DOCSLIB.ORG

On "The Red Wheelbarrow"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
On On "The Red Wheelbarrow" EXPLANATION: "The Red Wheelbarrow" Lines 1-2 The opening lines set the tone for the rest of the poem. Since the poem is composed of one sentence broken up at various intervals, it is truthful to say that "so much depends upon" each line of the poem. This is so because the form of the poem is also its meaning. This may seem confusing, but by the end of the poem the image of the wheelbarrow is seen as the actual poem, as in a painting when one sees an image of an apple, the apple represents an actual object in reality, but since it is part of a painting the apple also becomes the actual piece of art. These lines are also important because they introduce the idea that "so much depends upon" the wheelbarrow. Lines 3-4 Here the image of the wheelbarrow is introduced starkly. The vivid word "red" lights up the scene. Notice that the monosyllable words in line 3 elongates the line , putting an unusual pause between the word "wheel" and "barrow." This has the effect of breaking the image down to its most basic parts. The reader feels as though he or she were scrutinizing each part of the scene. Using the sentence as a painter uses line and color, Williams breaks up the words in order to see the object more closely. Lines 5-6 Again, the monosyllable words elongate the lines with the help of the literary device assonance. Here the word "glazed" evokes another painterly image. Just as the reader is beginning to notice the wheelbarrow through a closer perspective, the rain transforms it as well, giving it a newer, fresher look. This new vision of the image is what Williams is aiming for. Lines 7-8 The last lines offer up the final brushstroke to this "still life" poem. Another color, "white" is used to contrast the earlier "red," and the unusual view of the ordinary wheelbarrow is complete. Williams, in dissecting the image of the wheelbarrow, has also transformed the common definition of a poem. With careful word choice, attention to language, and unusual stanza breaks Williams has turned an ordinary sentence into poetry. Source: Exploring Poetry, Gale. © Gale Group Inc. 2001. Online Source. John Hollander [I]n twentieth-century verse, an enjambment can occur without interest in shock or abruptness as a mimetic effect by itself. A paradigmatic case is from William Carlos Williams in a well-known poem which uses effect by itself. A paradigmatic case is from William Carlos Williams in a well-known poem which uses the device almost as if in a manifesto. The rigorous metrical convention of the poem demands simply three words in the first line of each couplet and a disyllable in the second. But the line termini cut the words "wheelbarrow" and "rainwater" into their constituents, without the use of hyphenation to warn that the first noun is to be part of a compound, with the implication that they are phenomenological constituents as well. The wheel plus the barrow equals the wheelbarrow, and in the freshness of light after the rain (it is this kind of light which the poem is about, although never mentioned directly), things seem to lose their compounded properties. Instead of Milton's shifting back and forth from original to derived meanings of words, Williams "etymologizes" his compounds into their prior phenomena, and his verbal act represents, and makes the reader carry out, a meditative one. The formal device is no surface trick. Vision and Resonance: Two Sense of Poetic Form. Copyright © 1975 by Oxford UP. Stanley Archer Interpretation of "The Red Wheelbarrow" must rely heavily on its visual imagery. There is the vague, casual beginning, "so much depends," then the images of the wheelbarrow and the white chickens. The reader might be justified in considering the poem merely flippant, or perhaps he might think that the poet intends only to entertain through images, that he asks us to imagine, from these juxtaposed images of red and white, a pleasing photograph or painting as we read. Yet the tone does not invite a dismissal of the generalized introduction. We wish to know what these things matter, to whom they matter. The answer may be suggested by the poem's one metaphor: the wheelbarrow is described as glazed with rainwater—that is, shining, with a suggestion of hardness. The speaker sees the wheelbarrow immediately after the rain, when the bright sun has created the wheelbarrow's shiny surface and has made the chickens immaculately white. In nature, this scene occurs when dark clouds still cover a portion of the sky, often giving an eerie yellow—or blue—green tone to the landscape, a tone seen in the paintings of El Greco. In this short time after the rain has ceased, the chickens have emerged from whatever refuge they sought during the storm. They are reassured that they can begin normal living again and do so calmly (simply "beside" the wheelbarrow). The metaphor "glazed" captures time in the poem. In a moment, the wheelbarrow will be dry, its sheen gone; yet the hardness suggested by the metaphor is not irrelevant. This moment is like others in life (of the chickens, the speaker, the reader). Periods of danger, terror, stress do not last. The glaze, like the rainbow, signals a return to normality or restoration. The poem creates a memorable picture of this recurring process; reflections upon its meaning may provide the reassurance that makes us more durable. from "Glazed in Williams' 'The Red Wheelbarrow.'" Concerning Poetry 9:2 (1976). Barry Ahearn . what are we to make of "The Red Wheelbarrow"? We are back in the neighborhood of Rutherford, or perhaps any rural location. Chickens and wheelbarrows are found in proximity in many parts of the world, though they would not be found in the middle of Greenwich Village. But numbers and the red wheelbarrow do have one thing in common: both are elementary in the sense that civilization depends on them. The wheelbarrow is one of the simplest machines, combining in its form the wheel and the inclined plane, two of the five simple machines known to Archimedes. Just as civilization depends on number, civilization depends on simple machines - both in themselves and in their increasingly complex combinations. "So much depends upon" the wheelbarrow in its service not only through the centuries, but as a form whose components are indispensable to the functioning of a highly industrialized civilization. We can identify two contrasts in the poem. One is between the latest advances in machine technology and the continuing but overlooked importance of elementary machines. The other is between the universal and age-old scene depicted in the poem and the radically new free verse form in which it exists. In terms of its sounds, quite apart from its images or its vocabulary, Williams intricately tunes the poem. The first and second stanzas are linked by the long "o," in "so" and "barrow" and by the short "uh" in "much," "upon" and "a." "L" and "r" interlace the core stanzas (the second and third); these two sounds, however, are not in the first and fourth stanzas. This simple device distinguishes the framing stanzas from the central stanzas. One result of this distinction is that the central stanzas are mellifluous, the frame stanzas choppy. Then again, however, the honeyed and the choppy are linked in the third and fourth stanzas. They are joined by means of a parallel construction; the long vowels in "glazed with rain" match those in "beside the white," In the last stanza, another loop is closed when the sounds "ch" and "enz" in the last word of the poem echo the sounds in the initial line, "so much depends." From William Carlos Williams and Alterity: The Early Poetry. Copyright by the Cambridge University Press. Richard R. Frye In part, Spring and All manifests certain ontological reassurances. One of these is that the artist's relation to nature is not causal; Williams' poems become sullen in the company of Edmund Husserl's phenomenological applications. Instead, the different realms of nature and art are homologous; the former "possesses the quality of independent existence, of reality which we feel in ourselves. It is opposed to art but apposed to it" (121). Poem interrogates ontology; it begs the question—"is perception reality or figment?": so much depends upon a red wheel barrow glazed with rain water beside the white chickens Hugh Kenner, in A Homemade World (1975), locates the poem's typographical "suspension system" in an imaginative zone as precarious as art; but Williams may be troping on an adjacent zone (59). Any special space that art inhabits implies another to which it is apposed; Williams, adducing from the synthetic cubists independent but homologous structures for nature and art, early in the twenties began calling that space the imagination: Imagination is not to avoid reality, nor is it description nor an evocation of objects or situations, it is to say that poetry does not tamper with the world but moves it—It affirms reality most powerfully and therefore, since reality needs no personal support but exists free from human action, as proven by science in the indestructibility of matter and of force, it creates a new object, a play, a dance which is not a mirror up to nature but— (SAA 149-50) One point that emerges from poem XXII is that there is a world to begin with for art to affirm; not that Williams possesses categorizations, etc. of a particular kind unnecessary for the poem to verbalize (Kenner's remark: "he has cunningly not said what depends"), but that "out there" are chickens, rainwater, and wheelbarrows to evoke; they aren't some purely solipsistic image.
Load more

Recommended publications
  • Pictures from Brueghel: Pulitzer Prize, Poetry PDF Book
    PICTURES FROM BRUEGHEL: PULITZER PRIZE, POETRY PDF, EPUB, EBOOK William Carlos Williams | 184 pages | 01 Feb 1967 | New Directions Publishing Corporation | 9780811202343 | English | New York, United States Pictures from Brueghel: Pulitzer Prize, Poetry PDF Book Related Pages :. Wikisource has original works written by or about: William Carlos Williams. Add to registry. A well-known example of the "triadic line [break]" can be found in Williams's love-poem " Asphodel, That Greeny Flower. Email address. New York Times. The ten poems were each based on a Brueghel painting. Williams perfected his "variable foot" metric and achieved full mastery of the "American idiom" which was his lifelong first concern. Recent searches Clear All. However, we can only email you if you include your email address! Many books have significant or minor changes between editions. New York: HarperCollins, See our disclaimer. Current selection is: Paperback. Email address. Your email address will never be sold or distributed to a third party for any reason. Customer Service. Scholars note that the Caribbean culture of the family home had an important influence on Williams. Revered for his modernist and imagist poetry, he published numerous poetry collections, including the five-volume epic Paterson and Pictures from Brueghel and Other Poems. In , Williams turned his attentions to Contact , a periodical launched by Williams and fellow writer Robert McAlmon : "The two editors sought American cultural renewal in the local condition in clear opposition to the internationalists—Pound, The Little Review , and the Baroness. Your question required. During the s, Williams began working on an opera. Combined Two Professions. The later poems depict an aging poet finding joy at the limits of his craft.
    [Show full text]
  • “Animal Spirits”
    Swarthmore College Works English Literature Faculty Works English Literature 2016 “Animal Spirits” Peter Schmidt Swarthmore College, [email protected] Follow this and additional works at: https://works.swarthmore.edu/fac-english-lit Part of the English Language and Literature Commons Let us know how access to these works benefits ouy Recommended Citation Peter Schmidt. (2016). "“Animal Spirits”". William Carlos Williams Review. Volume 33, Issue 1-2. 147-171. DOI: 10.5325/willcarlwillrevi.33.1-2.0147 https://works.swarthmore.edu/fac-english-lit/331 This work is brought to you for free by Swarthmore College Libraries' Works. It has been accepted for inclusion in English Literature Faculty Works by an authorized administrator of Works. For more information, please contact [email protected]. “Animal Spirits” Peter Schmidt William Carlos Williams Review, Volume 33, Numbers 1-2, 2016, pp. 147-171 (Article) Published by Penn State University Press DOI: https://doi.org/10.1353/wcw.2016.0019 For additional information about this article https://muse.jhu.edu/article/643077 Access provided by Swarthmore College (17 Aug 2017 14:23 GMT) “Animal Spirits” PETER SCHMIDT, SWARTHMORE COLLEGE ABSTRACT | In “Animal Spirits” looks in some depth at several of Williams’s poems about dogs or cats written over the course of his career, from “Sub Terra” (1917); “Poem (As the cat)” (from the 1930s); the dogs of Paterson; and “To a Dog Injured in the Street,” which exemplifies the elegiac poetics and representational paradoxes of Williams’s late triadic style. Cats for Williams exemplify energy in precise control, its perfection in form—and that was his lifelong quest.
    [Show full text]
  • 4 Williams and Cubism - 'Al Que Quiere!', 'Sour Grapes', and 'Spring and All'
    79 4 WILLIAMS AND CUBISM - 'AL QUE QUIERE!', 'SOUR GRAPES', AND 'SPRING AND ALL' But for the moment everything is fresh, perfect, recreated ... Yes, the imagination, drunk with prohibitions, has destroyed and recre~ed everything afresh in the likeness of that which it was (1:93) . In a continuation of his imagist endeavours to make everything new, Williams' cubism defamiliarizes objects in order to cleanse them from all "prohibitions" and thus recreates "everything afresh". For Williams the imagination is the primary force in this process of perception, whether in merely analyzing or decomposing an object by means of shifting planes, or in synthesizing a number of isolated elements. Williams' poetic development, however, is by no means exclusively diachronic with his imagist style, for example, developing into a cubist style. The synchronicity of his style is perhaps clearest in the co­ presence of imagist and cubist poems in a particular period or book. Initially these cubist signs take the form of the breaking down or fragmentation of a scene, object, or experience. Increasingly, however, Williams' style does develop towards more structured and unified presentations which would be closer to synthetic cubism. This coincides largely with a dissociation from the disarray into which imagism declined in the period after 1916. According to Perloff (1983:173), the influence of the Imagist movement (and specifically that of Pound) on Williams, although it made a difference in his development, was no longer decisive by 19172; rather, "the poems of the late teens represent Williams' first attempt to create verbal-visual counterparts to the paintings and drawings" of the visual artists3.
    [Show full text]
  • A Modernist Dialectic: Stevens and Williams in the Poetry of Charles Tomlinson
    CORE Metadata, citation and similar papers at core.ac.uk Provided by Durham Research Online A Modernist Dialectic: Stevens and Williams in the Poetry of Charles Tomlinson GARETH REEVES I. INTRODUCTION HARLES TOMLINSON WAS one of the most “Americanized” of the British poets to come to prominence in the twenty or so years Cfollowing the Second World War. As he describes in his book Some Americans: A Period Record (1981), his first full-scale collection (Seeing Is Believing, 1958) was published in New York after English publishers had rejected it (SA 13), and some feel Americans still take him to heart more readily than do the British. His relationship with American poetry is not easy to categorize, however. Most would agree with Alan Young’s assess- ment that Tomlinson’s poetry comes out of a productive tension between English and American, an “assimilation of some characteristics and qual- ities of American literary modernism to help shape a distinctively person- al yet essentially English voice and vision” (67). But if the role of American modernism in Tomlinson’s poetry is generally recognized, less readily acknowledged is the extent to which his poetry is informed, indeed haunt- ed, by the contradictions that are still being played out in the wake of that tradition. For this poet in “a state of mental emigration” (SA 12), America has provided the imaginative space to explore his own aesthetic allegiances. Nowhere is this more evident than in the presence in his poetry of those two opposed representatives of American poetic modernism, Wallace Stevens and William Carlos Williams.
    [Show full text]
  • Visual Imagery in William Carlos Williams Poems A
    VISUAL IMAGERY IN WILLIAM CARLOS WILLIAMS POEMS A “Thesis” Submitted to Adab and Humanities Faculty In Partial Fulfillment of the Requirements for The Strata 1 (S1) Degree ZAENAL ABIDIN NO.103026027639 ENGLISH LETTERS DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH” JAKARTA 2010 APPROVAL SHEET VISUAL IMAGERY IN WILLIAM CARLOS WILLIAMS POEMS A “Thesis” Submitted to Adab and Humanities Faculty In Partial Fulfillment of the Requirements for The Strata 1 (S1) Degree ZAENAL ABIDIN NO. 103026027639 Approved by Advisor Elve Oktafiyani S.S, M.Hum NIP. 19781003 200112 2002 ENGLISH LETTERS DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY “SYARIF HIDAYATULLAH” JAKARTA 2010 i ABSTRACT ZAENAL ABIDIN, Visual Imagery in William Carlos Williams’ Poems, conducted literature research on William Carlos Williams. The objective of this research is finding visual imagery expressions (word, phrase, or action) in William Carlos Williams’ poems under the theme spring and discovering their contribution to the theme. The poutries selected are The Red Wheelbarrow, April, and The Widow’s Lament in The Springtime. Poem is defined as a kind of language that says more and says it more intensely than does ordinary language. On the other hand, Visual imagery is one of the kinds of imagery in poutry that expresses an idea through written way that touches sight sense. The methodology of this research is qualitative. To find the visual imagery in William Carlow Williams poems, firstly, the researcher started with seperating his poems that included into spring, and then selected three of them. After seperation, the researcher conducted data collection method named content analysis, that is seperating visual imagery words in the three poems and analayzing where—in which order of lines—they were situated, and explained the reason why they were included into visual imagery.
    [Show full text]
  • Unit 28 William Carlos Williams (1 883-1963)
    Litz, Walton A. Introspective Voyager: The Poetic Develo~mentof Wallace Stevens. Wallace Stevens 1972. Pack, Robert. Wallace Stevens. 1958. Plato. The Republic. Trans. Desmond Lee. Harmondsworth: Penguin, 1974. Sidney, Philip. An A~oloavfor Poetrv. Indianapolis: Bobbs-Merrill, 1970. Stevens, Holly, ed. Letters of Wallace Stevens. 1966. Stevens, Wallace. The Necessarv Angel: Essays on Reality and the Imagination. 1951. Vendler, Helen. On Extended Wings: Wallace Stevens' Longer Poems. 1969. UNIT 28 WILLIAM CARLOS WILLIAMS (1 883-1963) Structure 28.0 Objectives 28.1 Life and Works 28.2 "The Red Wheelbarrow" 28.2.1 Text of the Poem VI 28.2.2 Background and Critical Appreciation 28.3 LetUsSumUp 28.4 Glossary 28.5 Questions 28.6 Further Reading 28.0 OBJECTIVES 1 In this unit we study the life and works of the poetJWilliam Carlos Williams and his poem "The Red Wheelbarrow" in detail. Williams was an oppositional voice in modem poetry--he agreed with many of the modem poets' endeavours (such as imagism) but was also fiercely critical of the expatriate poets. He was interested in developing a truly robust American voice and idiom in modem poetry. He was a strong influence on the movement called objectivism. Kc did a great deal to support new talent in American poetry in his lifetime. 28.1 LIFE AND WORKS 1 This poet did the most to support new talent in American poetry after World War 11. He wrote for over sixty years and was both poet and doctor (pediatrics was his specialisation). Along with poetry he also wrote plays, essays and fiction and was, along w-ith Hart Crane, one of the leading inheritors of Whitman's mantle in American poetry.
    [Show full text]
  • Ezra Pound and Chinese Poetics: Teaching Anglo-American Imagist Poetry
    DOCUMENT RESUME ED 467 291 CS 511 372 AUTHOR Dilley, Whitney C. TITLE Ezra Pound and Chinese Poetics: Teaching Anglo-American Imagist Poetry. PUB DATE 2000-11-00 NOTE 11p.; Paper presented at the Annual International Symposium on English Teaching (9th, Taipei, Taiwan, November 10-12, 2000). PUB TYPE Opinion Papers (120) Speeches/Meeting Papers (150) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS College English; English Literature; Higher Education; *Literary History; *Poetry; United States Literature IDENTIFIERS Chinese Poetry; Japanese Poetry; Poetic Forms; *Pound (Ezra) ABSTRACT The Anglo-American Imagist movement, begun in England by Ezra Pound in 1909 and flourishing through 1918, claimed to have drawn inspiration from Chinese and Japanese poetic forms. The promoters of Imagism, which included Hilda Doolittle, John Gould Fletcher, Richard Aldington, and later, Amy Lowell and William Carlos Williams, were attempting to challenge what they considered the superficially decorative and overly verbose poetry of the accepted 19th century canon. In doing so, they turned to what they considered "purer" forms of poetry in the images and simplicity of Chinese and Japanese lyric verse. Compiling a manifesto of Imagism's aims, these poets planned exclusively to write clear, effective, and concise verse according to their understanding of the Chinese and Japanese classical traditions, with exact rendition of detail, producing poetry that was a concentrated expression of mood and image. Their goal was "to present an image" (hence the name, Imagist). At first glance, it seems plausible to connect the Imagist movement with the Chinese tradition, especially with the concentration on natural imagery. But is the connection valid? This paper argues that the Imagists to a large extent misunderstood the Chinese traditions they claimed to appropriate.
    [Show full text]
  • William Carlos Williams - Poems
    Classic Poetry Series William Carlos Williams - poems - Publication Date: 2004 Publisher: Poemhunter.com - The World's Poetry Archive William Carlos Williams(17 September 1883 – 4 March 1963) an American poet closely associated with modernism and Imagism. He was also a pediatrician and general practitioner of medicine, having graduated from the University of Pennsylvania School of Medicine. Williams "worked harder at being a writer than he did at being a physician"; but during his lifetime, Williams excelled at both. Biography Early Years Williams was born in Rutherford, New Jersey to an English father and a Puerto Rican mother. He received his primary and secondary education in Rutherford until 1897, when he was sent for two years to a school near Geneva and to the Lycée Condorcet in Paris. He attended the Horace Mann High School upon his return to New York City and after having passed a special examination, he was admitted in 1902 to the medical school of the University of Pennsylvania, from which he graduated in 1906. Family Williams married Florence Herman (1891–1976) in 1912, after his first proposal to her older sister was refused. They moved into a house in Rutherford, New Jersey, which was their home for many years. Shortly afterward, his first book of serious poems, The Tempers, was published. On a trip to Europe in 1924, Williams spent time with writers Ezra Pound and James Joyce. Florence and Williams' sons stayed behind in New Jersey. Career Although his primary occupation was as a doctor, Williams had a full literary career. His work consists of short stories, poems, plays, novels, critical essays, an autobiography, translations and correspondence.
    [Show full text]
  • ENG 351 Lecture 15 1 Before We Go to William Carlos Williams, We Have
    ENG 351 Lecture 15 1 Before we go to William Carlos Williams, we have one important poem of Robert Frost that we didn’t — not Robert Frost, Wallace Stevens — that we didn’t talk about and I’d like for you to look at that for just a minute. “Thirteen Ways of Looking at a Blackbird.” This is a strange assemblage, very modern, very experimental. I’ve given you a couple of quotes from Wallace Stevens such as “The greatest poverty is not to live in the physical world” or another one — I want to get it right — “Not ideas about the thing but the thing itself.” Well, here’s another one. “All poetry is experimental.” That seems kind of easy at first glance. But when you think about it, that doesn’t refer just to modern poetry but all poetry is experimental. It’s interesting to me to think of it that way when I think about older poets or poets, you know, from the Romantic period or Shakespeare. They’re all experimenting with what they could say in the forms they were using. This — these thirteen little bits are all variations on the way the imagination works. A series of examples. The blackbird doesn’t really stand for anything. This thing isn’t assembled. Well, perhaps within each one of the things the bird may have some meaning, but he doesn’t have a universal meaning. Just has meaning within the context of the individual little verses, I guess you can call these things. I call them bits, bites, verses, images.
    [Show full text]
  • William Carlos Williams
    Exploring New Worlds A consideration of some poems by William Carlos Williams Man on the margin, incorrigible maverick, embattled messiah 1883-1963 Paper presented at the Hamilton Literary Society By Jan Colville June 2007 Page 1 of 14 In considering the poetry of William Carlos Williams we will first consider the following: Dear bill: I’ve made a couple of sandwiches for you. in the icebox you’ll find blueberries, a cup of grapefruit and a glass of cold coffee. this is just to say I have eaten the plums that were in the icebox and which you were probably saving for breakfast Forgive me they were delicious so sweet and so cold Ah, modern poetry you might say. Just prose dressed up as poetry. Say what you want to say. Have a line break anywhere you fancy, and hey presto you have poetry. Of course you are not saying that. And nor should you. The first five lines: the Dear Bill segment is a note that Floss, the wife of William Carlos Williams, the aforementioned ‘Bill’ wrote to him. Attached it to the fridge, sorry icebox, perhaps with a fridge magnet if there were such things in the 1930’s. The second: the segment starting with this is just to say, is a poem by Bill himself. And it brings us to the very question of what is poetry? What is modern poetry? Perhaps we might ask the question: when can we say modern poetry started? What is the difference between free verse and prose? Are there varieties of free verse? Does it have rules? Was Bill following them in this little poem? Is the free verse of William Carlos Williams similar to the free verse of Ezra Pound, and TS Eliot for instance? What is the lineage that brings us to Page 2 of 14 William Carlos Williams in the United States in the first half of the twentieth century? What were the influences on Williams, and what was his influence on modern American poetry, literature, and society in general? Well I could be enrolling for a PhD to answer all of those here.
    [Show full text]
  • Print This Article
    International Journal of Applied Linguistics & English Literature ISSN 2200-3592 (Print), ISSN 2200-3452 (Online) Vol. 6 No. 4; July 2017 Flourishing Creativity & Literacy Australian International Academic Centre, Australia The Influence of the Doctor’s Mind Style in Spring and All on William Carlos Williams’s Poetry Creation Meiling Fu Guangdong University of Foreign Studies, China E-mail: [email protected] Received: 04-12-2016 Accepted: 13-02-2017 Advance Access Published: April 2017 Published: 01-07-2017 doi:10.7575/aiac.ijalel.v.6n.4p.81 URL: http://dx.doi.org/10.7575/aiac.ijalel.v.6n.4p.81 Abstract This article intends to investigate the doctor’s mind style on William Carlos Williams in his collection of poems Spring and All. Research shows that Williams’s doctor’s life makes him shape a different view of the world. He always observes something difficult or challenging at first and notices something easy and comfortable at last. This paper concludes that Williams’s doctor’s mind style exerts influence on his creation of poetry both in content and in form. Keywords: William Carlos Williams, doctor’s mind style, Spring and All 1. Introduction William Carlos Williams is a major figure in the pantheon of American poets. He is a prolific poet and a serious thinker about poetry and language. The publication of Spring and All in 1923 marks his reputation as a major poet. Spring and All is a serial poem consisting of twenty-seven untitled but numbered poems introduced and accompanied throughout by a sometimes fierce, sometimes flamboyant prose polemic.
    [Show full text]
  • William Carlos Williams, the Camera, and the Dream of a Natural Poem
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Supervised Undergraduate Student Research Chancellor’s Honors Program Projects and Creative Work Spring 4-2007 Agonized Approaches to the Moment: William Carlos Williams, the Camera, and the Dream of a Natural Poem Scott Patrick Thurman University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_chanhonoproj Recommended Citation Thurman, Scott Patrick, "Agonized Approaches to the Moment: William Carlos Williams, the Camera, and the Dream of a Natural Poem" (2007). Chancellor’s Honors Program Projects. https://trace.tennessee.edu/utk_chanhonoproj/1124 This is brought to you for free and open access by the Supervised Undergraduate Student Research and Creative Work at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Chancellor’s Honors Program Projects by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. agonized approaches to the lI1oll1ent William Carlos Williams, the Camera, and the Dream ofa Natural Poem Scott Patrick Thurman I Dr. Lee I Dr. Elias I English 498 I April 20, 2007 N early all writing, up to the present, if not all art, has been especially designed to keep up the barrier between sense and the vaporous fringe which distracts attention from its agonized approaches to the moment. William Carlos Williams, Spring and All Life is not about significant details, illuminated by a flash, fixed forever. Photographs are. Susan Sontag, On Photography Scott Patrick Thurman A Polemic What do we see when we look at a photograph? And why do so many people, especially writers and readers, see a threat when they look into the photographic image? This first question's banality reveals its urgency: we are too used to photographs, to their daily presence in our lives and in our sense of vision.
    [Show full text]