Spring and All by C. D. Wright, William Carlos Williams Page B
Authors: C. D. Wright, William Carlos Williams
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He was a local. He was “seeking to articulate,” seeking “to name it.” He resisted revision. He loved art. He spoke “plain American.” He had a thirst for
now
. And he had his own beat, “a certain unquenchable exaltation” as he said of his renowned wheelbarrow. The excitement the writing exuded is as
contagious
today as when he made his rounds “quickened by the life about him.” The reader is induced to stay awake. Make contact. Look ahead. In 1923, poetry’s backward advance came to the crossroads. The pediatrician from Rutherford discharged the symbolic heap of myth and metaphor; adjusted his focal length to light up cast-off, common things; dug his heels into American dirt and passed directly into the moment. Ah, SPRING.
- C. D. WRIGHT
To
Charles Demulh
Spring and All
I F anything of moment results — so much the better. And so much the more likely will it be that no one will want to see it.
There is a constant barrier between the reader and his consciousness of immediate contact with the world. If there is an ocean it is here. Or rather, the whole world is between: Yesterday, tomorrow, Europe, Asia, Africa, — all things removed and impossible, the tower of the church at Seville, the Parthenon.
What do they mean when they say: „ I do not like your poems; you have no faith whatever. You seem neither to have suffered nor, in fact, to have felt anything very deeply. There is nothing appealing in what you say but on the contrary the poems are positively repellant. They are heartless, cruel, they make fun of humanity. What in God’s name do you mean? Are you a pagan? Have you no tolerance for human frailty? Rhyme you may perhaps takeaway but rythm! why there is none in your work whatever. Is this what you call poetry? It is the very antithesis of poetry. It is antipoetry. It is the annihilation of life upon which you are bent. Poetry that used to go hand in hand with life, poetry that interpreted our deepest promptings, poetry that inspired, that led us forward to new discoveries, new depths of tolerance, new heights of exaltation. You moderns! it is the death of poetry that you are accomplishing. No. I cannot understand this work. You have not yet suffered a cruel blow from life. When you have suffered you will write differently? »
Perhaps this noble apostrophy means something terrible for me, I am not certain, but for the moment I interpret it to say: « You have robbed me. God, I am naked. What shall I do? » — By it they mean that when I have suffered (provided I have not done so as yet) I too shall run for cover; that I too shall seek refuge in fantasy. And mind you, I do not say that I will not. To decorate my age.
But today it is different.
The reader knows himself as he was twenty years ago and he has also in mind a vision of what he would be, some day. Oh, some day! But the thing he never knows and never dares to know is what he is at the exact moment that he is. And this moment is theonly thing in which I am at all interested. Ergo, who cares for anything I do? And what do I care?
I love my fellow creature. Jesus, how I love him: endways, sideways, frontways and all the other ways — but he doesn’t exist! Neither does she. I do, in a bastardly sort of way.
To whom then am I addressed? To the imagination.
In fact to return upon my theme for the time nearly all writing, up to the present, if not all art, has been especially designed to keep up the barrier between sense and the vaporous fringe which distracts the attention from its agonized approaches to the moment. It has been always a search for „ the beautiful illusion”. Very well. I am not in search of „ the beautiful illusion”.
And if when I pompously announce that I am addressed — To the imagination — you believe that I thus divorce myself from life and so defeat my own end, I reply: To refine, to clarify, to intensify that eternal moment in which we alone live there is but a single force — the imagination.
now
. And he had his own beat, “a certain unquenchable exaltation” as he said of his renowned wheelbarrow. The excitement the writing exuded is as
contagious
today as when he made his rounds “quickened by the life about him.” The reader is induced to stay awake. Make contact. Look ahead. In 1923, poetry’s backward advance came to the crossroads. The pediatrician from Rutherford discharged the symbolic heap of myth and metaphor; adjusted his focal length to light up cast-off, common things; dug his heels into American dirt and passed directly into the moment. Ah, SPRING.
- C. D. WRIGHT
To
Charles Demulh
Spring and All
I F anything of moment results — so much the better. And so much the more likely will it be that no one will want to see it.
There is a constant barrier between the reader and his consciousness of immediate contact with the world. If there is an ocean it is here. Or rather, the whole world is between: Yesterday, tomorrow, Europe, Asia, Africa, — all things removed and impossible, the tower of the church at Seville, the Parthenon.
What do they mean when they say: „ I do not like your poems; you have no faith whatever. You seem neither to have suffered nor, in fact, to have felt anything very deeply. There is nothing appealing in what you say but on the contrary the poems are positively repellant. They are heartless, cruel, they make fun of humanity. What in God’s name do you mean? Are you a pagan? Have you no tolerance for human frailty? Rhyme you may perhaps takeaway but rythm! why there is none in your work whatever. Is this what you call poetry? It is the very antithesis of poetry. It is antipoetry. It is the annihilation of life upon which you are bent. Poetry that used to go hand in hand with life, poetry that interpreted our deepest promptings, poetry that inspired, that led us forward to new discoveries, new depths of tolerance, new heights of exaltation. You moderns! it is the death of poetry that you are accomplishing. No. I cannot understand this work. You have not yet suffered a cruel blow from life. When you have suffered you will write differently? »
Perhaps this noble apostrophy means something terrible for me, I am not certain, but for the moment I interpret it to say: « You have robbed me. God, I am naked. What shall I do? » — By it they mean that when I have suffered (provided I have not done so as yet) I too shall run for cover; that I too shall seek refuge in fantasy. And mind you, I do not say that I will not. To decorate my age.
But today it is different.
The reader knows himself as he was twenty years ago and he has also in mind a vision of what he would be, some day. Oh, some day! But the thing he never knows and never dares to know is what he is at the exact moment that he is. And this moment is theonly thing in which I am at all interested. Ergo, who cares for anything I do? And what do I care?
I love my fellow creature. Jesus, how I love him: endways, sideways, frontways and all the other ways — but he doesn’t exist! Neither does she. I do, in a bastardly sort of way.
To whom then am I addressed? To the imagination.
In fact to return upon my theme for the time nearly all writing, up to the present, if not all art, has been especially designed to keep up the barrier between sense and the vaporous fringe which distracts the attention from its agonized approaches to the moment. It has been always a search for „ the beautiful illusion”. Very well. I am not in search of „ the beautiful illusion”.
And if when I pompously announce that I am addressed — To the imagination — you believe that I thus divorce myself from life and so defeat my own end, I reply: To refine, to clarify, to intensify that eternal moment in which we alone live there is but a single force — the imagination.
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