William Carlos Williams

"Endless wealth,"

"I cannot say"

"The storm unfolds."

"When I speak"

"The storm bursts"

"I come, my sweet,"

"It is difficult to get the news from poems"

"Native American literature should be important to Americans not as a curio, an artifact of the American past that has little pertinence to an American present or future, but rather as a major tradition that informs American writers ranging from Cotton Mather and Nathaniel Hawthorne through Walt Whitman, William Carlos Williams, and William Faulkner to Adrienne Rich, Toni Cade Bambara, and Judy Grahn."

"Writing is also a profession, and, at its best, an honourable one. It has been made honourable by those who have already been members of it. Whether you like it or not, every time you set pen to paper you’re staring at the same blank space that confronted Milton, Melville, Emily Bronte, Dostoevsky and George Eliot, George Orwell and William Faulkner and Virginia Woolf and William Carlos Williams, not to mention the latest hero, Gabriel Garcia Marquez."

"In one of his poems William Carlos Williams writes that "destruction and creation are simultaneous." Picasso said a very similar thing. For Williams, that's a way of mythologizing the avant-garde, the cutting edge: you have to destroy."

"My early identity and love poems were influenced by the imagism of Ezra Pound and William Carlos Williams."

"When I read Virginia Woolf's Orlando or William Carlos Williams's In the American Grain, I can feel like I'm dying, or I'm stuck, both in life and in work. I read those books, and then I start flowing again. I'm happy that I can do that for other people."

"When I was reading William Carlos Williams's In the American Grain...I thought, wow, this is it. This is the way to write about America. This is right. This is history, the mythic history. So I'm sure there was going to be a volume two. So I ran to the library and turned this one in, looking for volume two. There isn't a volume two; that's it! That was when I thought, oh. I've got to write volume two. If he didn't do it, then I've got to do it. So that's China Men. They bind the country together with steel, the bands of steel that are the railroads. That's the same kind of missing feeling; after I finished the first two books, I thought, oh! there's more language in me, this other kind of language, this very slangy, American, present-day language. And the other thing that was missing was that, well, I wanted to read some books about the time that the Beatniks went away-those are our forefathers, our immediate forefathers."

"In the 1920s, he was calling for a book that was worthy of the Americas. He was thinking of a big American novel. He was not confining it to the United States. Williams was thinking of the Americas; he wanted a book that was speaking from the large ground of these two continents."

"fear of embarrassment, fear of sticking your neck out, fear of looking foolish, fear of writing in a way that nobody else is writing (I'm not talking about trying to be extraordinary or avant-garde)... there are people who stick through for twenty years.... I'll give you an example: William Carlos Williams. In his autobiography he says (I'll have to paraphrase this, he said it with a New Jersey accent), "Well, it looks like this guy T. S. Eliot has hit it real big with The Waste Land, it looks like that is the direction for literature." His next line is: "Now I know I will have to wait twenty years to be heard." So he did, he just kept doing what he thought was right, became a powerful influence, stuck to his ideas of the American language. But lots and lots of other people said, "Well, that looks like the way to go," and trotted off, cutting their roots as they went."

"What I lacked was even the idea of a twentieth-century tradition of radical or revolutionary poetics as a stream into which a young poet could dip her glass. Among elders, William Carlos Williams wrote from the landscape of ordinary urban, contemporary America, of ordinary poor and working people, and in a diction of everyday speech, plainspoken yet astonishingly musical and flexible. But I don't recall being taken out of my skin by any Williams poem, though later I would work with his phrasing and ways of breaking a line as a means of shedding formal metrics."