{"title":"William Carlos WIlliams","description":"\u003cp\u003eA collection of inscribed books and first editions by the American poet William Carlos Williams.\u003c\/p\u003e","products":[{"product_id":"williams-paterson-i-v","title":"William Carlos Williams. Paterson, Book I–V.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNorfolk, CT: New Directions, 1946–58. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e5 vols., 8vo.; slightest age-toning; uniformly bound in grayish-cream-yellow cloth. Each volume in original printed dust jacket. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eFirst editions\u003c\/strong\u003e, volume 1 comprised 1063 copies (952 bound at publication date and 111 bound in April, 1948); volume 2 of 1009 copies (similarly handled); volume 3 of 999 copies; volume 4 of 995 copies; and volume 5 ambitiously appeared in 3,000 copies (1,500 on its 17 September 1958 publication date and 1,480 bound that December). Volume 1 signed by Williams’s editor James Laughlin on front free endpaper. Volume 5 signed by William Carlos Williams in a post-stroke hand on the front free endpaper.  \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e“\u003c\/span\u003e\u003cspan\u003eI started to make trips to the area. I walked around the streets; I went on Sundays in summer when the people were using the park, and I listened to their conversation as much as I could. I saw whatever they did, and made it part of the poem\u003c\/span\u003e\u003cspan\u003e.” \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn 1926, influenced by his reading of \u003c\/span\u003e\u003cspan\u003eUlysses\u003c\/span\u003e\u003cspan\u003e, William Carlos Williams wrote an 85-line poem titled “Paterson”; it subsequently won the Dial Award. His intent was to do for Paterson, New Jersey, what Joyce had done for Dublin in \u003c\/span\u003e\u003cspan\u003eUlysses\u003c\/span\u003e\u003cspan\u003e. Williams wrote, “All that I am doing (dated) will go into it.” In July 1933, he reattempted the theme in an 11-page prose poem, “Life Along the Passaic River.” By 1937, Williams felt he had enough material to start a large-scale poem on Paterson but realized that the project would take considerable time to complete. Moreover, his then-busy medical practice precluded his attempting such a project at that time. This did not stop Williams from taking some preliminary steps in the meantime. He wrote the poem “Paterson, Episode 17” in 1937 and would recycle it into the major work 10 years later. “Morning,” written in 1938, was another poem intended for \u003c\/span\u003e\u003cspan\u003ePaterson\u003c\/span\u003e\u003cspan\u003e. In 1939, Williams sent James Laughlin at New Directions an 87-page sheaf of poems labeled “Detail and Parody for the Poem Paterson.” This collection as such was not published. However, 15 of its “details,” titled “For the Poem Patterson” [sic], appeared in the collection \u003c\/span\u003e\u003cspan\u003eThe Broken Span\u003c\/span\u003e\u003cspan\u003e, which New Directions released in 1941.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOne reason Williams deliberated on \u003c\/span\u003e\u003cspan\u003ePaterson\u003c\/span\u003e\u003cspan\u003e was his longstanding concern about \u003c\/span\u003e\u003cspan\u003eThe Waste Land\u003c\/span\u003e\u003cspan\u003e by T. S. Eliot, which with its overall tone of disillusionment had tapped into a much larger sense of cultural ennui that had arisen in the aftermath of World War I and become a touchstone for the Lost Generation. As Margaret Lloyd states in her critical reappraisal of Paterson, “many critics and poets indicate their poetical inclinations by aligning themselves specifically with T. S. Eliot or William Carlos Williams, and . . . \u003c\/span\u003e\u003cspan\u003ePaterson \u003c\/span\u003e\u003cspan\u003ewas, from its very conception, intended to be a ‘detailed reply’ to the Eliot bias of modern poetry.” Williams also studied Pound’s \u003c\/span\u003e\u003cspan\u003eCantos\u003c\/span\u003e\u003cspan\u003e [Paris: Three Mountains Press, 1925; London: John Rodker, 1928; New York: Farrar \u0026amp; Rinehart Inc., 1934; London: Faber \u0026amp; Faber, 1937; Norfolk CT.: New Directions, 1940] for clues on how to structure the large work he had in mind. Muriel Rukeyser's \u003c\/span\u003e\u003cspan\u003eUS1\u003c\/span\u003e\u003cspan\u003e [New York: Covici Friede, 1938] caught Williams’s attention as well. He wrote to fellow poet Louis Zukofsky, “I've begun to think about poetic form again. So much has to be thought out and written out there before we can have any solid criticism and consequently well-grounded work here.”\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIn his preface to the revised edition of \u003c\/span\u003e\u003cspan\u003ePaterson \u003c\/span\u003e\u003cspan\u003e[Norfolk, CT: New Directions, 1995], the editor Christopher MacGowan points out that, even with Williams’s protracted challenges in finalizing the poem’s form, he “seems to have always felt close to the point of solving his formal problems.” He promised it to Laughlin for the Spring 1943 book list of New Directions. He told Laughlin in April 1944 that Paterson was “near finished” and nine months later that it was “nearing completion.” Even after he had received the galley proofs of Book I in September 1945, Williams was dissatisfied and revised the work extensively. This delayed its appearance in print to June 1946. Subsequent volumes appeared in 1948, 1949, 1951, and 1958.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePaterson\u003c\/span\u003e\u003cspan\u003e is Williams’s great long-form documentary work. It not only redefined subject matter, but prosody – Williams worked on it for years before finalizing the first volume, continually refining his use of the line outside of conventional meter. Its scale and its scope, and the fact that it was published in individual volumes over a long period of time (and not collected until 1963) complicated its reception, and its mosaic structure challenged readers perhaps more than Williams expected. \u003c\/span\u003e\u003cspan\u003ePaterson\u003c\/span\u003e\u003cspan\u003e was Cyril Connolly’s final selection in his choice of the 100 key books of \u003c\/span\u003e\u003cspan\u003eThe Modern Movement\u003c\/span\u003e\u003cspan\u003e [London: Andre Deutsch\/Hamish Hamilton, 1965]: “The long poem has many moods and includes quotations from letters by Pound and Ginsberg, large Seurat-like canvases of the Park on Sunday, intimate Bonnard-like interiors, uproarious comedy . . .  his poem is written with a deep aversion to all forms of pretentiousness, rhetoric or prepared effects; it runs eddying along, broken by old letters, bits of local history and limpid love lyrics.”\u003c\/span\u003e\u003cb id=\"docs-internal-guid-71c4ec75-7fff-f989-ceb7-5bb65837358d\"\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47744231342254,"sku":null,"price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7009.jpg?v=1776366265"},{"product_id":"williams-william-carlos-paterson-book-i-v-copy","title":"The Letters of William Carlos Williams \u0026 Charles Tomlinson, 1957–1952.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eMagid, Barry, ed.; Witemeyer, Hugh, ed.\u003c\/strong\u003e \u003c\/span\u003e\u003cem\u003eThe Letters of William Carlos Williams \u0026amp; Charles Tomlinson, 1957–1952. \u003c\/em\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNew York: Dim Gray Bar Press, 1992. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRoyal 8vo.; quarter bound in navy cloth over light blue boards; pastedown label lettered in black. No dust jacket, as issued. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eFirst edition of 150 copies\u003c\/strong\u003e, including 26 copies lettered A–Z, this is copy #39, the full edition. Signed by Charles Tomlinson on the colophon. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn important chapter in the story of Anglo-American literary relationships in the twentieth century is the friendship of the American poet William Carlos Williams (1883–1963) and the English poet Charles Tomlinson (1927–2015). Tomlinson was influenced by American poets quite early in his career and admitted an affinity for American modernists. Tomlinson and Williams met in the early 1950s through correspondence –Tomlinson, a young British poet, reached out to Williams after being deeply impressed by his poetry. Tomlinson admired Williams’s innovative approach to language, imagery, and form, particularly his ability to capture the immediacy of everyday life in poetic terms. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe relationship eventually moved beyond letters. In 1953, while on a trip to the United States, Tomlinson visited Williams at his home in Rutherford, New Jersey. At the time, Williams was an older poet and recovering from a series of strokes, but he remained active in mentoring younger writers. This meeting deepened their personal connection and affirmed their literary bond. After their meeting, Williams continued to support Tomlinson’s work, writing an introduction to Tomlinson’s poetry collection \u003c\/span\u003e\u003cspan\u003eSeeing Is Believing\u003c\/span\u003e\u003cspan\u003e [New York: McDowell, Obolensky, 1958]. Tomlinson returned the favor posthumously by editing \u003c\/span\u003e\u003cspan\u003eWilliam Carlos Williams: A Critical Anthology \u003c\/span\u003e\u003cspan\u003e[London: Penguin, 1976].\u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47744243826862,"sku":null,"price":85.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7178.jpg?v=1776367443"},{"product_id":"an-early-martyr","title":"William Carlos Williams. An Early Martyr.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNew York: The Alcestis Press, 1935. \u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e 8vo.; cream wrappers. In glassine jacket; small chips to spine and tail and top corners. In heavily stained original slip case. In custom brown clamshell case stamped in gilt.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cstrong\u003eFirst edition\u003c\/strong\u003e of 165 copies, 20 copies number I–XX on Duca di Modena paper, 135 copies on Strathmore Permanent All-Rag Paper, this is copy #111. Signed at publication on the colophon by William Carlos Williams. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAn Early Martyr\u003c\/span\u003e\u003cspan\u003e is a collection of thirty poems that includes “The Yachts,” “Proletarian Portrait,” “To a Poor Old Woman,” “Flowers By the Sea,” “To a Mexican Pig-Bank,” “Solstice,” “An Elegy for D.H. Lawrence,” “The Catholic Bells,” “The Dead Baby,” “The Immemorial Wind,” “To Be Hungry is to Be Great,” and “You Have Pissed Your Life,” among others. Although this volume was not published with a social or political agenda, many of the poems in this collection are socio-politically focused and reflect Williams’s opinions on American democracy and society in his earlier years as a poet.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWilliams reflected on the collection in \u003c\/span\u003e\u003cspan\u003eThe Autobiography\u003c\/span\u003e\u003cspan\u003e [New York: Norton, 1951]: “[Ronald Lane] Latimer published for me \u003c\/span\u003e\u003cspan\u003eAn Early Martyr,\u003c\/span\u003e\u003cspan\u003e superbly, lavishly printed on rag paper, dedicated to John Coffee, who had been arrested and sent to Matteawan Hospital for the criminally insane. The poem ‘An early martyr’ tells about it, the factual details. The title poem is, in effect, a dedication.” Williams’s biographer Paul Mariani discusses the uncharacteristic choice to go with such an expensive production: “Williams knew the incongruity of having his American poems published in such a form as he had lectured and written on the importance of getting poems out to as many people as cheaply as possible-but he also knew that there was really no choice. People like Latimer weren't knocking down his door with offers to publish him every day. It would have to be a limited edition, then, or none” [\u003c\/span\u003e\u003cspan\u003eWilliam Carlos Williams: A New World Naked\u003c\/span\u003e\u003cspan\u003e. New York: McGraw-Hill, 1981]. \u003c\/span\u003e\u003cb id=\"docs-internal-guid-1f4b0081-7fff-329c-5e7a-195d163ed2d5\"\u003e\u003cbr\u003e\u003c\/b\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47744515768494,"sku":null,"price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7205.jpg?v=1776369856"},{"product_id":"williams-the-wedge","title":"William Carlos Williams. The Wedge.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCummington: Cummington Press, 1944.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e12mo.; age-toned; orange paste-paper boards; spine sunned; rubbed; lightly bumped.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eLimited edition \u003c\/strong\u003eof 380 copies printed on Dacian paper.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA pocket-sized collection of Williams’s poetry intended to be carried by US servicemen during World War II. Despite the poet’s inquiries and the nature of the requests that prompted him to approach them, several publishers rejected \u003c\/span\u003e\u003cspan\u003eThe Wedge\u003c\/span\u003e\u003cspan\u003e. Their grounds for doing so were a perceived lack of literary quality and wartime shortages. The book was eventually handset printed by Henry Duncan and Wightman Williams at Cummington Press and bound surreptitiously on the premises and at the expense of one of the publishers who had previously rejected it. The book is dedicated to poet Louis Zukofsky, who helped Williams revise and rearrange the poems for publication.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWilliams’s original concept for \u003c\/span\u003e\u003cspan\u003eThe Wedge\u003c\/span\u003e\u003cspan\u003e was for it to contain several forms of writing. These would include improvisational works he wrote in the 1920s, prose and selections from his play \u003c\/span\u003e\u003cspan\u003eMany Loves\u003c\/span\u003e\u003cspan\u003e. Eventually, with Zukofsky's assistance, Williams narrowed the book's focus. He reduced the book's material, eliminated the prose selections but added an introduction based on an address he gave at the New York Public Library in October 1943. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eMany of the poems in \u003c\/span\u003e\u003cspan\u003eThe Wedge\u003c\/span\u003e\u003cspan\u003e, composed during the late 1930s, were initially intended for the book-length poem \u003c\/span\u003e\u003cspan\u003ePaterson\u003c\/span\u003e\u003cspan\u003e. It is even a direct predecessor: the poem “Paterson: the Falls” lays out both the later poem's theme and its eventual format. Williams wrote to poet and publisher James Laughlin in 1943, “\u003c\/span\u003e\u003cspan\u003ePaterson\u003c\/span\u003e\u003cspan\u003e is coming along—[\u003c\/span\u003e\u003cspan\u003eThe Wedge\u003c\/span\u003e\u003cspan\u003e] is a personal finger-practicing to assist me in that: but that isn't all it is.” \u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47744589627566,"sku":null,"price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7188.jpg?v=1776370341"},{"product_id":"william-carlos-williams-the-wedge-copy","title":"William Carlos Williams. Flowers of August.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIowa City: The Windhover Press\/University Of Iowa, 1983. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSmall 4to.; green cloth stamped in blind. No dust jacket, as issued. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eLimited edition\u003c\/strong\u003e of 260 copies, the full edition. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThese seven poems appeared as a numbered sequence in \u003c\/span\u003e\u003cspan\u003eOthers for 1919: An Anthology of the New Verse\u003c\/span\u003e\u003cspan\u003e [New York, N. L. Brown, 1920], edited by Alfred Kreymborg. Williams included three of them individually in\u003c\/span\u003e\u003cspan\u003e Sour Grapes \u003c\/span\u003e\u003cspan\u003e[Boston: Four Seas Company, 1921] and later again in \u003c\/span\u003e\u003cspan\u003eThe Collected Earlier Poems\u003c\/span\u003e\u003cspan\u003e [New York: New Directions Book, 1951]. The complete sequence is reprinted here for the first time. Illustrated by Keith Achepohl. Printed on Windhover paper from Palatino types and photoengravings of the drawings. Bound by the Black Oak Bindery. Fine.\u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760820109486,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7032.jpg?v=1776707094"},{"product_id":"william-carlos-williams-kora-in-hell","title":"William Carlos Williams. Kora in Hell: Improvisations.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eBoston: The Four Seas Co., 1920.\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e4to.; original boards; frontispiece by Stuart Davis; ex-libris stamp of Bruce Humphries Publishers on front free endpaper; top of spine bumped, some light wear to the tip and edges. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFirst edition of 1,000 copies, the full edition.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFirst published in 1920, \u003c\/span\u003e\u003cspan\u003eKora in Hell: Improvisations\u003c\/span\u003e\u003cspan\u003e is the first of a series of remarkable books which can best be described as experiments and affirmations of the writing act, improvisational texts through which Williams sought to establish a “poetics” of writing. Williams called \u003c\/span\u003e\u003cspan\u003eKora\u003c\/span\u003e\u003cspan\u003e “an opening of the doors,” and certainly the work that came of it, immediately in the 1920s, and throughout the rest of his writing life, would follow this key book, this “secret document.” And he also thought of it as a “wonder” because he had no book in mind when he first sat down to write something daily for a year, simply for the sake of writing. This is the key discovery which makes \u003c\/span\u003e\u003cspan\u003eKora\u003c\/span\u003e\u003cspan\u003e a central document in Williams’s beginnings as a modernist writer. \u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760830070958,"sku":null,"price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7037.jpg?v=1776707193"},{"product_id":"william-carlos-williams-spring-and-all","title":"William Carlos Williams. Spring and All.","description":"\u003ch3 dir=\"ltr\"\u003e\n\u003cspan\u003eWilliam Carlos Williams’s answer to\u003c\/span\u003e\u003cspan\u003e “The Waste Land”\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cb id=\"docs-internal-guid-bba43948-7fff-6ddf-3c7c-eebab60e28d9\"\u003e\u003c\/b\u003eParis: Contact Publishing Co., 1923.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e16mo.; colophon states printed at Dijon by Maurice Darantiere; publisher's gray-blue wrappers in protective mylar. In a custom slipcase with black morocco over marbled boards stamped in gilt.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eFirst edition of 300 copies\u003c\/strong\u003e, the full edition; signed at publication by Williams on the front free endpaper. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSpring and All\u003c\/span\u003e\u003cspan\u003e is a hybrid work consisting of alternating sections of prose and free verse. It might best be understood as a manifesto of the imagination. The prose passages are a dramatic, energetic and often cryptic series of statements about the ways in which language can be renewed in such a way that it does not describe the world but recreates it. These passages are interspersed with poems that demonstrate this recreation in both their form and content. The two most famous sections of \u003c\/span\u003e\u003cspan\u003eSpring and All\u003c\/span\u003e\u003cspan\u003e are the poems I, known by the title “Spring and All,” and XXII, perhaps Williams’s most famous poem, now anthologized as “The Red Wheelbarrow.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAccording to Williams biographer James E. Breslin, T. S. Eliot's poem \u003c\/span\u003e\u003cspan\u003eThe Waste Land\u003c\/span\u003e\u003cspan\u003e,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ewhich appeared in 1922, was a major influence on \u003c\/span\u003e\u003cspan\u003eSpring and All\u003c\/span\u003e\u003cspan\u003e. In his\u003c\/span\u003e\u003cspan\u003e Autobiography\u003c\/span\u003e\u003cspan\u003e, Williams later wrote, “I felt at once that \u003c\/span\u003e\u003cspan\u003eThe Waste Land\u003c\/span\u003e\u003cspan\u003e had set me back twenty years and I'm sure it did. Critically, Eliot returned us to the classroom just at the moment when I felt we were on a point to escape to matters much closer to the essence of a new art form itself—rooted in the locality which should give it fruit.” \u003c\/span\u003e\u003cspan\u003eSpring and All\u003c\/span\u003e\u003cspan\u003e viewed the same post–World War I landscape as Eliot but interpreted it differently. Williams “saw his poetic task was to affirm the self-reliant, sympathetic consciousness of Whitman in a broken industrialized world,” Williams critic Donald A. Stauffer noted. “But unlike Eliot, who responded negatively to the harsh realities of this world, Williams saw his task as breaking through restrictions and generating new growth.”\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSpring and All\u003c\/span\u003e\u003cspan\u003e was printed in an edition of 300 by Maurice Darantière. Darantière was based in Dijon, France, and had printed the first edition of James Joyce’s \u003c\/span\u003e\u003cspan\u003eUlysses\u003c\/span\u003e\u003cspan\u003e in 1922, as well as a range of other significant modernist works. Williams himself said the book drew little attention at the time of publication. Williams biographer Paul Mariani notes: “most of the copies that were sent to America were simply confiscated by American customs officials as foreign stuff and therefore probably salacious and destructive of American morals. In effect, \u003c\/span\u003e\u003cspan\u003eSpring and All\u003c\/span\u003e\u003cspan\u003e all but disappeared as a cohesive text until its republication nearly ten years after Williams’s death.” Some sources indicate that half of the original print run was confiscated by the U.S. Post Office. Until July 2011, when New Directions issued a facsimile edition, it was never again published as a free-standing book.\u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760831152302,"sku":null,"price":10000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/Springandall.jpg?v=1776707289"},{"product_id":"william-carlos-williams-journey-to-love","title":"William Carlos Williams. Journey to Love.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNew York: Random House, 1955.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e8vo.;  beige cloth stamped in green and black; slightly rubbed at extremities of spine. In original dust jack; torn at tail of spine; frayed and torn along top edge. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFirst edition. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA finalist for the National Book Award for Poetry in 1956, \u003c\/span\u003e\u003cspan\u003eJourney to Love\u003c\/span\u003e\u003cspan\u003e was a late triumph of William Carlos Williams. It is dedicated to his wife. All of the poems are in triadic stanza form, sometimes “with a short fourth line to fill out the measure.” The crowning poem of the collection is “Asphodel, That Greeny Flower,” by far the longest piece in the volume at 30 pages. This four-part pastoral love poem was originally envisioned as the fifth book of \u003c\/span\u003e\u003cspan\u003ePaterson\u003c\/span\u003e\u003cspan\u003e. He began writing it in 1952 in the midst of health problems—physical (a heart attack and multiple strokes that left him, among other things, with periods of near-blindness and partially paralyzed, able to type only with one hand) and mental (depression). Facing death, he confessed old adulteries to his wife. In this context, he wrote one of the most beautiful affirmations of the power of love in—and against—the nuclear age, and one of the few memorable love poems in English written not for a mistress but for a wife” [Ann Fisher-Wirth, \u003c\/span\u003e\u003cspan\u003eEncyclopedia of American Poetry\u003c\/span\u003e\u003cspan\u003e].\u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760834953390,"sku":null,"price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7202.jpg?v=1776707435"},{"product_id":"william-carlos-williams-the-broken-span","title":"William Carlos Williams. The Broken Span.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNorfolk, CT: New Directions, 1941. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e8vo.; ex libris sticker on front endpaper; gray boards lettered in black and magenta; rubbed; bumped. In original dust jacket; price-clipped.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFirst edition. Signed by Williams in a post-stroke hand on the front free endpaper. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA collection of 11 poems, including the 15-part “For the Poem Patterson,” issued as the first volume in New Directions’s “Poet of the Month” series, which consisted of thin volumes of either lengthy individual poems or small collections of poems by one author. The series was discontinued after a few years.\u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760842293422,"sku":null,"price":450.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/thebrokenspan.jpg?v=1776707627"},{"product_id":"william-carlos-williams-selected-essays","title":"William Carlos Williams. Selected Essays.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNew York: Random House, 1954.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e8vo.; green cloth stamped in white and gilt; lightly bumped.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFirst edition, first printing.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThroughout his life, William Carlos Williams tirelessly defended and promoted the best in modern literature and art. He contributed widely to leading literary magazines, wrote prefaces and introductions, and lectured at many universities. This selection represents his finest work in criticism. Much of it concerns poetry and poets – T. S. Eliot, Dylan Thomas, Karl Shapiro, e. e. cummings, Ezra Pound, Carl Sandburg, Robert Lowell, and many others. Williams also spoke out on painters and paintings as well as music and literature. There are essays on James Joyce, Shakespeare, Federico Garcia Lorca, the basis of faith in art, the American Revolution, H. L. Mencken’s \u003c\/span\u003e\u003cem\u003eThe American Language\u003c\/em\u003e\u003cspan\u003e, Ford Madox Ford, American primitive painters, Antheil's music, and the work of Gertrude Stein.\u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760844193966,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7190.jpg?v=1776707755"},{"product_id":"william-william-carlos-the-autobiography-of-william-carlos-williams","title":"William Carlos Williams. The Autobiography of William Carlos Williams.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNew York: Random House, 1951. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e8vo., original blue cloth; lightly rubbed; gently bumped. Lacking dust jacket. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFirst edition, first printing.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWilliam Carlos Williams’s medical practice and his literary career formed an undivided life. For 40 years he was a busy doctor in the town of Rutherford, New Jersey, and yet he was able to write more than 30 books. One of the finest chapters in this \u003c\/span\u003e\u003cspan\u003eAutobiography\u003c\/span\u003e\u003cspan\u003e tells how each of his two roles stimulated and supported the other. Many of Williams’s friends appear in it pages: he writes with discerning frankness of the poets H.D., Ezra Pound, and Marianne Moore; of the artists Charles Demuth, Marsden Hartley, Charles Sheeler, and the photographer Alfred Stieglitz; and there are fine portraits of the writers who congregated in Paris in the Twenties: Joyce, Hemingway, Gertrude Stein, and Ford Madox Ford. \u003c\/span\u003e\u003cspan\u003eThe Autobiography \u003c\/span\u003e\u003cspan\u003eis 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.\u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760845930670,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7195.jpg?v=1776707844"},{"product_id":"the-collected-later-poems-of-williams-carlos-williams","title":"William Carlos Williams. The Collected Later Poems of Williams Carlos Williams.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNorfolk, CT: New Directions, 1950.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e8vo.; top edge of text block stained blue; lacking \u003c\/span\u003e\u003cspan\u003eseparately printed pamphlet \"The Rose\" laid in at rear; \u003c\/span\u003e\u003cspan\u003ered cloth stamped in gilt. In publisher’s slipcase with pastedown label lettered in black. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eFirst edition of 100 copies\u003c\/strong\u003e specially bound in red cloth, this is copy #91. Signed and numbered by Williams at the time of publication on the colophon. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003eThis collection of Williams’s work from the 1940s was published the same year that Williams won the newly reestablished National Book Award for Poetry, citing Paterson III [Norfolk, CT: New Directions, 1949] and his Selected Poems [Norfolk, CT: New Directions, 1949].\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760847863982,"sku":null,"price":875.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/laterpoems.jpg?v=1776708162"},{"product_id":"william-carlos-williams-two-american-poets-wallace-stevens-william-carlos-williams","title":"William Carlos Williams. Two American Poets – Wallace Stevens \u0026 William Carlos Williams.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNew York: The Grolier Club, 2019. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e8vo.; blue board stamped in gilt. No dust jacket, as issued. In custom slipcase. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWallace Stevens and William Carlos Williams are widely recognized as two of the towering giants of mid-twentieth-century American poetry, but are rarely thought of together despite their mutual admiration and personal relationship spanning over forty years. Almost exact contemporaries, they met in New York in 1914 at a formative point in their development as poets. These collections of Stevens and Williams, about 250 items assembled over the past twenty years include fascinating and unique items ranging from each of Stevens's and Williams's school days in the 1890s throughout their lives until shortly before Williams's death in 1963.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis is a catalogue of the exhibition at the Grolier Club, January 16–February 23, 2019, photographically illustrated and with essays by biographer Paul Mariani, poets Paul Muldoon and Daniel Halpern, and collector Alan Klein.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eIlluminating the parallel and overlapping careers and relationships of Wallace Stevens and William Carlos Williams, the exhibition juxtaposes the two poets with unique material on view for the first time. It provides a remarkable opportunity to better understand the overlapping careers of Stevens and Williams, their development as poets, the progression of their reputations and the development of American modernism.\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eWith 87 illustrations in color. Designed by Jerry Kelly.\u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760862347438,"sku":null,"price":50.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7198.jpg?v=1776708254"},{"product_id":"william-carlos-williams-paterson-v","title":"William Carlos Williams. Paterson V.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNorfolk, CT: New Directions, 1958. \u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e8vo.; beige cloth stamped in gilt. Original illustrated dust jacket lettered in red. \u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eFirst edition of 3,000 copies, the full edition. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis is the fifth and final volume of Williams’s epic, appearing 12 years after the first was released. \u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760896655534,"sku":null,"price":350.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_3547.jpg?v=1776709268"},{"product_id":"the-selected-letters-of-william-carlos-williams","title":"William Carlos Williams. The Selected Letters of William Carlos Williams.","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eEdited by John Thirwall.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eNew York: McDowell, Obolensky, 1957. \u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003e8vo.; top of textblock stained crimson; quarter bound with buckram over crimson cloth. Lacking dust jacket and slipcase.  \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cstrong\u003eFirst edition of 75 copies\u003c\/strong\u003e, this is copy #4. Signed by Williams on the half-title. \u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eSpanning 54 years (1902–56), this collection records the creative growth of one of the twentieth century’s most influential and versatile writers. Physician as well as poet and novelist, Williams stole time from his busy obstetric\/pediatric practice in Rutherford, New Jersey, to correspond with many of the important literary figures of his day: Ezra Pound, Marianne Moore, e. e. cummings, Wallace Stevens, Gertrude Stein, Nathanael West, Louis Zukofsky, Kenneth Burke, and Robert Lowell – to name only a few. In addition, his tender letters to his wife Floss and detailed medical letters to his son, Dr. Bill Jr., during World War II, show the devoted husband and father never too overworked or preoccupied to express his love and concern. From his first letters home while at the University of Pennsylvania to his last letters to a new generation of writers and critics, Williams is always candid and open, and frequently humorous, in his assessment of himself and others. And as he trenchantly criticizes the poetic establishment for its lack of receptivity to new writing and as he debates form, diction, and style with fellow writers, we can watch American poetry evolve from a mannered imitation of the nineteenth-century British masters to modernism in full-flower, presented in a distinctly American idiom.\u003c\/span\u003e\u003c\/p\u003e","brand":"Glenn Horowitz Bookseller","offers":[{"title":"Default Title","offer_id":47760904159406,"sku":null,"price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0571\/6325\/1886\/files\/IMG_7194.jpg?v=1776709620"}],"url":"https:\/\/shop.glennhorowitz.com\/collections\/william-carlos-williams.oembed?page=2","provider":"Glenn Horowitz Bookseller","version":"1.0","type":"link"}