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Many critics have noticed the paradoxes and contradictions in the work of William Carlos Williams, but few have analysed them in detail. Professor Ahearn argues that Williams criticism has not gone far enough in recognising the uses Williams saw for contradiction. He contends that Williams began to acquire his own voice as a poet when he recognised that he could be a vehicle for contending voices. His reading departs from previous examinations of the early poetry in the emphasis it places on the poems as expressions of Williams's personal struggles with himself, his parents, his domestic role and his social position. We find a Williams whose contribution to modernism came not through a radical break with tradition or a rejection of inherited poetic norms alone, but rather in a cultivation of tension, conflict, and a kind of poetic 'crisis' that could be held forth as the metier of the modernist writer. The reconciliation of things as old as civilisation itself with the newest form of poetry, Ahearn argues is the principal theme of Williams early poetic practice.
Table of contents:
Preface; Acknowledgments; Introduction; 1. Dr Williams and Mr Hyde; 2. Love and marriage; 3. Social diffraction; 4. Formal alterations; 5. Metaphor, metamorphosis; 6. Fragments shored; Afterword: 1923-1963; Notes; Bibliography; Index.
Many critics have noticed the paradoxes and contradictions in the work of William Carlos Williams, but few have analyzed them in detail. Professor Ahearn argues that Williams criticism has not gone far enough in recognising the uses Williams saw for contradiction.
Professor Ahearn argues that Williams criticism has not gone far enough in recognising the uses Williams saw for contradiction.
Table of contents:
Preface; Acknowledgments; Introduction; 1. Dr Williams and Mr Hyde; 2. Love and marriage; 3. Social diffraction; 4. Formal alterations; 5. Metaphor, metamorphosis; 6. Fragments shored; Afterword: 1923-1963; Notes; Bibliography; Index.
Many critics have noticed the paradoxes and contradictions in the work of William Carlos Williams, but few have analyzed them in detail. Professor Ahearn argues that Williams criticism has not gone far enough in recognising the uses Williams saw for contradiction.
Professor Ahearn argues that Williams criticism has not gone far enough in recognising the uses Williams saw for contradiction.