William Carlos Williams comments on the brutal persistence of patriarchy in "The Raper from Passenack." The title immediately conjures the imagery of rape, and the title fuses into the first line of the poem. "The Raper from Passenack" is written in a narrative format, describing a scene in which the titular character is driving home the nameless girl who he just violated. Most of the narrative takes place inside the

Proletarian Portrait" is a poem by William Carlos Williams that presents a brief snapshot of a working class woman, a proletarian. She is bogged down by two stigmas: class and gender. Because the reader has no other cues of the woman's identity, it is also possible that she is not white, either. Being of the non-dominant culture would make the woman an emblem of the underclass, presuming the setting

684). Arguably the first line in which Williams introduces an aesthetic sensation, "glazed with rain water" lends itself to a bit of a play on words. Water is redundant after the word rain, but rain modifies water as well. Easterbrook writes of Williams as being a poet unique in his ability to "present imagistic pictures." The whole poem "The Red Wheelbarrow," the title itself, and the line "glazed with rain

Tract" by William Carlos Williams Throughout the poem, Williams uses free verse, which results in "Tract" reading more like prose than traditional poetry. This is one of the main concerns Williams an other modern poets had with creating their work. They were concerned with creating new forms of creating art an poetry. A sense of poetic evolution is at the heart of this type of art. In his essay, William

E.E. cummings's "she being Brand/-new" appears to be, at its surface, a poem about a man taking his car for a spin and learning the nuances of his new vehicle. The imagery and descriptions cummings uses allows the reader to understand the various things that need to be broken in. The poem's narrator freely admits the car was "consequently a little stiff," which can be further seen in how the

Gradually, the viewer's pleasure of being the knowing doctor shifts to the pleasure of socially-sanctioned unwilling penetration: "But the worst of it was that I too had got beyond reason. I could have torn the child apart in my own fury and enjoyed it. It was a pleasure to attack her. My face was burning with it," says the doctor as he grows angry with the girl's intransigence. Mulvey might