Abstract
In method, Spring and All1 is a step nearer to Paterson, its alternating prose and poetry combining techniques derived from the Cubist painters, especially Juan Gris. The prose sections, in particular, were also influenced by the Americans centred around the New York photographer Alfred Stieglitz.
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Notes
Alan Ostrom, The Poetic World of William Carlos Williams ( Carbondale and Edwardsville: Southern Illinois University Press, 1966 ) p. 126.
Daniel Henry Kahnweiler, Juan Gris: His Life and Work trans. by Douglas Cooper (New York: Harry N. Abrams, 1946) p. 194.
See Rob Fure, ‘The Design of Experience: William Carlos Williams and Juan Gris’, William Carlos Williams Newsletter vol. iv, no. 2 (Fall 1978) pp. 10–19.
See John Senior, The Way Down and Out: the Occult in Symbolist Literature (Ithaca, N.Y.: Cornell University Press, 1959), especially the introduction, for perceptive discussion of this aspect of modern literature.
Kiki figures in a number of memoirs of the period, including Williams’s Autobiography (New York: Random House, 1951).
Robert McAlmon’s Being Geniuses Together (London: Secker & Warburg, 1938; rev. edn Garden City, N.Y.: Doubleday, 1968 ).
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© 1982 Charles Doyle
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Doyle, C. (1982). Spring and All . In: William Carlos Williams and the American Poem. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-16839-2_3
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DOI: https://doi.org/10.1007/978-1-349-16839-2_3
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