I had only just gravitated towards a decision to write my doctoral dissertation on the poet, aided by Walt Litz’s argument that Williams would be a better subject to explore than the other author I had pitched to him with fervor. Having only just gotten started, I was in the process of reading what seemed like a very long list of works by our author. To be followed by what seemed the much shorter list of books and articles on our author—and Linda Wagner-Martin’s name appeared alongside quite a few of them. The occasion of this distant glimpse—which brought some reassurance that young scholars survived the years of doctoral research that loomed ahead, that such scholars might get jobs, and that they might even still have the energy left that Linda Wagner-Martin displayed in her presentation— was what was billed as the “William Carlos Williams ‘Spring and All’ Festival” at Kean College (since 1997, University) of New Jersey. As I look now at the review of the event, which appeared in the WCWN in Spring 1980, I am astonished that the program was so full. Evidently over 200 people attended. Among other events, Harvey Shapiro and David Ignatow read, two films were shown, and there was an evening performance of Williams’s The First President along with the Theodore Harris score adapted for two pianos. I’ll confess that forty years later I remember only the opera, because it seemed to go on for rather a long time, and that distant view of Linda WagnerMartin on stage; the latter because of the many reminders in the years to come of her pioneer studies, as well as the contributions that followed them. A Thank You Note to Linda Wagner-Martin
{"title":"A Thank You Note to Linda Wagner-Martin","authors":"C. Macgowan","doi":"10.1353/WCW.2019.0000","DOIUrl":"https://doi.org/10.1353/WCW.2019.0000","url":null,"abstract":"a distant stage, in May 1979. This was before I had actually settled down to read her pioneer books and articles on William Carlos Williams. I had only just gravitated towards a decision to write my doctoral dissertation on the poet, aided by Walt Litz’s argument that Williams would be a better subject to explore than the other author I had pitched to him with fervor. Having only just gotten started, I was in the process of reading what seemed like a very long list of works by our author. To be followed by what seemed the much shorter list of books and articles on our author—and Linda Wagner-Martin’s name appeared alongside quite a few of them. The occasion of this distant glimpse—which brought some reassurance that young scholars survived the years of doctoral research that loomed ahead, that such scholars might get jobs, and that they might even still have the energy left that Linda Wagner-Martin displayed in her presentation— was what was billed as the “William Carlos Williams ‘Spring and All’ Festival” at Kean College (since 1997, University) of New Jersey. As I look now at the review of the event, which appeared in the WCWN in Spring 1980, I am astonished that the program was so full. Evidently over 200 people attended. Among other events, Harvey Shapiro and David Ignatow read, two films were shown, and there was an evening performance of Williams’s The First President along with the Theodore Harris score adapted for two pianos. I’ll confess that forty years later I remember only the opera, because it seemed to go on for rather a long time, and that distant view of Linda WagnerMartin on stage; the latter because of the many reminders in the years to come of her pioneer studies, as well as the contributions that followed them. A Thank You Note to Linda Wagner-Martin","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"36 1","pages":"25 - 26"},"PeriodicalIF":0.0,"publicationDate":"2019-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/WCW.2019.0000","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47753476","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 William Carlos Williams's depiction of his father's death on Christmas day 1918. Williams's narrative account of this event in the Autobiography reveals his complex response as son, doctor, and poet. Along with describing the helplessness he felt witnessing his father's physical deterioration, he also expresses a profound sense of guilt for his actions on that day. Williams's correspondence from this period also reveals a desire to understand this death's larger implications for his life and work. These personal accounts serve as a foundation for a subsequent interpretation of two elegiac poems rooted in this experience: "Burning the Christmas Greens" and "The Sparrow."
{"title":"\"Pop! So, You're Not Dead!\": Reimagining Loss in William Carlos Williams's \"Burning the Christmas Greens\" and \"The Sparrow\"","authors":"Paul R. Cappucci","doi":"10.1353/WCW.2019.0005","DOIUrl":"https://doi.org/10.1353/WCW.2019.0005","url":null,"abstract":"ABSTRACT:This article examines William Carlos Williams's depiction of his father's death on Christmas day 1918. Williams's narrative account of this event in the Autobiography reveals his complex response as son, doctor, and poet. Along with describing the helplessness he felt witnessing his father's physical deterioration, he also expresses a profound sense of guilt for his actions on that day. Williams's correspondence from this period also reveals a desire to understand this death's larger implications for his life and work. These personal accounts serve as a foundation for a subsequent interpretation of two elegiac poems rooted in this experience: \"Burning the Christmas Greens\" and \"The Sparrow.\"","PeriodicalId":53869,"journal":{"name":"WILLIAM CARLOS WILLIAMS REVIEW","volume":"36 1","pages":"14 - 23"},"PeriodicalIF":0.0,"publicationDate":"2019-05-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1353/WCW.2019.0005","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45461177","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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