William+Carlos+Williams


 * Queen-Anne's-Lace ||||  ||
 * by [|William Carlos Williams] ||

code Her body is not so white as anemone petals nor so smooth—nor so remote a thing. It is a field of the wild carrot taking the field by force; the grass does not raise above it. Here is no question of whiteness, white as can be, with a purple mole at the center of each flower. Each flower is a hand's span of her whiteness. Wherever his hand has lain there is a tiny purple blemish. Each partis a blossom under his touchto which the fibres of her beingstem one by one, each to its end,until the whole field is awhite desire, empty, a single stem,a cluster, flower by flower,a pious wish to whiteness gone over—or nothing. code || __ William Carlos Williams was born in 1883 in Rutherford, New Jersey. He practiced medicine in his life. He also attended medical school from 1902 to 1906. He did poetry in magizins in Chicago. In 1913 he arranged for london publications. __

__ · Born-September 17, 1883(1883-09-17)  __ __ Rutherford, New Jersey, USA died- September 17, 1883(1883-09-17) __ __ Rutherford, New Jersey, USA __ __ · He was a writer and a docotor  __ __ · He was born in the united states and his nationality is the united states. __ __ · Mother was Puerto Rican  __ __ · Attended Horace Mann High School  __ __ · He was admitted to the Medical School of Pennsylvania  __ __ · Married Florence Herman  __ __ · Literary movement was modernism and imagism  __ __ · First book of serious poems named //The Tempers//  __ __ · Spent lots of time with Ezra Pound and James joyce  __

__ William Grew up in Rutherford, New Jersey. He wrote different types of poems. Some of them maybe told a story about his life some told a story about how he felt, and some of them just told a simple story. William attended medical school at the University of Pennsylvania from 1902 to 1920. There he met a woman named Ezra Pound and she was an undergraduate. Pound encourage Williams early writing. A few years after 1902 William was married. __

__ Works Cited __

__"File:William Carlos Williams Passport Photograph 1921.jpg." Wikipedia, the Free Encyclopedia. 4 Oct. 2010. Web. 20 Jan. 2011. .__

__ A River of Words poem __ __ I have eaten __ __ the words __ __ that were in __ __ this biography __

__ and which __ __ were so beautifully __ __ illustrated __ __ for devouring __

__ Forgive me __ __ they were delicious __ __ so sweet __ __ and so filling __

__ [] __ __ [] __

Early years Williams was born in Rutherford, New Jersey to an English father and a Puerto Rican mother. 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. He attended the Horace Mann High School upon his return to New York City and after having passed a special examination, he was admitted in 1902 to the medical school of the University of Pennsylvania.[|[2]]

[[|edit]] Family
Williams married Florence Herman (1891–1976) in 1912, after his first proposal to her older sister was refused.[|[3]] They moved into a house in Rutherford, New Jersey, which was their home for many years. Shortly afterward, his first book of serious poems, //[|The Tempers]//, was published. On a trip to Europe in 1924, Williams spent time with writers [|Ezra Pound] and [|James Joyce]. Florence and Williams' sons stayed behind in Europe to experience living abroad for a year as Williams and his brother had in their youth.

[[|edit]] Career
Although his primary occupation was as a doctor, Williams had a full literary career. His work consists of short stories, poems, plays, novels, critical essays, an autobiography, translations and correspondence. He wrote at night and spent weekends in New York City with friends—writers and artists like the [|avant-garde] painters [|Marcel Duchamp] and [|Francis Picabia] and the poets [|Wallace Stevens] and [|Marianne Moore]. He became involved in the [|Imagist] movement but soon he began to develop opinions that differed from those of his poetic peers, Ezra Pound and [|T. S. Eliot]. Later in his life, Williams toured the United States giving poetry readings and lectures. During the First World War, when a number of European artists established themselves in New York City, Williams became friends with members of the avant-garde such as [|Man Ray], [|Francis Picabia], and [|Marcel Duchamp]. In 1915 Williams began to be associated with a group of New York artists and writers known as "The Others." Founded by the poet [|Alfred Kreymborg] and by Man Ray, this group included [|Walter Conrad Arensberg], [|Wallace Stevens], [|Mina Loy], [|Marianne Moore] and Duchamp. Through these involvements Williams got to know the [|Dadaist] movement, which may explain the influence on his earlier poems of Dadaist and Surrealist principles. His involvement with The Others made Williams a key member of the early modernist movement in America. Williams disliked Ezra Pound's and especially T. S. Eliot's frequent use of allusions to foreign languages and Classical sources, as in Eliot's //[|The Waste Land]//. Williams preferred to draw his themes from what he called "the local." In his modernist epic collage of place, //[|Paterson]// (published between 1946 and 1958), an account of the history, people, and essence of Paterson, New Jersey, he examined the role of the poet in American society. Williams most famously summarized his poetic method in the phrase "No ideas but in things" (found in his poem "A Sort of a Song"). He advocated that poets leave aside traditional poetic forms and unnecessary literary allusions, and try to see the world as it is. Marianne Moore, another skeptic of traditional poetic forms, wrote Williams had used "plain American which cats and dogs can read," with distinctly American idioms. One of his most notable contributions to American literature was his willingness to be a mentor for younger poets. Though Pound and Eliot may have been more lauded in their time, a number of important poets in the generations that followed were either personally tutored by Williams or pointed to Williams as a major influence. He had an especially significant influence on many of the American literary movements of the 1950s: poets of the [|Beat Generation], the [|San Francisco Renaissance], the [|Black Mountain school], and the [|New York School]. He personally mentored [|Theodore Roethke], and [|Charles Olson], who was instrumental in developing the poetry of the [|Black Mountain College] and subsequently influenced many other poets. [|Robert Creeley] and [|Denise Levertov], two other poets associated with Black Mountain, studied under Williams. Williams was friends with [|Kenneth Rexroth], the founder of the San Francisco Renaissance. A lecture Williams gave at Reed College was formative in inspiring three other important members of that Renaissance: [|Gary Snyder], [|Philip Whalen] and [|Lew Welch]. One of Williams's most dynamic relationships as a mentor was with fellow New Jerseyite [|Allen Ginsberg]. Ginsberg claimed that Williams essentially freed his poetic voice. Williams included several of Ginsberg's letters in //Paterson//, stating that one of them helped inspire the fifth section of that work. Williams also wrote introductions to two of Ginsberg's books, including //[|Howl]//. Williams sponsored unknown poets such as [|H.H. Lewis], a radical Missouri Communist poet, who he believed wrote in the voice of the people. Though Williams consistently loved the poetry of those he mentored, he did not always like the results of his influence on other poets (the perceived formlessness, for example, of other Beat Generation poets). Williams believed more in the interplay of form and expression. [] http://w[|ww.google.com/images?hl=en&q=william%20carlos%20william&safe=active&um=1&ie=UTF-8&source=og&sa=N&tab=wi]