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2009년 3월 28일 토요일

William Carlos Williams

자료: Wikipedia, http://www.answers.com/William%20Carlos%20Williams

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During the First World War, when a number of European artists established themselves in New York City, Williams became friends with members of the avant-garde such as Man Ray, Francis Picabia and Marcel Duchamp. In 1915 Williams began to be associated with a group of New York artists and writers known as "The Others." Founded by the poet Alfred Kreymborg and by Man Ray, this group included Walter Conrad Arensberg, Wallace Stevens, Mina Loy, Marianne Moore and Duchamp. Through these involvements Williams got to know the Dadaist movement, which may explain the influence on his earlier poems of Dadaist and Surrealist principles. His involvement with The Others made Williams a key member of the early modernist movement in America.

Williams disliked Ezra Pound's and especially T. S. Eliot's frequent use of allusions to foreign languages and Classical sources, as in Eliot's The Waste Land. Williams preferred to draw his themes from what he called "the local." In his modernist epic collage of place, Paterson (published between 1946 and 1958), an account of the history, people, and essence of Paterson, New Jersey, he examined the role of the poet in American society. 

  • Williams most famously summarized his poetic method in the phrase "No ideas but in things" (found in his 1927 poem "Patterson," the forerunner to the book-length work). 
  • He advocated that poets leave aside traditional poetic forms and unnecessary literary allusions, and try to see the world as it is. Marianne Moore, another skeptic of traditional poetic forms, wrote Williams had used "plain American which cats and dogs can read," with distinctly American idioms.

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Williams' most anthologized poem is "The Red Wheelbarrow", considered an example of the Imagist movement's style and principles (see also "This Is Just To Say"). However, Williams, like his associate Ezra Pound, had long ago rejected the imagist movement by the time this poem was published as part of Spring and All in 1923. Williams is more strongly associated with the American Modernist movement in literature, and saw his poetic project as a distinctly American one; he sought to renew language through the fresh, raw idiom that grew out of America's cultural and social heterogeneity, at the same time freeing it from what he saw as the worn-out language of British and European culture.

Williams tried to invent an entirely fresh form, an American form of poetry whose subject matter was centered on everyday circumstances of life and the lives of common people. He then came up with the concept of the variable foot evolved from years of visual and auditory sampling of his world from the first person perspective as a part of the day in the life as a physician. The variable foot is rooted within the multi-faceted American Idiom. This discovery was a part of his keen observation of how radio and newspaper influenced how people communicated and represents the "machine made out of words" (as he described a poem in the introduction to his book, The Wedge) just as the mechanistic motions of a city can become a consciousness. Williams didn’t use traditional meter in most of his poems. His correspondence with Hilda Doolittle also exposed him to the relationship of sapphic rhythms to the inner voice of poetic truth:

"The stars about the beautiful moon again hide their radiant shapes, when she is full and shines at her brightest on all the earth"—Sappho.

This is to be contrasted with a poem from Pictures from Brueghel titled "Shadows":

"Shadows cast by the street light
under the stars,
the head is tilted back,
the long shadow of the legs
presumes a world taken for granted
on which the cricket trills"

The breaks in the poem search out a natural pause spoken in the American idiom that is also reflective of rhythms found within jazz sounds that also touch upon Sapphic harmony. Williams experimented with different types of lines and eventually found the "stepped triadic line", a long line which is divided into three segments. This line is used in Paterson and in poems like "To Elsie" and "The Ivy Crown." Here again one of Williams' aims is to show the truly American (i.e., opposed to European traditions) rhythm which is unnoticed but present in everyday American language. Stylistically, Williams worked with variations on free-form styles, notably developing and utilising the triadic line as in his lengthy love-poem Asphodel, That Greeny Flower[10].


Bibliography

Poetry

Prose

  • Kora in Hell (1920) — Prose-poem improvisations.
  • The Great American Novel (1923) — A novel.
  • Spring and All (1923) — A hybrid of prose and verse.
  • In the American Grain (1925, 1967, repr. New Directions 2004) — Prose on historical figures and events.
  • A Voyage to Pagany (1928; repr. 1970) — An autobiographical travelogue in the form of a novel.
  • Novelette and Other Prose (1932)
  • The Knife of the Times, and Other Stories (1932; repr. 1974)
  • White Mule (1937; repr. 1967) — A novel.
  • Life along the Passaic River (1938) — Short stories.
  • In the Money (1940; repr. 1967) — Sequel to White Mule.
  • Make Light of It: Collected Stories (1950)
  • Autobiography (1951; 1967)
  • The Build-Up (1952) — Completes the "Stecher trilogy" begun with White Mule.
  • Selected Essays (1954)
  • The Selected Letters of William Carlos Williams (1957)
  • I Wanted to Write a Poem: The Autobiography of the Works of a Poet (1958)
  • Yes, Mrs. Williams: A Personal Record of My Mother (1959)
  • The Farmers' Daughters: Collected Stories (1961)
  • Imaginations (1970) — A collection of five previously published early works.
  • The Embodiment of Knowledge (1974) — Philosophical and critical notes and essays.
  • Interviews With William Carlos Williams: "Speaking Straight Ahead" (1976)
  • A Recognizable Image: William Carlos Williams on Art and Artists (1978)
  • Pound/Williams: Selected Letters of Ezra Pound and William Carlos Williams (1996)
  • The Collected Stories of William Carlos Williams (1996)
  • The Letters of Denise Levertov and William Carlos Williams (1998)
  • William Carlos Williams and Charles Tomlinson: A Transatlantic Connection (1998)

Drama

  • Many Loves and Other Plays: The Collected Plays of William Carlos Williams (1961)

Notes

  1. ^ American Poets, Academy of. poets.org. Academy of American Poets. 13 May 2008 <http://www.poets.org/poet.php/prmPID/119>.
  2. ^ Ehrlich, Eugene and Gorton Carruth. The Oxford Illustrated Literary Guide to the United States. New York: Oxford University Press, 1982: 193. ISBN 0195031865
  3. ^ "Mrs. William Carlos Williams.", New York Times (May 20, 1976). Retrieved on 20 April 2008. "Florence Herman Williams, widow of Dr. William Carlos Williams, the poet, died yesterday at her home in Rutherford, New Jersey. She was 86 years old. ..."
  4. ^ . Educating English. 13 May 2008 William Carlos Williams Memorial
  5. ^ Williams, William Carlos (1978). A Recognizable Image: William Carlos William on Art and Artists, W W Norton & Company. ISBN 0811207048.
  6. ^ Fisher-Wirth, Ann. "Williams's "Asphodel, That Greeny Flower"". Encyclopedia of American Poetry: The Twentieth Century.
  7. ^ "Poet Williams Dies of Stroke. Works in 40 Volumes Likened to Chekhov.", New York Times (March 5, 1963). Retrieved on 7 August 2008. "William Carlos Williams, a small-town doctor and a world-renowned poet who delivered thousands of babies and poems in a career that spanned a half-century, died yesterday at his home in Rutherford, N.J."
  8. ^ "William Carlos Williams Dies. Physician Long a Leading Poet. Won Many Literary Honors Over Half a Century. Was 79 Years Old. Combined Two Professions. Won Literary Awards.",New York Times (March 5, 1963). Retrieved on 11 April 2008. "Dr. William Carlos Williams, a leading American poet for half a century, died in his sleep this morning at his home here. Death was attributed to a cerebral hemorrhage. He was 79 years old."
  9. ^ "Sometimes the Grave Is a Fine and Public Place", New York Times (March 28, 2004). Retrieved on 21 August 2007. "Consider the eclectic group at rest in Hillside Cemetery in Lyndhurst: the Pulitzer Prize-winning poet William Carlos Williams and both founders of the former industrial giant Becton-Dickinson, Maxwell Becton and Fairleigh Dickinson, for whom the New Jersey university is named."
  10. ^ Encyclopedia of American Poetry: The Twentieth Century, ISBN-13: 9781579582401

See also

William Carlos Williams Center for the Performing Arts, performing art center named after Williams located in his hometown of Rutherford.

External links

Literature portal
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