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Ballet AUDIO POEM by William Carlos Williams

Williams was born in Rutherford, New Jersey. His grandmother, an Englishwoman deserted by her husband,
had come to the United States with her son, remarried, and moved to Puerto Rico. Her son, Williams'
father, married a Puerto Rican woman of French Basque and Dutch Jewish descent.
Williams received his primary and secondary education in Rutherford until 1897, when he was sent for
two years to a school near Geneva and to the Lycée Condorcet in Paris. He attended the Horace Mann School
upon his return to New York City and after having passed a special examination, was admitted in 1902 to
the medical school of the University of Pennsylvania, from which he graduated in 1906.[2][3] He published
his first book, Poems, in 1909.
Williams married Florence Herman (1891--1976) in 1912, after his first proposal to her older sister was refused.[4]
They moved into a house in Rutherford, New Jersey, which was their home for many years. Shortly afterward, his
second book of poems, The Tempers, was published by a London press through the help of his friend Ezra Pound, whom
he met while studying at the University of Pennsylvania.
Although his primary occupation was as a family doctor, Williams had a successful literary career as a poet.
In addition to poetry (his main literary focus), he occasionally wrote short stories, plays, novels, essays,
and translations. He practiced medicine by day and wrote at night. Early in his career, he briefly became involved
in the Imagist movement through his friendships with Pound and H.D. (whom he also befriended at the University of Pennsylvania),
but soon he began to develop opinions that differed from theirs.
In 1915 Williams began to associate with a group of New York artists and writers known as "The Others."[5] Founded by the poet
Alfred Kreymborg and the artist Man Ray, this group included Walter Conrad Arensberg, Wallace Stevens, Mina Loy, Marianne Moore and Marcel Duchamp.
In 1920, Williams was sharply criticized by many of his peers (like H.D., Pound, and Wallace Stevens) when he published one of his
most experimental books, Kora in Hell: Improvisations. Pound called the work "incoherent" and H.D. thought the book was "flippant."[6]
The Dada artist and poet Baroness Elsa von Freytag-Loringhoven critiqued Williams's sexual and artistic politics in her experimental prose
poem review entitled "Thee I call 'Hamlet of Wedding Ring'", published in The Little Review in March 1921.[7]
A few years later, Williams published one of his seminal books of poetry, Spring and All, which contained classic Williams poems like
"By the road to the contagious hospital," "The Red Wheelbarrow," and "To Elsie." However, in 1922, the year before Williams published Spring and All
, T.S. Eliot published The Waste Land which became a literary sensation and overshadowed Williams' very different brand of poetic Modernism.
In his Autobiography, Williams would later write, "I felt at once that The Waste Land had set me back twenty years and I'm sure it did. Critically,
Eliot returned us to the classroom just at the moment when I felt we were on a point to escape to matters much closer to the essence of a new art
form itself—rooted in the locality which should give it fruit." And although he respected the work of Eliot, Williams became openly critical of
Eliot's highly intellectual style with its frequent use of foreign languages and allusions to classical and European literature.[8] Instead,
Williams preferred colloquial American English.[9]

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