Bøger af William Carlos Williams

Something to Say: William Carlos Williams on Younger Poets collects all of Williams' known writings-reviews, essays, introductions, and letters to the editor-on the two generations of poets that followed him, from Kenneth Rexroth and Louis Zukofsky to Robert Lowell and Allen Ginsberg. What might have been a random collection of occasional pieces achieves remarkable coherence from the singleness of Williams' poetic vision: his belief that the secret spirit of ritual, of poetry, was trapped in restrictive molds, and, if these could be broken, the spirit would be able to live again in a new, contemporary form. Only a revived clarity and accuracy in sight and expression would enable the modern world to reform social order which Williams saw in complete disarray. To resuscitate American Poetry, Williams concentrated his efforts on the purification of poetic speech-his American idiom-and on remaking the poetic line in a new measure-his variable foot. And while his battles with his contemporaries on these issues could be heated, he was always a nurturing father to the young, "a useful presence," "a model and a liberator." He told Ginsberg to pare down and economize, Roethke to open up, and encouraged Lowell and Levertov to shake off poetic conventions. But in all his emphasis on the poem as a made object of concrete physicality or as a field of action, he would return again and again to this basic advice to young writers: "The only thing necessary is to have something to say when at last the opportunity comes to say it."

Spanning fifty-four years, this collection record the creative growth of one of the twentieth century's most influential and versatile writers.

Originally published in 1959, Yes, Mrs. Williams has long been unavailable. In recalling one of the "determined women" in his life. William Carlos Williams, the quintessentially American poet of this century, does not write about his mother so much as recreate her. An experimentalist in prose as well as poetry, Williams records the "talk" of Raquel Hélène Rose Hoheb Williams, capturing the contradictions of this Spanish-speaking, Puerto Rican-born, Parisian-trained artist turned New Jersey wile and mother, her strength and cantankerousness, her vitality and sense of failed purpose. For this first New Directions paperbook edition, Dr. William Eric Williams, son and grandson, has written an illuminating foreword that includes newly discovered Williams family letters.

Subtitled "The Autobiography of the Works of a Poet," this unique volume was the result of a series of informal conversations in the mid-1950s between Dr. Williams, his wife, and Edith Heal, then a student at Columbia University. In the relaxed atmosphere of the Williams home in Rutherford, New Jersey, the three discussed, chronologically, the poet's works as collected on his very own library shelves. "There was an air of discovery about the whole procedure," Miss Heal writes in her introduction, "the poet's excited 'Why I'd forgotten this dedication,' the unexpected appearance of reviews that had been tucked away in the pages of the books, pencilled corrections in the text, scrawled first drafts on prescription blanks." I Wanted to Write a Poem is, then, a brief "talking" bibliography, alive with the Williamses' memories of the circumstances in which the books were brought into being--in Miss Heal's words, "a nostalgic review of the early twentieth-century literary world."

William Carlos Williams's place among the great poets of our century is firmly established. This anthology of selections drawn from the whole range of his work-poetry, fiction, autobiography, drama and essays-shows conclusively that his prose was also remarkably original, versatile and powerful. It has been edited by M. L. Rosenthal, literary critic and Professor of English at New York University.

This collection makes available work of one of our greatest American poets in the last decade of his life. The first section, Pictures from Brueghel, contains previously uncollected short poems, while the second and third parts are the complete texts of The Desert Music (1954) and Journey to Love (1955), originally published by Random House. In these books, Dr. Williams perfected his "variable foot" metric and achieved full mastery of the "American idiom" which was his lifelong first concern. Among the poems of this period is the long "Asphodel, That Greeny Flower" which W. H. Auden has called "one of the most beautiful love poems in the language." Pictures from Brueghel was awarded the Pulitzer Prize for Poetry only two months after William Carlos Williams' death on March 4, 1963.

William Carlos Williams war der Doyen der modernen amerikanischen Poesie. Er residierte nicht in New York, er lebte als Armenarzt in seinem Geburtsort, einem kleinen Ort im Staate New Jersey. In diese Welt gehören seine Gedichte; sie sind ganz und gar amerikanisch: hart, genau, ohne Rhetorik, geprägt vom Pragmatismus. Ihre Sprache ist scheinbar direkt, nur im Anschein des Mühelosen verrät sich die Kunst des Dichters. Kein anderer Dichter des Landes ist so wenig gealtert und hat so tief auf die Jungen und Jüngsten gewirkt.

The book "" A Book of Poems, Al Que Quiere! , has been considered important throughout the human history, and so that this work is never forgotten we have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies and hence the text is clear and readable.

Al Que Quiere!: A Book Of PoemsThis book is a result of an effort made by us towards making a contribution to the preservation and repair of original classic literature.In an attempt to preserve, improve and recreate the original content, we have worked towards:1. Type-setting & Reformatting: The complete work has been re-designed via professional layout, formatting and type-setting tools to re-create the same edition with rich typography, graphics, high quality images, and table elements, giving our readers the feel of holding a 'fresh and newly' reprinted and/or revised edition, as opposed to other scanned & printed (Optical Character Recognition - OCR) reproductions.2. Correction of imperfections: As the work was re-created from the scratch, therefore, it was vetted to rectify certain conventional norms with regard to typographical mistakes, hyphenations, punctuations, blurred images, missing content/pages, and/or other related subject matters, upon our consideration. Every attempt was made to rectify the imperfections related to omitted constructs in the original edition via other references. However, a few of such imperfections which could not be rectified due to intentional\unintentional omission of content in the original edition, were inherited and preserved from the original work to maintain the authenticity and construct, relevant to the work.We believe that this work holds historical, cultural and/or intellectual importance in the literary works community, therefore despite the oddities, we accounted the work for print as a part of our continuing effort towards preservation of literary work and our contribution towards the development of the society as a whole, driven by our beliefs. We are grateful to our readers for putting their faith in us and accepting our imperfections with regard to preservation of the historical content. HAPPY READING!

A collection of poems imitating the styles of the Romantics and the Victorians.

William Carlos Williams' Collected Poems Volume II reissued as a Carcanet Classic.

Gathered here are the gems of William Carlos Williams's astonishing achievements in poetry. Dramatic, energetic, beautiful, and true, this slim selection will delight any reader-The Red Wheelbarrow & Other Poems is a book to be treasured.

The first of the monumental, definitive two-volume edition of Williams's Collected Poems for the twenty-first century reader.

Published in 1917 by The Four Seas Press, Al Que Quiere! was William Carlos Williams's breakthrough book and contains some of his best-loved poems ("Tract," "Apology," "El Hombre," "Danse Russe," "January Morning," and "Smell!"), as well as a Whitmanesque concluding long poem, "The Wanderer," that anticipates his epic masterpiece Paterson. Al Que Quiere! is the culmination of an experimental period for Williams that included his translations from Spanish. The Spanish epigraph of Al Que Quiere! is from the short story "El hombre que parecía un caballo" ("The Man Who Resembled a Horse"), by the Guatemalan author Rafael Arévalo Martínez. This centennial edition contains Williams's translation of the story, as well as his commentary from a book of conversations, I Wanted to Write a Poem, on the individual poems of Al Que Quiere!

These collected letters of two key figures from the Modernist period span a period of 42 years. The animated exchange between a canonical poet and the leading American rhetorical critic of the 20th century offers a complete vision of their outlooks and contributions to the Modernist scene.

Paterson is both a place-the New Jersey city in whom the person (the poet's own life) and the public (the history of the region) are combined. Originally four books (published individually between 1946 and 1951), the structure of Paterson (in Dr. Williams' words) "follows the course of teh Passaic River" from above the great falls to its entrance into the sea. The unexpected Book Five, published in 1958, affirms the triumphant life of the imagination, in spite of age and death. This revised edition has been meticulously re-edited by Christopher MacGowan, who has supplied a wealth of notes and explanatory material.

Throughout his life, Dr. Williams tirelessly defended and promoted the best in modern literature and art. He contributed widely to leading literary magazines, wrote prefaces and introductions, and lectured at many universities. This selection represents his finest work in criticism. Much of it concerns poetry and poets--T. S. Eliot, Dylan Thomas, Karl Shapiro, E. E. Cummings, Ezra Pound, Carl Sandburg, Robert Lowell and many others. Williams also spoke out on painters and paintings as well as music and literature. There are essays on James Joyce, Shakespeare, Federico Garcia Lorca, the basis of faith in art, the American Revolution, H. L. Mencken's The American Language, Ford Madox Ford, American primitive painters, Antheil's music, and the work of Gertrude Stein.

William Carlos Williams (1883-1963) produced a startling number of translations of both Spanish and Latin American poetry starting during WWI and continuing through the late fifties. Williams grew up in a Spanish-speaking home and sometimes described himself as half-Spanish. His mother was Puerto Rican and his father spoke Spanish fluently. "Spanish is not, in the sense to which I refer, a literary language," Williams wrote in his Autobiography. "It has a place of its own, an independent place very sympathetic to the New World."Williams approached translation as a way not only to present the work of unknown Spanish poets, but also to extend the range and capacity of American poetry, to use language "with unlimited freshness." Included in this bilingual edition are beautifully rendered translations of poets well-known - Neruda, Paz, and Parra - and lesser-known: Rafael Are¿valo Marti¿nez (from Guatemala), Rafael Belträn Logron~o (from Spain), and Eunice Odio (from Costa Rica).

William Carlos Williams's medical practice and his literary career formed an undivided life. For forty years he was a busy doctor in the town of Rutherford, New Jersey, and yet he was able to write more than thirty books. One of the finest chapters in the Autobiography tells how each of his two roles stimulated and supported the other.

Although admired by D. H. Lawrence, this modern classic went generally unnoticed during the years after its publication in 1925. Yet it is "a fundamental book, essential if one proposes to come to terms with American literature" (Times Literary Supplement). William Carlos Williams was not a historian, but he was fascinated by the texture of American history. Beginning with Columbus's discovery of the Indies and moving on through Sir Walter Raleigh, Cotton Mather, Daniel Boone, George Washington, Ben Franklin, Aaron Burr, Edgar Allan Poe, and Abraham Lincoln, Williams found in the fabric of familiar episodes new shades of meaning and configurations of character. He brought a poetic imagination to the task of reconstructing a live tradition for Americans, and what results is one of the finest works of prose to have been penned by any writer of the twentieth century.

The miscellany of essays, notes, fragments, and jottings to which William Carlos Williams gave the title The Embodiment of Knowledge was found in manuscript after his death in the archive of his papers at the Beinecke Library at Yale University. Written in 1928-30, and dedicated to his sons, it was intended as a concrete demonstration of the organic nature of education, to show that knowledge is an ongoing process by which we create our selves from day to day. And to underscore the fact that so many of his own books were extended works of self-exploration, Dr. Williams wrote on the cover of his manuscript: "to be printed as it is, faults and all."

Written between 1920 and 1932, all five were first published in small editions, three of them in France. These are pivotal and seminal works, books in which a great writer was charting the course he later would follow, experimenting freely, boldly searching for a new kind of prose style to express "the power of the imagination to hold human beings to life and propel them onward."The prose-poem improvisations (Kora in Hell) . . . the interweaving of prose and poetry in alternating passages (Spring and All and The Descent of Winter) . . . an antinovel whose subject is the impossibility of writing "The Great American Novel" in America . . . automatic writing (A Novelette) . . . these are the challenges which Williams accepted and brilliantly met in his early work.

New Directions has long published poet William Carlos Williams' entire body of short fiction as The Farmers' Daughters (1961). This new edition of The Collected Stories of William Carlos Williams contains all fifty-two stories combining the early collections The Knife of the Times (1932), Life Along the Passaic (1938) with the later collection Make Light of It (1950) and the great long story, "The Farmers' Daughters" (1956). When these stories first appeared, their vitality and immediacy shocked many readers, as did the blunt, idiosyncratic speech of Williams' immigrant and working-class characters. But the passage of time has silenced the detractors, and what shines in the best of these stories is the unflinching honesty and deep humanity of Williams' portraits, burnished by the seeming artlessness which only the greatest masters command.

This volume chronicles the correspondence between William Carlos Williams, a Pullitzer Prize-winning American poet, and his publisher, James Laughlin, the founder of "New Directions".