威廉·卡洛斯·威廉斯（William Carlos Williams1883-1963）是20世纪美国最负盛名的几个诗人之一。威廉斯在谈到《荒原》的面世对他个人的影响时说：“对于我，它特别像迎面射来的一颗嘲笑的子弹。我立刻感到它使我后退了20年，我相信的确如此。”在另一处威廉斯把《荒原》的发表看作是诗坛上的晴天霹雳，说“它好像是原子弹落下来，把我们的世界炸开，我们向未知领域作的种种勇敢的突击被化为灰尘”。艾略特以诗歌创作开辟了西方现代诗坛，以他的美学思想创建起来的英美新批评理论更是雄霸英美诗评论坛和大学文学讲堂长达30年之久。然而威廉斯却认为艾略特是在向后看，同时认为自己应该向前看，即他希望自己能够创作出纯粹美国化的诗歌以抵抗艾略特的创作路线。
　　威廉斯的父亲是英国人，父母移居美国，他算是生在美国的第一代美国人，他终生是个职业医生，重临床、重器械，职业与出身造就了这是个现实味十足的诗人。威廉斯不好张扬传统与观念上的东西，不愿意去讴歌欧洲传统和文明，也反对精英意识，认为诗歌必须走出象牙之塔回到现实。威廉斯认为只有坚持美国本土精神才是他所要追求的艺术道路。他的这种反欧洲传统文化的思想表现在他提倡的“只有新的，才是好的”的美国化诗歌理念，而他的另一名言“没有观念，除非在事物中”，更是高度概括地表达了威廉斯的诗歌创作原则：丢弃传统回归生活，用简洁明了的意象来表达思想。威廉斯的名篇《红色手推车》就是在试图与艾略特的诗歌观念背道而驰，提倡重新回到现实生活的创作思想指导下于1923年完成的。

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william carlos williams (september 17, 1883 – march 4, 1963) was an american poet closely associated with modernismand imagism. he was also a pediatrician and general practitioner of medicine.
williams was born in rutherford, new jersey. his grandmother, an englishwoman deserted by her husband, had come to the united states with her son, remarried, and moved to puerto rico. her son, williams's father, married a puerto rican woman of french basque and dutch jewish descent.
williams received his primary and secondary education in rutherford until 1897, when he was sent for two years to a school near geneva and to the lycée condorcet in paris. he attended the horace mann school upon his return to new york city and, having passed a special examination, was admitted in 1902 to the medical school of the university of pennsylvania, from which he graduated in 1906. upon leaving university of pennsylvania, williams did internships at both french hospital and child's hospital in new york before going to leipzig for advanced study of pediatrics.he published his first book, poems, in 1909.
williams married florence herman (1891–1976) in 1912, after he returned from germany.[1] they moved into a house in rutherford, new jersey, which was their home for many years. shortly afterward, his second book of poems, the tempers, was published by a london press through the help of his friend ezra pound, whom he met while studying at the university of pennsylvania. around 1914, williams had his first son, william e. williams, followed by his second son, paul h. williams, in 1917. his first son would grow up to follow williams in becoming a doctor.
although his primary occupation was as a family doctor, williams had a successful literary career as a poet. in addition to poetry (his main literary focus), he occasionally wrote short stories, plays, novels, essays, and translations. he practiced medicine by day and wrote at night. early in his career, he briefly became involved in the imagist movement through his friendships with pound and h.d. (whom he also befriended at the university of pennsylvania), but soon he began to develop opinions that differed from theirs.
in 1915 williams began to associate with a group of new york artists and writers known as "the others."founded by the poet alfred kreymborg and the artistman ray, this group included walter conrad arensberg, wallace stevens, mina loy, marianne moore and marcel duchamp.
in 1920, williams was sharply criticized by many of his peers (such as h.d., pound, and wallace stevens) when he published one of his most experimental books,kora in hell: improvisations. pound called the work "incoherent" and h.d. thought the book was "flippant."the dada artist and poet baroness elsa von freytag-loringhoven critiqued williams's sexual and artistic politics in her experimental prose poem review entitled "thee i call 'hamlet of wedding ring'", published in the little review in march 1921.
a few years later, williams published one of his seminal books of poetry, spring and all, which contained the classic poems "by the road to the contagious hospital," "the red wheelbarrow," and "to elsie." however, in 1922, the year before williams published spring and all, t.s. eliot published the waste land which became a literary sensation and overshadowed williams's very different brand of poetic modernism. in his autobiography, williams would later write, "i felt at once that the waste land had set me back twenty years and i'm sure it did. critically, eliot returned us to the classroom just at the moment when i felt we were on a point to escape to matters much closer to the essence of a new art form itself—rooted in the locality which should give it fruit." and although he respected the work of eliot, williams became openly critical of eliot's highly intellectual style with its frequent use of foreign languages and allusions to classical and european literature.instead, williams preferred colloquial american english.
in his modernist epic collage of place, paterson (published between 1946 and 1958), an account of the history, people, and essence of paterson, new jersey, he wrote his own modern epic poem, focusing on "the local" on a wider scale than he had previously attempted. he also examined the role of the poet in american society and famously summarized his poetic method in the phrase "no ideas but in things" (found in his poem "a sort of a song" and repeated again and again in paterson).
in his later years, williams mentored and influenced many younger poets. he had an especially significant influence on many of the american literary movements of the 1950s, including the beat movement, the san francisco renaissance, the black mountain school, and the new york school.
one of williams's most dynamic relationships as a mentor was with fellow new jersey poet allen ginsberg. williams included several of ginsberg's letters in paterson, stating that one of them helped inspire the fifth section of that work. williams also wrote the introduction to ginsberg's important first book, howl and other poems in 1956.
williams suffered a heart attack in 1948 and after 1949, a series of strokes. severe depression after one such stroke caused him to be confined to hillside hospital, new york, for four months in 1953. he died on march 4, 1963, at the age of 79 at his home in rutherford. he was buried in hillside cemetery inlyndhurst, new jersey.