Langdon Hammer's Yale lecture on modern poetry (ENGL 310) turns to William Carlos Williams, reading his work closely for its visual and cognitive structure. Hammer opens with "The Red Wheelbarrow," tracing how Williams's enjambment interrupts and redirects perception, then moves to the prologue of Kora in Hell to discuss free verse and Williams's use of white space as a compositional tool. "The Great Figure" and "Spring and All" follow, with Hammer connecting Williams's Imagist technique to contemporaneous developments in modernist art, particularly Duchamp and Cubist painting's shared interest in representing sensual perception. The lecture builds a case for Williams as one of modernism's most visually oriented poets, attentive to how a poem looks on the page as much as what it says. Recorded in 2007 as part of Yale's Open Courses series, the talk is discussion-based and grounded entirely in close reading of the poems themselves.