To send content items to your account,
please confirm that you agree to abide by our usage policies.
If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account.
Find out more about sending content to .
To send content items to your Kindle, first ensure firstname.lastname@example.org
is added to your Approved Personal Document E-mail List under your Personal Document Settings
on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part
of your Kindle email address below.
Find out more about sending to your Kindle.
Note you can select to send to either the @free.kindle.com or @kindle.com variations.
‘@free.kindle.com’ emails are free but can only be sent to your device when it is connected to wi-fi.
‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.
In accounts of American poetry, William Carlos Williams is a marker of the development of modernism, of the avant-garde and of a democratic art of everyday speech. However, he has become important to the literary chronology. Williams's success in addressing his present with appropriate poetic quickness remains apparent, but it is also clear that the poem is a century old. Williams's sense of his own cultural deficit may be a constant, but even his yelling shows that he was keeping up with the latest manifestos from Europe. This Is Just to Say poem's simple vocabulary, narrative economy and realism, in the sense that Williams actually ate those plums and then scrawled those lines, make it suitable for eighth grade pedagogy. For him, art could not begin without the artist's attentive imbrication with the matters of everyday life. One of his short stories, Comedy Entombed furnishes an example.
And if your kids don’t study, that’s your fault. Tell ’em. Don’t kid yourself, and don’t lie.
“Il nemico è l'ignoranza”: Ezra Pound's daughter Mary de Rachewiltz once identified this terse proposition as her father's “slogan” in the years prior to World War II. It can no less reasonably be understood as a lifelong maxim, an ideal instance of the “gists and piths” (ABCR, 92) that motivated and moved the poet, and did so long before he formulated that memorable phrase. Pound's unwobbling belief that “not knowing” is the real enemy gestures with appropriate force and emphasis to the twin functions of “to educate,” from a verb suggesting both “to bring up” (educare) and “to lead out” (educere). That is to say, it invests education with an urgency that applies equally to the family and the polity, one which may be extended without distortion to an ethical responsibility for all serious artists (aliter: “the damned and despised litterati”) (LE, 21). During the 1920s Pound concluded that “[t]he aim of state education has been (historically) to prevent people from discovering that the classics are worth reading” (SPR, 213). In response, as he became increasingly remote from the centers of culture and higher learning, his pedagogical rhetoric became increasingly concerned with the idea that “the mental life of a nation is no man's private property. The function of the teaching profession is to maintain the health of the national mind” (LE, 58).