Movement is one of the overall effects of such a foregrounding of syntax. Clouds materialize here only to evaporate into a phrase that draws them into relation to an unsupplied term. His major works include Kora in Hell 1920 ; Spring and All 1923 ; Pictures from Brueghel and Other Poems 1962 , which was awarded the Pulitzer Prize; the five-volume epic Paterson 1963, 1992 ; and Imaginations 1970. But, things are about to happen. It is poetry as transcript, poetry as unreeling film which means to tell us that the essential reality of spring is its nowness. Since Eliot is drawing inspiration from the collective unconscious, the mind of Europe, the overarching views of what is considered to be good literature, he maintains an unwavering devotion to classic literature in composing The Waste Land.
If you like poetry about finding a mystical bond with the wholeness of nature wrapped around some vague ideas about poetry, you will like this collection. The tone of starkness and sterility early in poem I is a carefully crafted embodiment of a late-winter landscape. Macbeth is his shortest story, which makes some think that there are some missing pieces to the play. Even when Gass completely parts company with Carson and turns dense, disjointed, and layered with metaphor upon metaphor the reader understands sense and the sensible journey will resume shortly. Though at times the poet goes a bit mad with his ideas, they, at most times, are clear. Beyond, the waste of broad muddy fields Or, in longer lines: under the surge of the blue mottled clouds driven from the northeast -- a cold wind.
To it now we come to dedicate our secret project: the annihilation of every human creature on the face of the earth. Published in 1923, one year after Eliot's The Waste Land and Joyce's Ulysses, Spring and All is as revolutionary as these modernist text and should be uttered in the same breath. Williams' lines, on the other hand, are rough, unfinished, provisionary. It is the very antithesis of poetry. From Ideas in Things: The Poems of William Carlos Williams.
Art is the pure effect of the force upon which science depends for its reality — Poetry Poetry has to do with the crystalization of the imagination — the perfection of new forms as additions to nature — Prose may follow to enlighten but poetry — I first came across Spring and all in a blurb to another book. The book coheres and infuriates in a madcap fashion as the poetry and the prose reinforce one another. Poetry that used to go hand in hand with life, poetry that interpreted our deepest promptings, poetry that inspired, that led us forward to new discoveries, new depths of tolerance, new heights of exaltation. Beyond, the waste of broad, muddy fields brown with dried weeds, standing and fallen patches of standing water the scattering of tall trees From these exertions a veritable landscape emerges, presupposing, as it heaves itself into focus, a mind quite experienced in distinguishing among such apparently familiar objects and in acknowledging their relation to one another. Beyond, the waste of broad, muddy fields brown with dried weeds, standing and fallen patches of standing water the scattering of tall trees All along the rood the reddish purplish, forked, upstanding, twiggy stuff of bushes and small trees with dead, brown leaves under them leafless vines— Lifeless in appearance, sluggish dazed spring approaches— They enter the new world naked, cold, uncertain of all save that they enter. In comparison, the book begins with annihilating the traditional form of writing—referred to as civilization—then, suddenly everything is new, the imaginative writing. But Williams counters with a bunch of Romantic platitudes and mystical sounding vagaries aimed at straw men of various shapes.
It is local—something, that is, that must be seen with other words and with a new voice. It is not intended to be so. I'm not sure how I made it into my mid-twenties without discovering William Carlos Williams. Son of man, You cannot say or guess,. I have never experienced anything quite like it before.
Perhaps it insinuates as well the early American settlers, about whom Williams was writing in 1923; most of In the American Grain 1925 was composed that year: They enter the new world naked, cold, uncertain of all save that they enter. 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. But the commentary that runs throughout elevates the poetry and the collection itself. Indeed, the literary prizes were then, as they are now, popularity contests. Let it rage, let it kill.
Öd' und leer das Meer. But they speak of barbershops, and cars, farmers and fishermen, baseball games, gypsies, -- and the famous wheelbarrow. Williams himself said the book drew little attention at the time of publication. Instead, there is just growth, which by its very wildness and commonness connotes indestructible, rejuvenative power. Context certainly conditions a lines resistance to enjambment, but as a rule resistance grows stronger as lines divide progressively smaller, more integral, syntactical units. The prose is set off in short paragraphs and in sections whose headings are deliberately befuddling.
I had today gave me the time this morning to dedicate myself to this book, I found myself completing it in only about an hour or so--not just because it's rather short, but because it's that engaging and absorbing. It is in itself as a work of imagination which allows the poet and the reader to see things in a new way. I have no empirical knowledge of the effect of drugs on human consciousness, yet when I finish reading an astounding work of poetry, I invariably wonder if this is what it feels like to be high on crack cocaine. This is the force of imagination. The use of geometric planes promotes multiple perspectives by careful arrangement of sentence elements. Williams seems more like a fisherman to me, but I haven't quite decided.