William Carlos Williams

The New World of William Carlos Williams

FEBRUARY 23, 2012

Adam Kirsch in the New York Review of Books

Today it would be hard to find a reader of poetry who would not acknowledge William Carlos Williams as one of the major American modernists, a peer of Wallace Stevens and Marianne Moore and Ezra Pound. His place in anthologies and on college reading lists is secure. 

Lisa Larsen/Time Life Pictures/Getty Images

William Carlos Williams at his house in Rutherford, New Jersey, 1954

Possibly no modern American poem is more widely known than Williams’s “The Red Wheelbarrow,” that tiny epiphany:

so much depends

upon

a red wheel

barrow

glazed with rain

water

beside the white

chickens.

This is not Williams’s best or most important poem, but it does illustrate some crucial aspects of his art. In his Autobiography (1951), Williams explains that his goal as a writer is to capture the “immediacy” of experience: “It is an identifiable thing, and its characteristic, its chief character is that it is sure, all of a piece and, as I have said, instant and perfect: it comes, it is there, and it vanishes. But I have seen it, clearly. I have seen it.” This is just what he does with the wheelbarrow, the rainwater, and the chickens: trivial in themselves, their sheer uninsistent presence strikes the reader as somehow disclosing the very essence of being. Williams himself, not given to making high claims for his own work, considered this poem “quite perfect”: “the sight impressed me as about the most important, the most integral that it had ever been my pleasure to gaze upon.”

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