Editor Edith Heal does a great job of capturing Williams' honest reflections of his entire body of work from the beginning of his career up to the time of the interviews. Williams is open and honest and consistent on his desire to capture the American Idiom in both prose and verse.
Even more insightful are the commentaries from Florence Herman Williams, aka Flossie, the poet's wife. An astute reader and honest voice, these interviews cement her role as the key collaborator behind all of Williams
Editor Edith Heal does a great job of capturing Williams' honest reflections of his entire body of work from the beginning of his career up to the time of the interviews. Williams is open and honest and consistent on his desire to capture the American Idiom in both prose and verse.
Even more insightful are the commentaries from Florence Herman Williams, aka Flossie, the poet's wife. An astute reader and honest voice, these interviews cement her role as the key collaborator behind all of Williams' work.
A must read for any poet who is struggling to find the balance between working full time, fulfilling family obligations, and crafting a body of enduring work.
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If you like to read about a famous poet musing on why he started to write, the various collections he's written, and his writing process, then this is the volume for you. It's a slim, one-afternoon read (my copy is from 1978 and is exactly 100 pages).
The anecdotes that WCW provided to Columbia grad student, Edith Heal, who spent summer afternoons in 1957 interviewing him and his wife are insightful and read like a prose time capsule. (Example: They even gave her a key to their home so that she
If you like to read about a famous poet musing on why he started to write, the various collections he's written, and his writing process, then this is the volume for you. It's a slim, one-afternoon read (my copy is from 1978 and is exactly 100 pages).
The anecdotes that WCW provided to Columbia grad student, Edith Heal, who spent summer afternoons in 1957 interviewing him and his wife are insightful and read like a prose time capsule. (Example: They even gave her a key to their home so that she would have access to his private library while they were away for the weekend! Imagine that!) One of my favorite reflections from WCW himself: the infamous "Red Wheelbarrow" was first published without said title.
Yes, WCW namedrops a bit (his connections to HD, Ezra Pound, and painter Charles Demuth), but always for a reason, often either to explain dedications from his collections or because they assisted him in his poetic life at an instrumental time. Often self-deprecating and including some asides from his wife, Flossie, that are classic and funny in the way that couples long-married spar with each other, this is not a collection that analyzes the meanings of WCW's poems. Rather, it reads like spontaneous comments of the poet's choosing about life events while composing some of the poems, his own lack of formal poetic study while in med school compared to many of his famous friends, and a snapshot of a literary luminary near the ending of his life warmly (and sometimes not-so-warmly) reflecting on the quality (or lack thereof) of various works and steps along the way to publication.
I loved the anecdote about how one of his books was a labor of love and didn't sell hardly at all (think: remainder city), so he went around NYC buying copies at a reduced price and sending them to friends.
This volume is organized without chapters but with sections in chronology of his publications, from 1909-1957. The author catalogues the names, places, page numbers, and year of each volume/pamphlet/anthology/prose collection. Partly academic (I wondered if it might have been the author's senior thesis, although it doesn't include much of the author's own analysis or musings--she's interviewing and reporting his responses much more), this volume was exactly what I expected. I finished it with a clearer sense of WCW's personality that his poems often obscure. I also had the sense that he was withholding information from the interviewer, which was both natural and intriguing.
I think either poets who think about putting together their own publication histories (or like reading about others' publishing process) as well as educators would be the main audience for this volume. There are only a few of his poems or excerpts in the text, so general readers may find purchasing an anthology to be a better idea.
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Mat
Great review! I'm getting this for Christmas and your review has made me very eager to read this book. Many thanks.
Oct 19, 2014 11:44PM
Melanie Faith
Thanks so much, Mat! I appreciate the kind feedback; I'm especially glad that a fellow writer found it of use. Hope you enjoy this book when you recei
Thanks so much, Mat! I appreciate the kind feedback; I'm especially glad that a fellow writer found it of use. Hope you enjoy this book when you receive it for Christmas.
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Oct 21, 2014 04:17PM
I'm no Williams fanatic, but some of his poems are fantastic, and he always seemed like a great person. Yet I was surprised at how enjoyable this book is. The whole book is a series of conversations between the author and a student of his, with the author's wife adding here and there. It's a friendly, engaging book, all about his experiences writing these books, his reactions to the work now, and his life at the time of writing. They go through each and every book he ever wrote, and try to talk
I'm no Williams fanatic, but some of his poems are fantastic, and he always seemed like a great person. Yet I was surprised at how enjoyable this book is. The whole book is a series of conversations between the author and a student of his, with the author's wife adding here and there. It's a friendly, engaging book, all about his experiences writing these books, his reactions to the work now, and his life at the time of writing. They go through each and every book he ever wrote, and try to talk about all of them. Obviously the audience for this kind of thing is limited, but being a poet myself, and being interested in this era of America (the first half of the 20th century), I found it quite interesting. It also made me want to read a number of his books that I haven't yet.
Note that they don't only discuss his poetry collections, but all of his novels and stories as well.
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Each breath:
I'm learning to inhale
And exhale
Without flaring thoughts,
Without jerking about
(impulsive response)
To complete the doing--
No anticipation
(crooked, nervous man)
But slowly
Watching
What I do
And
How I breathe--
Each breath. (4-1-08)
This is a fantastic book for any creative type. W.C. Williams is funny, poignant and clever in this quasi-autobiography about the creation of a poem and his life as he has grown older.
this book, along with three or four others, helped be unleard everything i was taught in college workshops. why write nine lines if you can say it all perfectly in one?
“Free verse was not the answer. From the beginning I knew that the American language must shape the pattern; later I rejected the word language and spoke of the American idiom—this was a better word than language, less academic, more identified with speech” (65).
“Word of mouth language, not classical English” (75).
“We lack interchange of ideas in our country more than we lack foreign precept. Every effort should be made, we feel, to develop among our seriuos writers a sense of mutual contact fir
“Free verse was not the answer. From the beginning I knew that the American language must shape the pattern; later I rejected the word language and spoke of the American idiom—this was a better word than language, less academic, more identified with speech” (65).
“Word of mouth language, not classical English” (75).
“We lack interchange of ideas in our country more than we lack foreign precept. Every effort should be made, we feel, to develop among our seriuos writers a sense of mutual contact first of all” (90; from Contact magazine, 1921).
William Carlos Williams was an American poet closely associated with modernism and Imagism. He was also a pediatrician and general practitioner of medicine. Williams "worked harder at being a writer than he did at being a physician," wrote biographer Linda Wagner-Martin. During his long lifetime, Williams excelled both as a poet and a physician.
Although his primary occupation was as a doctor, Will
William Carlos Williams was an American poet closely associated with modernism and Imagism. He was also a pediatrician and general practitioner of medicine. Williams "worked harder at being a writer than he did at being a physician," wrote biographer Linda Wagner-Martin. During his long lifetime, Williams excelled both as a poet and a physician.
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. He wrote at night and spent weekends in New York City with friends—writers and artists like the avant-garde painters Marcel Duchamp and Francis Picabia and the poets Wallace Stevens and Marianne Moore. He became involved in the Imagist movement but soon he began to develop opinions that differed from those of his poetic peers, Ezra Pound and T. S. Eliot. Later in his life, Williams toured the United States giving poetry readings and lectures.
In May 1963, he was posthumously awarded the Pulitzer Prize for Pictures from Brueghel and Other Poems (1962) and the Gold Medal for Poetry of the National Institute of Arts and Letters. The Poetry Society of America continues to honor William Carlos Williams by presenting an annual award in his name for the best book of poetry published by a small, non-profit or university press.
Williams' house in Rutherford is now on the National Register of Historic Places. He was inducted into the New Jersey Hall of Fame in 2009.
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“You remember I had a strong inclination all my life to be a painter. Under different circumstances I would rather have been a painter than to bother with these god-damn words. I never actually thought of myself as a poet but I knew I had to be an artist in some way.”
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“I had sent [the magazine] a batch of poems which they turned down flat. I was furious. Floss [my wife] said, 'If I were the editor of that magazine *I* would turn down what *you* sent.' So *she* picked a batch and they accepted them *all*.”
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Oct 19, 2014 11:44PM