He published his first book, Poems, in 1909, and would go on to publish dozens more, as well as short stories, novels, critical texts, plays, translations, you name it, while living most of the rest of his life in New Jersey and practicing medicine. In my post on Marianne Moore, I mentioned the little magazine Others, and Pound joined this group in 1915, but he would eventually come to know nearly every one of his major American peers, including T. S. Eliot, Wallace Stevens (with whom he carried on a long correspondence), Conrad Aiken, among many others. One of the things I love about Williams as a poet was that he wrestled with two tendencies, which often clash: on the one hand, he was restlessly and relentlessly experimental, something that gets overlooked because of the seeming simplicity of his work, but what is a poem like "Spring and All" or "The Figure Five in Gold" (I love!!! this poem) or "The Red Wheelbarrow" or the almost completely assimilated "This is just to say" if not a challenge to the pre-existing body of English and American poetry? And yet as each of these poems demonstrates, he also aimed for simplicity, sometimes for a American plainspokenness, grounded in everyday speech, that made (and still makes) his poetry appear at times artless, especially when compared to works like Eliot's "The Waste Land" or Stevens's Harmonium or anything by Gertrude Stein.
In fact he was criticized more than once by his peers for his radical experiments, some of which, like Paterson, are brilliant failures, and which opened up vast spaces for poets writing alongside him and those who came after. One of this later and most beautiful poems, from the 1955 collection Journey to Love, is the final long love lyric "Asphodel, that Greeny Flower"--notice how he balances out the meter of the title by added the extra syllable to "green," also intensifying and defamiliarizing, and simultaneously imbuing with affection this simple word--which is not just a hymn to his beloved, but a four-part pastoral that bears many dark notes, of self-criticism, regret, admonition, affirmation; it is a composition built to bear a great deal, and Williams, at the height of his powers, knew how to pull it off. I am including a long excerpt of it, up to the point of one of its most famous lines, which makes an argument for the poem itself and for poetry's power; however we take his words, it is clear that he knew what he was talking about, and knew, as the very best poets do, how to transform it into poetry. If you can, read it aloud, for the entire excerpt, like the poem, rolls off the tongue like song. Should you want to read the entire poem or his other late masterpieces, they're collected in Pictures from Brueghel and other poems by William Carlos Williams: Collected Poems 1950-1962 (New Directions Publishing Corporation). Enjoy!
ASPHODEL, THAT GREENY FLOWER
(an excerpt)
Of asphodel, that greeny flower,
like a buttercup
upon its branching stem-
save that it's green and wooden-
I come, my sweet,
to sing to you.
We lived long together
a life filled,
if you will,
with flowers. So that
I was cheered
when I came first to know
that there were flowers also
in hell.
Today
I'm filled with the fading memory of those flowers
that we both loved,
even to this poor
colorless thing-
I saw it
when I was a child-
little prized among the living
but the dead see,
asking among themselves:
What do I remember
that was shaped
as this thing is shaped?
while our eyes fill
with tears.
Of love, abiding love
it will be telling
though too weak a wash of crimson
colors it
to make it wholly credible.
There is something
something urgent
I have to say to you
and you alone
but it must wait
while I drink in
the joy of your approach,
perhaps for the last time.
And so
with fear in my heart
I drag it out
and keep on talking
for I dare not stop.
Listen while I talk on
against time.
It will not be
for long.
I have forgot
and yet I see clearly enough
something
central to the sky
which ranges round it.
An odor
springs from it!
A sweetest odor!
Honeysuckle! And now
there comes the buzzing of a bee!
and a whole flood
of sister memories!
Only give me time,
time to recall them
before I shall speak out.
Give me time,
time.
When I was a boy
I kept a book
to which, from time
to time,
I added pressed flowers
until, after a time,
I had a good collection.
The asphodel,
forebodingly,
among them.
I bring you,
reawakened,
a memory of those flowers.
They were sweet
when I pressed them
and retained
something of their sweetness
a long time.
It is a curious odor,
a moral odor,
that brings me
near to you.
The color
was the first to go.
There had come to me
a challenge,
your dear self,
mortal as I was,
the lily's throat
to the hummingbird!
Endless wealth,
I thought,
held out its arms to me.
A thousand tropics
in an apple blossom.
The generous earth itself
gave us lief.
The whole world
became my garden!
But the sea
which no one tends
is also a garden
when the sun strikes it
and the waves
are wakened.
I have seen it
and so have you
when it puts all flowers
to shame.
Too, there are the starfish
stiffened by the sun
and other sea wrack
and weeds. We knew that
along with the rest of it
for we were born by the sea,
knew its rose hedges
to the very water's brink.
There the pink mallow grows
and in their season
strawberries
and there, later,
we went to gather
the wild plum.
I cannot say
that I have gone to hell
for your love
but often
found myself there
in your pursuit.
I do not like it
and wanted to be
in heaven. Hear me out.
Do not turn away.
I have learned much in my life
from books
and out of them
about love.
Death
is not the end of it.
There is a hierarchy
which can be attained,
I think,
in its service.
Its guerdon
is a fairy flower;
a cat of twenty lives.
If no one came to try it
the world
would be the loser.
It has been
for you and me
as one who watches a storm
come in over the water.
We have stood
from year to year
before the spectacle of our lives
with joined hands.
The storm unfolds.
Lightning
plays about the edges of the clouds.
The sky to the north
is placid,
blue in the afterglow
as the storm piles up.
It is a flower
that will soon reach
the apex of its bloom.
We danced,
in our minds,
and read a book together.
You remember?
It was a serious book.
And so books
entered our lives.
The sea! The sea!
Always
when I think of the sea
there comes to mind
the Iliad
and Helen's public fault
that bred it.
Were it not for that
there would have been
no poem but the world
if we had remembered,
those crimson petals
spilled among the stones,
would have called it simply
murder.
The sexual orchid that bloomed then
sending so many
disinterested
men to their graves
has left its memory
to a race of fools
or heroes
if silence is a virtue.
The sea alone
with its multiplicity
holds any hope.
The storm
has proven abortive
but we remain
after the thoughts it roused
to
re-cement our lives.
It is the mind
the mind
that must be cured
short of death's
intervention,
and the will becomes again
a garden. The poem
is complex and the place made
in our lives
for the poem.
Silence can be complex too,
but you do not get far
with silence.
Begin again.
It is like Homer's
catalogue of ships:
it fills up the time.
I speak in figures,
well enough, the dresses
you wear are figures also,
we could not meet
otherwise. When I speak
of flowers
it is to recall
that at one time
we were young.
All women are not Helen,
I know that,
but have Helen in their hearts.
My sweet,
you have it also, therefore
I love you
and could not love you otherwise.
Imagine you saw
a field made up of women
all silver-white.
What should you do
but love them?
The storm bursts
or fades! it is not
the end of the world.
Love is something else,
or so I thought it,
a garden which expands,
though I knew you as a woman
and never thought otherwise,
until the whole sea
has been taken up
and all its gardens.
It was the love of love,
the love that swallows up all else,
a grateful love,
a love of nature, of people,
of animals,
a love engendering
gentleness and goodness
that moved me
and that I saw in you.
I should have known,
though I did not,
that the lily-of-the-valley
is a flower makes many ill
who whiff it.
We had our children,
rivals in the general onslaught.
I put them aside
though I cared for them.
as well as any man
could care for his children
according to my lights.
You understand
I had to meet you
after the event
and have still to meet you.
Love
to which you too shall bow
along with me-
a flower
a weakest flower
shall be our trust
and not because
we are too feeble
to do otherwise
but because
at the height of my power
I risked what I had to do,
therefore to prove
that we love each other
while my very bones sweated
that I could not cry to you
in the act.
Of asphodel, that greeny flower,
I come, my sweet,
to sing to you!
My heart rouses
thinking to bring you news
of something
that concerns you
and concerns many men. Look at
what passes for the new.
You will not find it there but in
despised poems.
It is difficult
to get the news from poems
yet men die miserably every day
for lack
of what is found there.
Hear me out
for I too am concerned
and every man
who wants to die at peace in his bed
besides.
Copyright © 1962 by William Carlos Williams, in Pictures from Brueghel and Other Poems by William Carlos Williams: Collected Poems 1950-1962. New York: Directions Publishing Corporation. All rights reserved.
The Allen Ginsberg blog is currently publishing Allen's previously un-published 1975 lecture/class on Williams. The first segment is available here - http://ginsbergblog.blogspot.com/2012/04/mind-mouth-and-page-1-williams.html
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