From 1902 to 1912, William Carlos Williams wrote more than 300 letters to his younger brother Edgar, an architect with whom he shared the desire to become 'a great artist'. This collection of 200 letters sheds light on the aesthetic thoughts and practices with which Williams was engaged before his unique voice emerged in 'The Wanderer'.

William Carlos Williams first spoke to the issue of form shortly after the publication of “The Wanderer” in 1914—his move to vers libre—and didn’t stop talking about form until his death in 1963. His poetry shows, decade after decade, persistent formal innovation. Bruce Holsapple’s The Birth of the Imagination relates the form, structure, and content of Williams’s poetry to demonstrate how his formal concerns bear upon the content, namely, how form testifies to a vision that the style verifies. Tracing the development of Williams’s work from Poems in 1909 through The Wedge in 1944, Holsapple aligns emerging aesthetic concepts and procedures with shifts in Williams’s writing to disclose how meaning becomes refigured, affecting what the poems “say.” While focusing primarily on Williams’s experimental works, including the novellas, this innovative study charts how significant features in Williams’s poetry result from specific imaginative practices.

The poet as an inheritor of an Emersonian tradition, and Paterson as an ethical autobiography in progress.

Modernism in the Green traces a trans-Atlantic modernist fascination with the creation, use, and representation of the modern green. From the verdant public commons in the heart of cities to the lookout points on mountains in national parks, planned green spaces serve as felicitous stages for the performance of modernism. In its focus on designed and public green zones,Modernism in the Green offers a new perspective on modernism’s overlapping investments in the arts, politics, urbanism, race, class, gender, and the nature-culture divide. This collection of essays is the first to explore the prominent and diverse ways greens materialize in modern literature and culture, along with the manner in which modernists represented them. This volume presents the idea of "the green" as a point of exploration, as our contributors analyze social-organic spaces ranging from public parks to roadways and refuse piles. Like the term "green," one that evokes both more-than-human natural zones and crafted public meeting places, these chapters uncover the social and spatial intersection of nature and culture in the very architecture of parks, gardens, buildings, highways, and dumps. This book argues that such greens facilitate modernists’ exploration of how nature can manifest in an era of increasing urbanization and mechanization and what identities and communities the green now enables or prevents.

A remarkable collection of 42 poets connected with the Rutherford, NJ poetry revival gives voice to memorable poetry and essays in the third edition of The Rutherford Red Wheelbarrow. Published by the Red Wheelbarrow Poets, this third annual edition of the literary journal celebrates the epic in the local and poetic voices in the American grain that so inspired William Carlos Williams, Rutherford's hometown doctor and poet, whose liberation of the voice of the common man (and woman) in poetry was a true revolution in words during the last century.--The Red Wheelbarrow Poets.

Modernism's Mythic Pose recovers the tradition of Delsartism, a popular international movement that promoted bodily and vocal solo performances, particularly for women. This strain of classical-antimodernism shaped dance, film, and poetics. Its central figure, the mythic pose, expressed both skepticism and nostalgia and functioned as an ambivalent break from modernity.