William Carlos Williams (17 September 1883 – 4 March 1963) was a poet and American novelist, high representative of modernism and the Imagism. He was also a pediatrician and general practitioner, the occupations that may have influenced the choice of subjects of his poetry.
His biographer Linda Wagner-Martin also notes that “he also worked hard to become a writer as he did in his medical profession.”
Among his attempts in poetry The Red Wheelbarrow, a poem about a girl convalescing after a severe illness, is the poem often featured in poetry anthologies, usually as an example of the Imagist movement style and principles. However, Williams, like his associate Ezra Pound, had long rejected the Imagist movement when the poem was published in the collection Spring and All in 1923.
Williams was close to the American modernist movement, and saw his poetic project as proper to the United States; he also sought to renew the language with the language born in the culturally diverse society of America, while freeing himself from the vocabulary he considered worn in the British style and European culture.
Students, seeking to prepare a proper William Carlos Williams research paper, should know that his significant contribution was the welcome he reserved for young poets, acting as a mentor to them. While Eliot and Pound were praised in their lifetime, many poets of later generations personally followed Williams as an example or recognized to be under a considerable influence. Williams personally guided Charles Olson playing a pivotal role in the development of poetry at Black Mountain College. Denise Levertov and Robert Creeley were also members of this group, were tutored by Williams.
During the First World War, when many European artists settle in New York, Williams became friends with many members of the avant-garde, such as Marcel Duchamp, Francis Picabia, and Man Ray. In 1915 Williams began his participation in a New York group of artists and writers called “The Other.” Through this organization, Williams came into contact with Dada, which explains the influence of Dada and surreal principles on his first poems. His involvement with The Other made Williams a key figure of early modernism in America.
Williams rejected the common conventional loans from classic cultures and foreign authors made ??by Ezra Pound and T.S. Eliot. He preferred to create his poems from what he called “local.” In his poem Paterson (published between 1946 and 1958) on the history, population, and essence of Paterson, he questions the role of the poet in American society.
He wanted poets abandon the old poetic forms and unnecessary poetic references, trying to describe the world as it is, with appropriate vocabulary. Marianne Moore, also critical of the traditional forms of poetry, wrote that Williams used a “common American language that even cats and dogs could read,” with an American language distinct of English.
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