William Carlos Williams





Brief an Harriet Monroe



Oct. 26, 1916


Dear Miss Monroe: What's the good of trembling when the damage is done? Anywhow, thanks for eliminating that other thing.

I cannot understand the feeling that wants to change and rearrange according to some yardstick which has not the slightest application to the work of some person who has spent time and attention and even more important substances to bring that piece of work in the exact mould in which it is presented. What can it matter to you what my theory of line construction happens to be? In any case, it has nothing to do with articles, nouns, verbs or adjectives.

It would be far more to the point to question why your own theory of line construction happens to be as it is.

As long as the poem in question is read aloud as intended, it makes no difference how it is written, but it will be physically impossible for anyone to guess how I intended it to be read the way you have rearranged matters.






The Selected Letters of William Carlos Williams.
Edited with an introduction by John C. Thirlwall.
New York: McDowell, Obolensky 1957, S. 38-39.

Unser Auszug: S. 38-39.

Die Textwiedergabe erfolgt nach dem ersten Druck (Editionsrichtlinien).





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Oudart, Clément: Introduction. Tailor-Made Traditions? "Pound - H.D. - Williams" and a Century's Worth of US Experimental Verse. In: Caliban [Online], 35 | 2014, Online since 13 December 2013.
URL: http://journals.openedition.org/caliban/218

Parisi, Joseph / Young, Stephen (Hrsg.): Dear Editor. A History of Poetry in Letters. The First Fifty Years, 1912-1962. New York 2002.

Welsch, J. T.: The Formalistic Grounds of William Carlos William's Critique of Imagism. In: Imagism: Essays on Its Initiation, Impact and Influence. Hrsg. von John Gery u.a. New Orleans, La. 2013, S. 123-131.



Lyriktheorie » R. Brandmeyer