And, as Nietzsche knew, there is no greater test of will, of the spirit's capacity to align itself with necessities it cannot control, than this sense of infinite repetition. His background includes various ancestries, such as French, Puerto Rican, Jewish, and Spanish, and he won a Pulitzer Prize for Pictures from Brueghel. A paradigmatic case is from William Carlos Williams in a well-known poem which uses the device almost as if in a manifesto. William Carlos Williams was an American poet closely associated with modernism and Imagism. When you think of 'glaze,' you may picture a glazed donut. This poem is one of my major psychotic fucking hatreds. It could nonly be the gush of an arty female on a tour of Farmer Brown's barnyard.
Red Wheelbarrow so much depends upon a red wheel barrow - William Carlos Williams 1923 Red Wheelbarrow, the De Anza College literary magazine, appears annually in both a National and a Student Edition. On the testimonial level, all of this motion is so under the control of pattern, and so abstracted to pure function, that it establishes another dimension, in which the various conditions making for objectivity contain and sustain the temporal features of intentional desire. Agitated, the reader then looks down to see for what he or she has been thrown into oblivion: a red wheelbarrow. A helpful exercise is to try to continue writing the poem yourself. So the stanzas stand on the page as separate, but the lack of punctuation connects them. Chickens and wheelbarrows are found in proximity in many parts of the world, though they would not be found in the middle of Greenwich Village.
Through its form the poem becomes itself: a beacon of new green light breaking through storm clouds and unleashing the bombastic beauty of a new red wheelbarrow and some chickens. I can't reduce the poem into a smaller form. Why is this poem so well known, so respected, so well liked? We see this intentionality most clearly in the way that the three concrete stanzas enact the process of dependence by continually looking back to that initial opening that invests the scene with its governing verb and allows other elements to assume predicative force. Although people keep kind-hearted and naïve will easily be hurt, people would acquire happiness and more opportunity to make friends. The poem is written in a brief, -like form. That will always be a thing. Something I just saw, I can't recall what, made a casual reference to this poem.
Because the acts of mind can be rooted in an objective world, there need be no idealist dialectic to reunite the poles of presentation and disclosure: Objects endure, and thus acts of mind that intensify them, and are intensified in turn, are infinitely repeatable. The fragmented style of this poem gives power to an object through the poet's use of language. As he sat in the child's room, he could look out the window and see a red wheelbarrow in the yard. This wheelbarrow is wet from a recent rain, and there happen to be white chickens hanging out with the wheelbarrow. So important, in fact, that it gets its very own line. He never felt cold in his life until just recently.
That question is always a trap. He never felt cold in his life until just recently. But art lifts the saying out of the zone of things said. Williams, in dissecting the image of the wheelbarrow, has also transformed the common definition of a poem. Throughout his poem, he gives many similes and metaphors to compare the great love for this mysterious young woman making it obvious on what the theme is.
Simultaneous submissions acceptable if indicated. He repetitively exclaims his love to the women throughout the entire poem. This is one of his more prose-like statements of what he feels as his calling, what drives the poet. William Carlos Williams' celebrated red wheelbarrow poem was written after a night at the bedside of a desperately sick child, but to directly mention the child and describe that situation would have been to court pathos. I immediately balled up my fists, screwed up my eyes, began to holler, rock and twist in my chair, beat on the arms, and drum my feet on the floor. The form of this poem continues to evolve and to violate my expectations like a great piece of repetitive music which imperceptibly alters into a very different thing.
The Visual Text of William Carlos Williams. What does it mean to 'glaze' something? It is crucial that Williams's material is banal, trivial: by placing this material in the poem, Williams underscores the distance the material has traveled, and the poem defines a radical split between the world of art and the world of barnyards, between a world which crystallizes the imagination and a world which is a mere exposition of the facts. I'm thinking about it, and now I'm going to write a poem. It might be because the wheelbarrow is a necessary tool for work, or because the wheelbarrow, rain and chickens are critical to the farmer's survival. This poem is one of my major psychotic fucking hatreds. Without his wheelbarrow, which is the color red, maybe meaning the hot sun, he could not carry the dirt.
Copyright © 1994 by The University of Texas Press. Founded in 1976, Red Wheelbarrow was known as Bottomfish until 2001. Ó 1999 by the Regents of the University of California. Historically, in literary color symbolism, the color red represents things like power and passion; when you think of the color red, you can probably picture things like blood and love, so hopefully, this makes sense. Barrow itself, nub of the poem, evolves from Old English bearwe, cognate with bear. I can love it and it is short enough to live in it's unsolved state as an object of pure poetic joy.
William Carlos Williams: Brief Bio William Carlos Williams 1883-1963 was an American poet during both the modernist and the imagist movements. And why use a word count, rather than a syllable count, as one's organizing pattern? The pure products of America go crazy— mountain folk from Kentucky or the ribbed north end of Jersey with its isolate lakes and valleys, its deaf-mutes, thieves old names and promiscuity between devil-may-care men who have taken to railroading out of sheer lust of adventure— and young slatterns, bathed in Her body is not so white as anemone petals nor so smooth—nor so remote a thing. Entire text online at at the Tangent website, reprinted by permission. Do the words work together to create euphony, dissonance, or something in between? The formal device is no surface trick. When a student pointed out my mistake, I realized the picture in my mind was so vivid that I could not forget that, in my imagination, there were five white chickens.