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 recognizing the uses Williams saw for contradiction. He contends that Williams began to acquire his own voice as a poet when he recognized 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 civilization itself with the newest form of poetry, Ahearn argues is the principal theme of Williams early poetic practice.
"Ahearn is very good at reading Williams's individual poems to demonstrate his thesis. He studies not only their imagery, but their syntax and prosody as well, and the results are both pleasurable and enlightening. Highly recommended." Choice
Loading metrics...
* Views captured on Cambridge Core between #date#. This data will be updated every 24 hours.
Usage data cannot currently be displayed.
This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.
Accessibility compliance for the PDF of this book is currently unknown and may be updated in the future.