By William Carlos Williams
With the ebook of this e-book, Charles Tomlinson's version of Williams's chosen Poems, New instructions has brought a meeting better and extra accomplished than the unique 1963 edition.Opening with Professor Tomlinson's beautifully transparent and beneficial advent this option displays the main updated Williams scholarship. as well as together with many extra items, Tomlinson has geared up the full in chronological order.
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Extra resources for Selected Poems
Axel, 2:677. 18 Isolated in individual middle- or upper-class homes, servants were unlike other members of the working class in their working conditions, their compensation (lower cash wages being to some degree balanced by room and board as well as livery in some cases), and the fact that their labor neither produced nor sold any tangible good. 19 The increasingly anachronistic position of servants, therefore, can even augment a Wildean atmosphere of aristocratic disdain for the scrabbling materialism of modern life.
One of the most serious critiques of aesthetic autonomy is that it denies the artists entanglement in the system of class, imagining that the leisured cult of pure forms banishes the world of ordinary work and its hierarchies. But I will show that because of the aesthetic character of domestic service, in fiction and in the real world, service sheds a particularly clear light on the relation between aesthetes and workers, between art for arts sake and work for a wage. That relation shows us that the aestheticist and modernist version of autonomy from labor is not what we might expect: it is relative and contextual, sensitive to the ways autonomous form carries troubling social entanglements along with it.
26 Accordingly, though the appearance of formal closure or formal distinction may undergird powerful claims to aesthetic autonomy, that appearance itself depends on the conventions of the literary field and its relation to other fields. The shifting senses of form will be especially important in the next chapter, where I offer one way of historicizing novelistic form through its relation to domestic labor, on one hand, and social "good form" or decorum on the other. 27 26. Indeed, Ejxenbaum sees the culmination of Formalism as doing away with the notion of content altogether; see Boris M.