And libraries holding major collections of Williams's papers participated by mounting exhibitions.The Rosenbach Museum & Library in Philadephia opened an exhibition a few days before the poet's birthday in September.The Marianne Moore Collection at the Rosenbach holds all of Williams's letters to Moore, except for those of The Dial years, 1925-1929, a nearly complete set of first editions, most inscribed, a host of little magazines in which Williams's work appeared and was annotated by Moore, as well as clippings and photographs.
The other items had all belonged to Marianne Moore.
This issue of MHN will serve as a catalogue of the exhibition, as a record of part—but necessarily not all—of the books and personal papers exchanged by the two poets.
The celebrations vary but they are all concerned with a fond examination of the poets’ works and lives. Among the commemorative events were a four-day conference at the University of Maine (Orono); a series of programs at the new William Carlos williams Center at Rutherford, N.
J., the poet's home town; an afternoon of talks and readings at the School of Medicine of the University of Pennsylvania; and many presentations at the annual MLA meeting in New York.
In the mid-1930s, before Williams had found his champion publisher in James Laughlin at New Directions, she was concerned that his books, published by small presses, were not reaching enough readers, and she took on the task of reviewing Adam £ Eve the City to fan what flames she could.
She never hesitated to contribute statements about his wotlt in various special magazine issues or tributes. What can be seen from an overview of the papers linking Williams and Moore is an enduring concern and a friendship that outweighed every difference between the [page 4] poets.Moore ISSN 0145-8779 [page 1] Volume VII Spring & Fall 1983 [page 2] The 19803 is the decade of the modernist poets.Most of them were born in the 1880's, and their readers are intent on celebrating their centennials.Although as poets they did not belong to a single "school," their work shared a devotion to the particular, to the thing itself—Williams's "no ideas but in things." Both poets drew on wide classical and contemporary reading and on refined observations of the world around them, williams trained his eye on the people among whom he: lived and practiced medicine and on his surroundings, from rural landscapes to New York.Moore gleaned images from research in natural history and felt that even "business documents and school-books" could be matter for poetry.But there was so much interest in what the exhibition brought to light about the relationship between Williams and Moore that it seemed fitting to translate the labels into an issue of MMN.It has long been known that Williams and Marianne Moore knew one another for many years.Williams; used by permission of New Directions Publishing Corp., agents.Previously unpublished excerpts from Florence Williams' letter to Marianne Moore and Helene H.There we have a dialectical nut to crack." The exhibition opened at the Rosenbach Museum & Library on September 14, 1983.Drawn from the Marianne Moore Collection at the Rosenbach, the exhibition contained the two poets' letters to each other, books sent by Williams to Moore, most of them inscribed, her annotated copies of little magazines containing his writings, and photographs. William Eric Williams loaned photographs of his father, and Mr. Williams contributed the history of "Burning the Christmas Greens," written about an event in his boyhood. Emily Mitchell Wallace loaned a very rare copy of Contact.