Contains 170 letters selected from the surviving correspondence of two of Modernism's legendary poets. Dating from 1907 until Williams' death in 1963, each letter is reproduced in full and accompanied by explanatory notes. Includes a historical introduction setting the letters in context. Annotation copyright by Book News, Inc., Portland, OR

The Autobiography is an unpretentious book; it reads much as Williams talked—spontaneously and often with a special kind of salty humor. But it is a very human story, glowing with warmth and sensitivity. It brings us close to a rare man and lets us share his affectionate concern for the people to whom he ministered, body and soul, through a long rich life as physician and writer. 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.

William Carlos Williams's place among the great poets of our century is firmly established. This anthology of selections drawn from the whole range of his work--poetry, fiction, autobiography, drama and essays--shows conclusively that his prose was also remarkably original, versatile and powerful. It has been edited by M. L. Rosenthal, literary critic and Professor of English at New York University.

WCW, I Wanted to Write a Poem. Williams discusses the procedure of poetry.

WCW, The Embodiment of Knowledge. Early essays.

Included here are all of Pound's concert reviews and statements; the biweekly columns written under the pen name William Atheling for The New Age in London; articles from other periodicals; the complete text of the 1924 landmark volume Antheil and the Treatise on Harmony; extracts from books and letters, and the poet's additional writings on the subject of music. The pieces are organized chronologically, with illuminating commentary, thorough footnotes, and an index. Three appendixes complete this comprehensive volume; an analysis of Pound's theories of "absolute rhythm" and "Great Bass;" a glossary of important musical personalities mentioned in the text and the composer George Antheil's 1924 appreciation, "Why a Poet Quit the Muses."