William Carlos Williams

William Carlos Williams

Summary

Portrait of William Carlos Williams William Carlos Williams Kora in Hell: Improvisations

What a rhythm’s here! One would say the body lay asleep and the dance escaped from the hair tips, the bleached fuzz that covers back and belly, shoulders, neck and forehead. The dance is diamantine over the sleeper who seems not to breathe! One would say heat over the end of a roadway that turns down hill. Cesa!
One may write music and music but who will dance to it? The dance escapes but the music, the music—projects a dance over itself which the feet follow lazily if at all. So a dance is a thing in itself.
Source: Gutenberg

Portrait of William Carlos Williams William Carlos Williams Kora in Hell: Improvisations

There is neither beginning nor end to the imagination but it delights in its own seasons reversing the usual order at will. Of the air of the coldest room it will seem to build the hottest passions. Mozart would dance with his wife, whistling his own tune to keep the cold away and Villon ceased to write upon his Petit Testament only when the ink was frozen. But men in the direst poverty of the imagination buy finery and indulge in extravagant moods in order to piece out their lack with other matter.
Source: Gutenberg

Portrait of William Carlos Williams William Carlos Williams Kora in Hell: Improvisations

But the thing that stands eternally in the way of really good writing is always one: the virtual impossibility of lifting to the imagination those things which lie under the direct scrutiny of the senses, close to the nose. It is this difficulty that sets a value upon all works of art and makes them a necessity. The senses witnessing what is immediately before them in detail see a finality which they cling to in despair, not knowing which way to turn. Thus the so-called natural or scientific array becomes fixed, the walking devil of modern life.
Source: Gutenberg

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