Kelsey's Response to Williams

(I don't remember needing to post these, but as I saw one up already I figured it couldn't hurt)
AMENDMENT: I realized I'm not in group one and this was not my blog post anyway it was the response so please ignore...or comment if you really feel like it but I can't figure out hot to delete this.
Williams

I love this piece for many reasons, first being that I hadn’t realized I’ve read bits of it before and enjoyed it then (even without the glorious context of the full-er piece) and three that he has the same sort of snarky humor I associate with some of my favorite writers/critics/artists/etc. I especially appreciate the paragraph (I won’t quote the whole thing for the sake of typing and space) “What I put down of value will have this value…not as the essential of the work, one of its words.” To me this is the moment where he embodies all that Modernism wanted and ultimately achieved (I think anyway) to say aha you silly bastards with your silly traditional forms this is just as art-sy and is in fact better you pompous stuffed-shirt cockroaches. Ok, actually that is my interpretation of what I think Virginia Woolf wanted to say when she wrote The Waves (not that it actually has anything to do with the novel but I always imagine her as a snarky person). Oh yes, binaries. Well, clearly in the world of Williams and other wonderful people of that time the binary was Modernists versus not-Modernists (traditionalists, Romantics, Victorians,…other names for them?). So, in that sense I don’t think he ever really exists in the binaries that we talked about in class. That might’ve been a lie actually because reading ahead (ahem oops) he sort of straddles “the line” between Camp A and Camp B as we defined them. He is versatile enough to have the more grammatical seeming prose-y type lyrical and definitively lyrical parts in the prose interjections and the remaining paragraphs as well as the ‘jarring’ line break infested less imagistic (ahem I disagree but for lack of better descriptors…) more ‘experimental’ type that is more easily recognizable as brain hurting deep poetry. (I don’t remember how much I was supposed to write so I apologize for the continued rambling.) In any case, these binaries that supposedly exist are after Williams’s time (at least maybe?) and are therefore moot. I need to read this again, which I will, but there is so much to absorb and although he comes back to the image of spring and eggs (chicken references?) and the end of the world coinciding with the beginning of the world there are so many other moments that pass by that I haven’t absorbed them yet. Also, I need to re-emphasize the meaningful parts as in some places I got distracted by his gorgeous language and may have underlined pretty passages just because they’re pretty. And now I’m off-topic.