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Books : Literature & Fiction : Authors, A-Z : ( W ) : Williams, William Carlos
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Abraham Lincoln read it with approval, but Emily Dickinson described its bold language and themes as "disgraceful." Ralph Waldo Emerson found it "the most extraordinary piece of wit and wisdom that America has yet produced." Published at the author's expense on July 4, 1855, Leaves of Grass inaugurated a new voice and style into American letters and gave expression to an optimistic, bombastic vision that took the nation as its subject. Unlike many other editions of Leaves of Grass, which reproduce various short, early versions, this Modern Library Paperback Classics "Death-bed" edition presents everything Whitman wrote in its final form, and includes newly commissioned notes.
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Modern American poets translate classical Chinese poetry.The New Directions Anthology of Classical Chinese Poetry is a rich compendium of translations like no other. It is the first to look at Chinese poetry through its enormous influence on American poetry, starting with Ezra Pound's Cathay (1915), and including translations by three other major US poets (William Carlos Williams, Kenneth Rexroth, Gary Snyder) and an important poet-translator-scholar (David Hinton), all of whom have long been associated with New Directions. Moreover, it is the first general anthology ever to consider the process of translation by presenting different versions of the same poem by various translators, as well as examples of the translators rewriting themselves. The collection, at once playful and instructive, serves as an excellent introduction to the art and tradition of Chinese poetry, gathering some 250 poems by nearly 40 poets, from the anonymous early poetry through the great masters of the T'ang and Sung dynasties. The anthology also includes previously uncollected translations by Pound, a selection of essays on Chinese poetry by all five translators, some never published before in book form, and biographical notes that are a collage of poems and comments by both the American translators and the Chinese poets themselves.
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Written in 1928 by one of the founders of the Surrealist movement, and translated the following year by William Carlos Williams (the two had been introduced in Paris by a mutual friend), Last Nights of Paris is related to Surrealist novels such as Nadja and Paris Peasant, but also to the American expatriate novels of its day such as Day of the Locust. The story concerns the narrator's obsession with a woman who leads him into an underworld that promises to reveal the secrets of the city itself... and in Williams' wonderfully direct translation it reads like a lost Great American Novel. A vivid portrait of the city that entranced both its native writers and the Americans who traveled to it in the 20s, Last Nights of Paris is a rare collaboration between the literary circles at the root of both French and American Modernism.
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WCW, The Embodiment of Knowledge. Early essays.
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Fine selection of early verse by influential ("no ideas but in things") American poet includes "Peace on Earth," "Willow Poem," "Queen-Anne's-Lace," "Tract," "El Hombre," "Danse Russe," "Keller Gegen Dom," "Portrait of a Lady," "The Widow's Lament in Springtime," many more.
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Featuring rare archival recordings of the featured poet reading his own work! Each program in Random House Audio Voices' exclusive THE VOICE OF THE POET series is accompanied by a book containing the text of the poems and a commentary by J.D. McClatchy.
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Over 180 masterpieces appear in this tribute to one of the 20th century’s most radical poetic movements. Imagist gems in this definitive collection include works by Ezra Pound, D. H. Lawrence, H. D. (Hilda Doolittle), James Joyce, Wallace Stevens, William Carlos Williams, and many others.
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Significantly deepening our understanding of two key figures from the modernist period, The Humane Particulars collects the letters between William Carlos Williams and Kenneth Burke. Written during forty-two years of close friendship and literary debate, these nearly 250 letters span two long lives, two complicated personalities, and two brilliantly productive careers. The animated exchange between a canonical poet and the leading American rhetorical critic of the twentieth century offers a more complete vision of their outlooks and their contributions to the shape and tenor of the modernist scene.Set in context by James H. East's introduction and explanatory notes, the letters begin just after Burke and Williams's initial meeting in 1921 during a tramp through a New Jersey swamp and surrounding meadowlands. Their written exchange follows the maturing of their friendship and professional regard. The correspondence shows that Williams and Burke were fast friends during the experimental twenties, preoccupied by individual and divergent projects in the thirties and early forties, and reunited as enthusiastic correspondents after the Second World War.
The letters refer to happy times spent together--walks in the woods, picnics and swimming, and visits to Burke's farm in Andover, New Jersey. They reveal, among other interesting personal matters, Burke's fascination with Williams's double life as physician and poet, Burke's hypochondria, and Williams's at times chastising medical advice to Burke. But, more important, the letters preserve the continual wrangling over the origin and nature of literary form that enlightened the pair's many disagreements. Of particular interest, the correspondence documents a largely unexplored aspect of Burke's career--his reciprocally influential relationship with the writers of the late modern and midcentury periods.
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This book attempts to illustrate, with words and paintings, some of the connections that can be made between cultures even as they strive to keep their identities intact. Standing Bear said it best; "My hand is not the color of yours, but if I pierce it, I shall feel pain." But there can be joy also, if the connections promote friendship, respect and understanding. Poetry by Nebraska State Poet, William Kloefkorn. Pastel Paintings by Carlos Frey.
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