By Brian Bremen A.

Bremen's research examines the improvement of William Carlos Williams's poetics, focusing particularly on Williams's ongoing fascination with the consequences of poetry and prose, and his life-long friendship with Kenneth Burke. utilizing a framework in keeping with Burke's and Williams's theoretical writings and correspondence, in addition to at the paintings of latest cultural critics, Bremen appears to be like heavily at how Williams's poetic ideas are in detail tied to his scientific perform, incorporating a sort of methodological empiricism that extends his diagnoses past the person to incorporate either language and neighborhood. The e-book develops a sequence of rhetorical, cognitive, clinical, and political analogues that make clear the poetic and cultural achievements Williams was hoping to gain in his writing.

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But they were sure to parade their horses about the town about the time the mills stopped work. The upshot of the matter was, the town turned out to the circus in the evening. It was lighted 39 Finding the Poetry Hidden in the Prose too precious to allow a circus to interfere with work. They only performed in the evening, but were sure to parade their horses about the time the mills stopped work, and the upshot of the matter was—well, the town turned out to the circus in the evening. The circuses in those days were lighted by candles especially made for the show.

Moving forward into the prose passage, we see also that the "girls from / families that have decayed and / taken to the hills" could refer to the descendants of "Jackson's Whites" who "ran in the woods" (P 32 William Carlos Williams and the Diagnostics of Culture 12). " recalls the previous lines—"Around the falling waters the Furies hurl! " But the intervening prose passages complicate the easy identification of an antecedent. "They" could just as easily be the huge "twaalft," abundant in the Falls basin, or it could be the heterogeneous 1870 population of 33,579.

41 Tradition and history combine for Williams to assert this "prosaic" effect. It is that effect which maintains that cleavage between man and city, man and woman, as well as between prose and poetry. It is possible to read the prose passages of Paterson, particularly in Books I-II, as simply reflecting this notion of a cleavage between poetry and prose. It seems necessary for both poet and reader to leap successfully from "prose to the process of the imagination" in order to break up the staleness that is "the greatest characteristic of the present age" and to free the language, the city, and the people of Paterson, all of whom have become, as Williams says: Stale as a whale's breath: breath!

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