Attitudes Toward History

Abstract

Abstract Williams’s constant attention to historically specific political actions in nearly all of his works—from his section on ‘‘Paterson—The Strike’’ in his first version of “The Wanderer: A Rococo Study” (1914) to his collaborative “translation” of Mao Tse-Tung’s “Spring in the Snow-Drenched Garden” (I960)1—indicates his abiding concern with the political and its integral position within his poetics. But Williams politics are no less complicated than his poetics, and they are intimately connected with what Williams’s sees as the role of the artist. Williams held a contentious relationship to the Left in both the thirties and the forties, and his opinions about Stalinist Russia and schemes of Social Credit often alienated him from its most vocal members.

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