Уильям Карлос Уильямс – лучшие книги

Уильям Карлос Уильямс (англ. William Carlos Williams, 17 сентября 1883, Резерфорд, Нью-Джерси – 4 марта 1963, там же) – один из крупнейших поэтов США. Входил в круг имажистов, был близок к кругам нью-йоркского литературного и художественного авангарда (Дюшан, Пикабиа, Уоллес Стивенс, Марианна Мур, Мина Лой и др.). Во время поездки в Европу в 1924 познакомился с Джойсом. Переводил Филиппа Супо (1929). Оказал огромное влияние на многих молодых поэтов – поколение битников, школу Черной горы, нью-йоркскую школу, многим из них лично помог. В поэзии отошел от литературности Паунда и Элиота. Двигаясь в русле авангарда, обратился к сугубо локальным темам и частной повседневной жизни своих современников (памятником им стала эпическая поэма Уильямса о рядовом американском городке Патерсон, 1946-1958).

A beautiful facsimile of the 1923 original edition which is considered "one of the greatest poems of the twentieth century". (The New York Times) Spring and All is a manifesto of the imagination ― a hybrid of alternating sections of prose and free verse that coalesce in dramatic, energetic, and beautifully cryptic statements of how language re-creates the world. Spring and All contains some of Williams’s best-known poetry, including Section I, which opens, “By the road to the contagious hospital,” and Section XXII, where Williams penned his most famous poem, “The Red Wheelbarrow.” Now, almost 90 years since its first publiction, New…

Williams: ?pictures? From Brueghel (paper Only)

Paterson is both a place—the New Jersey city in whom the person (the poet's own life) and the public (the history of the region) are combined. Originally four books (published individually between 1946 and 1951), the structure of Paterson (in Dr. Williams' words) "follows the course of teh Passaic River" from above the great falls to its entrance into the sea. The unexpected Book Five, published in 1958, affirms the triumphant life of the imagination, in spite of age and death. This revised edition has been meticulously re-edited by Christopher MacGowan, who has supplied a wealth of notes and explanatory material.

A book of poems is an early work by William Carlos Williams. Published in 1921, it includes some of his best early poems: "A Widow's Lament in Springtime," "The Great Figure," "Complaint," and "Queen-Ann's-Lace."

Williams was still struggling to find his audience at the time of Sour Grapes' publication and was forced to pay for some, if not all, of the publishing expenses himself. As a book, it is highly indicative of Williams' early writing. It is filled out with improvisational pieces that Williams seems to have thrown together in the spare moments that he stole from his medical practice. However, this poetic improvisation produced stunningly beautiful language, which is evident in "A Widow's Lament in Springtime," and "Complaint."

Like most of Williams' early works, Sour Grapes was ignored by most critics at the time, but it was well received by Kenneth Burke in The Dial in February 1922.

Imaginations

Written between 1920 and 1932, all five were first published in small editions, three of them in France. These are pivotal and seminal works, books in which a great writer was charting the course he later would follow, experimenting freely, boldly searching for a new kind of prose style to express "the power of the imagination to hold human beings to life and propel them onward.”

The prose-poem improvisations (Kora in Hell) . . . the interweaving of prose and poetry in alternating passages (Spring and All and The Descent of Winter) . . . an antinovel whose subject is the impossibility of writing "The Great American Novel" in America . . . automatic writing (A Novelette) . . . these are the challenges which Williams accepted and brilliantly met in his early work.

Меня так восхищает
независимость бедности, старый
деревянный домик желтеет зарубкой на память
среди новых многоэтажных домов.

'The alphabet of
the trees

is fading in the
song of the leaves'

Filled with bright, unforgettable images, the deceptively simple work of William Carlos Williams revolutionized American verse, and made him one of the greatest twentieth-century poets.

Penguin Modern: fifty new books celebrating the pioneering spirit of the iconic Penguin Modern Classics series, with each one offering a concentrated hit of its contemporary, international flavour. Here are authors ranging from Kathy Acker to James Baldwin, Truman Capote to Stanislaw Lem and George Orwell to Shirley Jackson; essays radical and inspiring; poems moving and disturbing; stories surreal and fabulous; taking us from the deep South to modern Japan, New York's underground scene to the farthest reaches of outer space.

"No poetry is more fresh, more immediate, more deftly challenging," writes editor Robert Pinsky. "William Carlos Williams is at the center of one of poetry's greatest historical flowerings." A poet of astonishing range and inventiveness, Williams was at once a daring formal innovator, one of the band of modernists who transformed American poetry, and an intimate, sometimes savagely frank chronicler of the life and landscape of his native New Jersey. From the beginning he pursued an independent course, creating a diverse and unfailingly vital body of work, from the hard-edged experiments of Spring and All to the fluent lyricism of…

Although admired by D. H. Lawrence, this modern classic went generally unnoticed during the years after its publication in 1925. Yet it is “a fundamental book, essential if one proposes to come to terms with American literature” (Times Literary Supplement). William Carlos Williams was not a historian, but he was fascinated by the texture of American history. Beginning with Columbus’s discovery of the Indies and moving on through Sir Walter Raleigh, Cotton Mather, Daniel Boone, George Washington, Ben Franklin, Aaron Burr, Edgar Allan Poe, and Abraham Lincoln, Williams found in the fabric of familiar episodes new shades of meaning and configurations of character. He brought a poetic imagination to the task of reconstructing a live tradition for Americans, and what results is one of the finest works of prose to have been penned by any writer of the twentieth century.

Book DescriptionSignificantly 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

Ezra Pound and William Carlos Williams, two towering figures in American poetry, began their lifelong, and often contentious, friendship as students at the University of Pennsylvania. Their correspondence ran from 1907, the year Pound took up his virtually permanent residence in Europe, until Williams' death in 1963. The letters contribute an unparalleled documentary record of modern culture - a wealth of information about the lives and works of the two poets themselves; the literary and political movements in which they became involved and the impact of public events upon the arts; the activities of other writers and artists; and the world of small presses and little magazines that nourished the growth of modernism.
Pound/Williams contains 169 letters selected from the poets' surviving correspondence, each letter reproduced in full and accompanied by explanatory notes. Historical introductions place each of the live chronological groupings of letters into context, and a biographical glossary identifies persons prominently mentioned.

William Carlos Williams’s medical practice and his literary career formed an undivided life. For forty years he was a busy doctor in the town of Rutherford, New Jersey, and yet he was able to write more than thirty books. One of the finest chapters in the Autobiography tells how each of his two roles stimulated and supported the other.