The essay linked to here was originally published in The Heritages of William Carlos Williams: Points of Contact. Edited by Ian D. Copestake, Newcastle: Cambridge Scholars Press, 2007. 80-100.
The images above, photographs of the dust jacket of Kora in Hell, are relevant to the contents of the article. Specifically, I discuss the significance of the center “medallion” as Williams called it. It’s a line drawing in ink of an egg cell in the process of fertilization. Images courtesy of Eric White.
“The eternal bride and father—quid pro quo”: William Carlos Williams, Marcia Nardi and Paterson”
