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> It just doesn't happen every day, That you cite Mata for a paper.
post Apr 17 2012, 09:41 AM
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I'm an inefficient bear. Maul.

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Mata was recently kind enough to lend me a little help with a paper for my English class, so I thought I would share. It simply doesn't happen every day that you get to cite Mata in a paper.

Simple yet complex, William Carlos Williams was poet from the first half of the twentieth century who is most famous for his work in the Imagist movement. For him, his focus appears in the ideal that 'no ideas, but in things'. His work 'Poem (as the cat)' is a short piece without punctuation and prominently featuring stanza breaks, which suggest a cadence, and this cadence supports the cautious action of the cat being described. Several critics have argued that this apparent simplicity belying complexity is typical of Williams’ work. The simplicity of Williams’ work is reflected in a personal life, which is about as contrary a cat crossing a jamcloset, but his works suggest that he took a joyful pleasure in small events around him. From a retrospective position one can see that the appeal of his work probably wasn't the related to rejection of poetic flourishes, and literary mechanics, but in creating every day images that can be easily understood because this was entirely counter to what was happening in the outside world. The simplicity of the subjects with much more complex undertones turned the trite poems, and the man himself, into something a bit more meaningful.
“William Carlos Williams” states that William Carlos Williams was born on September 17, 1883 and subsequently died March 4, 1963, in Rutherford, NJ. His parents were one William George and Raquel Helene, his mother of a mixed heritage and his father being English. Carlos would later reflect that with his mixed heritage that America was the only country in which he could belong. While growing up the first born, Williams was introduced early on into literature; however, he took no interest until much later in his school life. His parents, William and Raquel, had high hopes for him to become a doctor. However, his collage career was mostly focused on advancing his creativity rather then broadening his horizons for success. While he did, in fact, become a doctor and enjoyed it greatly he kept his wistful nature, and preached that the similarities between people were far more important then what was different (1-8).
Charles Doyle states in “William Carlos Williams and the American Poem” that the first difficulty in critiquing the writers work is to decide exactly which front one might want to take with in critiquing. Williams’ started out his career in the same stale manner accepted by the masters of English, which was a form of poetry he broke from under the ideas of imagism. It is even ventured that Williams changed his form of writing to one that was more American in nature. Doyle claims that Williams’ focus was on that which is now and new. The writer almost asserts that Williams changed his writing style simply because it was a new way to write poetry (1-4). One may disagree, however, when they take into the account what was happening in the world at the time, first his work as a doctor, the great depression, and then World War II. These influences in Williams’ life cannot be underestimated. Firstly, the work of a doctor in the early 1900’s was no simple matter, a time where a cold meant: morphine, cocaine, or maybe aspirin. Work as a doctor clearly must have been a trial for Williams. Secondly, World War II started in the midst of Williams focus on simplicity and imagism. This was even the time of the great depression, where most of America was starving. It might not be a hard venture to imagine that the terror and complexity of the world surrounding Williams may have been cause for his focus on a happy and simple form of writing. One in which he can use simple images to influence a deeper sense is wistfulness beneath the pictures he portrays with his words.
Ron Callan discusses the social impact of the 1930’s on Williams’ poetry in his work “William Carlos Williams' An Early Martyr: The Descent Beckons “. Callan reflects on Williams’ as a sort of proletariat poet, and credits that a time a hardship with Williams’ poetry was partially due to the turbulence of this time. The writer laments Williams use of past poems in his new book, “An Early Martyr”, and that the man was striving to find a manner in writing that would reflect upon his beloved America. Callan attacks Carlos work as a form of plagiarizing himself, and as laziness (1-7). He states that many of Williams ‘new’ poems were simply rewrites of older poems; however, one may consider the idea that Williams had gone back to his old writings, and seen the image a bit differently. Perhaps as the man himself matured, Williams was able to look back on his past works and saw a different image. If so, it is understandable that he would want to paint the same old picture in a new light to represent his new perspective.
Deric Corlew takes on a far more scientific approach in his writing “The mind and the nervous system: synaptic space in the poetry of William Carlos Williams”. Deric’s opinion is that William’ poetry works much like the neurons of a synaptic system. The main idea is that the mind is a part of the body, which means that all knowledge is humanized. Therefore, if all knowledge is dependent on the human, all knowledge changes depending on the situation, and what exists within said situation. In turn, that all knowledge is within a dialectic flow of information, and that every situation is a chain reaction in direct relation to the last situation, and the manner in which one took part there in (1-15). Since everything is, in fact, in a state of constant evolution, it would make sense that poetry takes part in this evolution as well. That means not only from a writers perception of the poem during it’s creation, but the readers understanding would shift depending on the situations that have been survived. The idea is that ‘I am a direct reflection of everything thing that has ever happened to me, and my reactions to it.’ Why wouldn’t this extend to poetry?
Linda W. Wagner writes in “William Carlos Williams: Overview” that Williams’ was a writers’ writer, and a leader of the American modernist movement. Wagner states that Williams’ poems were consistently organic and had idiomatic language and structure. She covers his obsession with the ideal American character as being derived from his inner need to have a place that he truly belongs to, a place that fit who he was. Wagener surmises that Williams was not so interested on forcing an image on his readers, instead he wanted each person to derive their own meaning to a cat or wheelbarrow. The thought is that the presentation of the idea is what was important, and people may do with it what people will do with it (1-3). Considering the simplicity of the writings, one might assume that Williams’ goal was to nudge people in the right direction, and see where it would take them. Within many of Williams’ poems, the reader has to use some form of critical thinking otherwise all they would read is a red wheelbarrow or a man selling balloons; however, at no point in time does Williams actually highlight the main point to poem. It would appear that he put thought into his poems as a means to see if others would also put thought into his poems.
Everything changes, and while one person may see a red wheelbarrow today, the same person might see the clear outline of poetry in motion tomorrow. One may suppose that true beauty may have nothing to do with rhythm and measure, or rhyme and stanza. Perhaps the real beauty is watching the movements of a cat walking, and realizing that it could mean something a little more. What if the true inspiration only has to be simple things that create a perfect image, instead of flighty words and perfect diction? If one might find perfection in simplicity, perhaps poetry was nothing more then an escape from the turbulence that surrounded Williams and invaded his life. A means to freely express himself in a new way in the style of the American dream, the reader might find that Williams could have created his own ‘happy place’ and sense of belonging in the free forms that Williams helped to create.

William Carlos Williams. Contemporary Authors Online. Detroit: Gale, 2004. Word Count: 6799. From Literature Resource Center.
A useful tool for writing a biography, the article outlines the highlights of Williams’ life, and gives precise information as to who and when, and what was involved. Also, it is not to long that it would take a week to understand the man’s life.
William Carlos Williams and the American Poem. Charles Doyle. St. Martin's Press, 1982. Rpt. in Contemporary Literary Criticism. Ed. Daniel G. Marowski and Roger Matuz. Vol. 42. Detroit: Gale Research, 1987. Word Count: 3115. From Literature Resource Center.
While the author appears to view Williams as negatively, he is open enough that he isn’t critically attacking everything about Williams. The article over all is easy to understand, and discusses possible motives for Williams’ writing.
William Carlos Williams's An Early Martyr: The Descent Beckons. Ron Callan. Rebound: The American Poetry Book. Ed. Michael Hinds and Stephen Matterson. Amsterdam: Rodopi, 2004. p99-109. Rpt. in Poetry Criticism. Ed. Michelle Lee. Vol. 109. Detroit: Gale. Word Count: 5959. From Literature Resource Center.
The article over all appears to be an attack on Williams’ work, but does make a few interesting points about a specific point in time in Williams’ life. For the most part the attack seem highly judgmental and elitist, and don’t leave any room for personal growth on behalf of Williams. For the most part it is an elitist penis comparison.
The mind and the nervous system: synaptic space in the poetry of William Carlos Williams. Deric Corlew and Mosaic (Winnipeg). 43.3 (Sept. 2010) p69. Word Count: 7261. From Literature Resource Center.
Probably my favorite article, the writer focuses on science and dialectics to discuss the work of Williams. It may be hard to understand is the reader didn’t have a basic understanding of dialectical materialism or how the nervous system worked. For the most part, the article uses a mix of science and philosophy to try to derive meaning from Williams work. This is a very good article.
William Carlos Williams: Overview. Linda W. Wagner and Reference Guide to American Literature. Ed. Jim Kamp. 3rd ed. Detroit: St. James Press, 1994. Word Count: 1483. From Literature Resource Center.
This article reads like a critical biography of Williams, and that makes it highly useful for a research paper. The article is easy to read and understand, and highlights specific points throughout Williams writing career. The author also uses some philosophy to explain the how’s and why’s of Williams writing; however the opinions seems somewhat noncommittal and open to interpretation Ironically that matches up with her opinion on Williams. Over all, it is a decent article.
Dr. Mata Haggis, Senior Lecturer in Games design, Society and New Media, NHTV University, in private written conversation, The Netherlands, 12th April 2012
A brilliant friend that through private discussion provided great insight for my introduction.


It's gonna get you... eventually.
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post Apr 22 2012, 03:48 PM
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