William Carlos Williams' "The Great American Novel"

Abstract

William Carlos Williams was first of all a writer-not a poet, essayist, or novelist. "Life isn't any more poetry than prose," he mused in a late essay,' looking back on a career that included over twenty collections of poems and an equal number of books in prose. During the Twenties, years of personal and artistic ferment for Williams, he wrote seven books of prose to one of poetry. His interest in the experimental, the new as a means of communicating, is nowhere more evident than in The Great American Novel (1923). Williams' experiments with the reciprocity between poetry and prose would culminate in Paterson, the five-book epic poem appearing between 1943 and 1958. But already in the Twenties he was an eager critic of contemporary proseHemingway, Ford, McAlmon, Stein, Joyce, Anderson. By 1923 he had voiced dissatisfaction with his own first prose collection, Kora in Hell: Improvisations (1920): "their fault is their dislocation of sense, often complete."2 He disliked the weak structure of the improvisations, the incomplete transitions; but he admired the dominant themes in the book: "I began there and then to revalue experience, to understand what I was at." In Spring and All (1923) Williams continued his search for an effective mode, this time a reasonably conventional prose mixed with poems. That he was fascinated by the differences in poetry and prose is clear from his many distinctions between the two. His interest in prose as a viable-a forceful-writing form had been evident as early as 1921 when he wrote admiringly of the work of James Joyce,