William Carlos Williams grew up in Rutherford, New Jersey, where he later worked as a physician for more than forty years, while publishing prolifically. At the University of Pennsylvania he met fellow student Ezra Pound, and they became central members of the burgeoning Imagist movement in poetry. Williams applied Pound’s directive to “make it new” to his own commitment to finding material in the daily and the local, and to using plain speech in his work. In his autobiographical story “A Visit,” poet James Laughlin notes of Williams’ balance between physician and poet, “In fact, the busy mixture of two full careers had been the taut spring that kept the mechanism turning.”

In his Introduction to The Wedge (1944), Williams grounds his poetics in opposition to a view held by critics at the time that poetry would likely become unnecessary once socialism has taken root. Williams sees this view as an extension of the notion that “arts are a resort from frustration.” 

Williams asserts, “a poem is a small (or large) machine made of words.” Emphasizing a poem’s composition and movement rather than its content, he states, “There is no poetry of distinction without formal invention, for it is in the intimate form that works of art achieve their exact meaning, in which they most resemble the machine, to give language its highest dignity, its illumination in the environment to which it is native.”

Two years after the publication of this essay, Williams published the first volume of his his five-volume epic, Paterson, which illustrates the growing structural attention that drove much of Williams’ later work. He would also later develop his signature formal innovation, the variable foot.

Working drafts of The Wedge are housed in the Special Collections of the State University of New York at Buffalo’s library.

The War is the first and only thing in the world today.

The arts generally are not, nor is this writing a diversion from that for relief, a turning away. It is the war or part of it, merely a different sector of the field.

Critics of rather better than average standing have said in recent years that after socialism has been achieved it’s likely there will be no further use for poetry, that it will disappear. This comes from nothing else than a faulty definition of poetry—and the arts generally. I don’t hear anyone say that mathematics is likely to be outmoded, to disappear shortly. Then why poetry?

It is an error attributable to the Freudian concept of the thing, that the arts are a resort from frustration, a misconception still entertained in many minds.

They speak as though action itself in all its phases were not compatible with frustration. All action the same. But Richard Coeur de Lion wrote at least one of the finest lyrics of his day. Take Don Juan for instance. Who isn’t frustrated and does not prove it by his actions—if you want to say so? But through art the psychologically maimed may become the most distinguished man of his age. Take Freud for instance.

The making of poetry is no more an evidence of frustration than is the work of Henry Kaiser or Timoshenko. It’s the war, the driving forward of desire to a complex end. And when that shall have been achieved, mathematics and the arts will turn elsewhere—beyond the atom if necessary for their reward and let’s all be frustrated together.

A man isn’t a block that remains stationary though the psychologists treat him so—and most take an insane pride in believing it. Consistency! He varies; Hamlet today, Caesar tomorrow; here, there, somewhere—if he is to retain his sanity, and why not?

The arts have a complex relation to society. The poet isn’t a fixed phenomenon, no more is his work. That might be a note on current affairs, a diagnosis, a plan for procedure, a retrospect—all in its own peculiarly enduring form. There need be nothing limited or frustrated about that. It may be a throw-off from the most violent and successful action or run parallel to it, a saga. It may be the picking out of an essential detail for memory, something to be set aside for further study, a sort of shorthand of emotional significances for later reference.

Let the metaphysical take care of itself, the arts have nothing to do with it. They will concern themselves with it if they please, among other things. To make two bald statements: There’s nothing sentimental about a machine, and: A poem is a small (or large) machine made of words. When I say there’s nothing sentimental about a poem I mean that there can be no part, as in any other machine, that is redundant.

Prose may carry a load of ill-defined matters like a ship. But poetry is the machine which drives it, pruned to a perfect economy. As in all machines its movement is intrinsic, undulant, a physical more than a literary character. In a poem this movement is distinguished in each case by the character of the speech from which it arises.

Therefore, each speech having its own character, the poetry it engenders will be peculiar to that speech also in its own intrinsic form. The effect is beauty, what in a single object resolves our complex feelings of propriety. One doesn’t seek beauty. All that an artist or a Sperry can do is to drive toward his purpose, in the nature of his materials; not to take gold where Babbitt metal is called for; to make: make clear the complexity of his perceptions in the medium given to him by inheritance, chance, accident or whatever it may be to work with according to his talents and the will that drives them. Don’t talk about frustration fathering the arts. The bastardization of words is too widespread for that today.

My own interest in the arts has been extracurricular. Up from the gutter, so to speak. Of necessity. Each age and place to its own. But in the U.S. the necessity for recognizing this intrinsic character has been largely ignored by the various English Departments of the academies.

When a man makes a poem, makes it, mind you, he takes words as he finds them interrelated about him and composes them—without distortion which would mar their exact significances—into an intense expression of his perceptions and ardors that they may constitute a revelation in the speech that he uses. It isn’t what he says that counts as a work of art, it’s what he makes, with such intensity of perception that it lives with an intrinsic movement of its own to verify its authenticity. Your attention is called now and then to some beautiful line or sonnet-sequence because of what is said there. So be it. To me all sonnets say the same thing of no importance. What does it matter what the line “says”?

There is no poetry of distinction without formal invention, for it is in the intimate form that works of art achieve their exact meaning, in which they most resemble the machine, to give language its highest dignity, its illumination in the environment to which it is native. Such war, as the arts live and breathe by, is continuous.

It may be that my interests as expressed here are pre-art. If so I look for a development along these lines and will be satisfied with nothing else.

William Carlos Williams, "Author’s Introduction (The Wedge)" from Selected Essays of William Carlos Williams, copyright © 1954 by William Carlos Williams.  Reprinted by permission of New Directions Publishing Corporation.
Originally Published: October 13th, 2009

William Carlos Williams was born the first of two sons of an English father and a Puerto Rican mother of French, Dutch, Spanish, and Jewish ancestry, and he grew up in Rutherford, New Jersey. He was a medical doctor, poet, novelist, essayist, and playwright. With Ezra Pound and H.D., Williams...