William Carlos Williams began his poetic career, reacting violently against the European literary tradition of Pound and Eliot. Believing that poems composed of the literary allusions cannot arrive at the essence of the thing itself, he attempted to appose the familiar ordinary things in phenomenological word order. In `Red Wheelbarrow`, for example, three details are arranged into their component parts such as "wheel / barrow", "rain / water" and "white chickens." The result is that our perception of the appositional things is not only that vivid but also beyond the stereotyped level. Williams` style and technique went hand in hand with the avant-garde movement of 1920s and 1930s in Europe an America. He associated with such artists as Charles Demuth, Alfred Stieglitz, Walter Arensberg, Alfred Kreimborg, Louis Zukofsky, Juan Gris through their little magazines such as Others and Contact. For Williams the innovation in the visual arts promised to overcome the deadness of copied forms and shatter the tyrannies of the past. It also promised to open up whole new spheres, such as the world he knew from his private life and daily work as a doctor. In such poems as `The Great Figure` and "Between Walls`, he catches the energy and beauty of a thing or a situation in an instant of time. In revealing the dynamics of reality he was also committed to the natural process of things. We can feel the growing process of a tree in the natural environment in `Young Sycamore`, and `Spring and All` excellently reveals the nature`s changing process, along with the rebirth of the things and the man who perceives them. For Williams art is not only imitation but also creation, and these two dimensions together create the revelation that leads the reader back to the mystery of both the poem and the world it refers to. Thus Williams` successful poems are both audible and visible presences which can be arranged into sound patterns and visual designs as well.