. . but, as he asserts over and over again in many different ways, in its form" (Doyle). In addition to this, what is left to be said about the poet about his work is not nearly as significant as the "quality of his experience" (Doyle). This element of his experience was special to Williams and in order to fully savor them, he believed that the experience itself needed to be "open and not preconceived" (Doyle). Here we can see how Williams the poet was willing to attach himself to something new and different or, as Wagner puts it, to "descend to the 'formless ground'" (Wagner). In his freedom of expression, he offered advice to other poets, which was to "write carelessly" (Doyle). While it may seem that this advice works against the sense of observation and perception, Wagner asserts that for Williams, "perception and the imaginative disposition of perceptions, these are primary to the poem" (Doyle). Wagner supports this idea, referring to his poem, "Spring and All," and "The Red Wheelbarrow" where Williams "combined aesthetic theory" (Wagner). Wagner also observes that Williams "turned away from the established conventions in order to present sharply, idiomatically, the gist of his drama"(Wagner). This nontraditional approach brought attention to nontraditional things.

             For example, in "Spring and All," we see how Williams is describing perception rather than just providing us with a description of the landscape before him. He writes of the "broad, muddy fields/brown with dried weeds" (5-6) and the "patches of standing water" (7) as if they might just be objects. In addition, the poet notices the "twiggy/stuff of bushes and small trees/with dead, brown leaves' (10-2) and likens them to lifelessness. While this poem may seem to be about the death of winter, we see how the poet uses this experience to guide him to perceiving the coming of spring. By focusing on each an every aspect of this scene, the poet is able to see how the "profound change/has come upon them" (25-6).