Similar authors to follow
Manage your follows
About E. E. Cummings
E. E. Cummings (1894-1962) was among the most influential, widely read, and revered modernist poets. His many awards included an Academy of American Poets Fellowship, two Guggenheim Fellowships, and the Bollingen Prize. Among his many volumes are The Enormous Room and Tulips & Chimneys.
Customers Also Bought Items By
"No one else has ever made avant-garde, experimental poems so attractive to both the general and the special reader."—Randall Jarrell
The one hundred and fifty-six poems here, arranged in twelve sections and introduced by E. E. Cummings's biographer, Richard S. Kennedy, include his most popular poems, spanning his earliest creations, his vivacious linguistic acrobatics, up to his last valedictory sonnets. Also featured are thirteen drawings, oils, and watercolors by Cummings, most of them never before published.
Adjusting type size may change line breaks. Landscape mode may help to preserve line breaks.
E. E. Cummings’s erotic poems and drawings gathered in a single volume.
Many years ago the prodigious and famously prolific E. E. Cummings sat in his study writing and thinking about sex. His private brooding gave way to poems and drawings of sexual and romantic love that delight and provoke. Here, collected for this first time in a single volume, are those erotic poems and sketches, culled from Cummings’s original manuscripts by the distinguished editor George James Firmage.
may i feel said he
(i’ll squeal said she
just once said he)
it’s fun said she
(may i touch said he
how much said she
a lot said he)
why not said she
You can definitely feel the power that the war experience and his time in Paris had on him. He talks quite a lot about death, how life is fleeting, and the way people grab at what life they can. In addition, his skill and education with words shines. He didn't write simple sonnets. He played with language. With punctuation, spelling, and word arrangement to get a feel across.
can dy lu
greens coo l choc
tive s pout
Note that some of his work tends to mention sexual encounters. This was, after all, a young man just out of college exploring the streets of Paris while facing death every day. There is nothing too explicit, but the situations are there.
I'd love to hear your thoughts about his poetry! And look for my annotated version, by Lisa Shea, soon. I just need to get a few sections of it finished up.
Cummings transforms a tale of unjust incarceration into a high-energy romp and a celebration of the indomitable human spirit that ranks with the best of its contemporaries, including the works of Hemingway and Dos Passos. This edition restores a significant amount of material deleted from the book's initial publication in 1922.
A Miscellany, confined to a private edition for decades, sheds further light on the prodigious vision and imagination of the most inventive poet of the twentieth century: E.E. Cummings.
Formally fractured and yet gleefully alive and whole, E. E. Cummings’s groundbreaking modernist poetry expanded the boundaries of language. In A Miscellany, originally released in a limited run in 1958, Cummings lent his delightfully original voice to “a cluster of epigrams,” a poem, three speeches from an unfinished play, and forty-nine essays—most of them previously written for or published in magazines, anthologies, or art gallery catalogues. Seven years later, George J. Firmage—editor of much of Cummings’s work, including Complete Poems—broadened the scope of this delightfully eclectic collection, adding seven more poems and essays, and many of Cummings’s unpublished line drawings.
Together, these pieces paint a distinctive portrait of Cummings’s eccentric, yet precise, genius. Like his poetry, Cummings’s prose is lively; often witty, biting, and offbeat, he is an intelligent observer and critic of the modern. His essays explore everything from Cubism to the circus, equally quick to analyze his poetic contemporaries and satirize New York society. As Cummings wrote in his original foreword, A Miscellany contains “a great deal of liveliness and nothing dead.” This remains true today, more than fifty years after its original publication.
A new volume in the Liveright series of Cummings reissues, offset from the authoritative Complete Poems 1904-1962.
The poems in Etcetera were discovered in three Cummings manuscript collections and selected from more than 350 unpublished pieces. Many of the poems are from his early years and all convey his freshness and youthful spirit, exhibiting his celebration of love and delight in common natural phenomena. Etcetera was first published by Liveright in 1983. This newly reissued edition is published in a uniform format with Is 5, Tulips & Chimneys, ViVa, XAIPE, and No Thanks.
A reissue of E. E. Cummings's long-unavailable, yet pointed and moving story of a journey through Soviet Russia.
Unavailable for more than fifty years, EIMI finally returns. While sometimes termed a "novel," it is better described as a novelistic travelogue, the diary of a trip to Russia in the 1930s during the rise of the Stalinist government. Despite some contempt for what he witnesses, Cummings's narrator has an effective, occasionally hilarious way of evoking feelings of accord and understanding. As Ezra Pound wrote, Cummings's Soviet Union is laid "out there pellucidly on the page in all its Slavic unfinishedness, in all of its Dostoievskian slobberyness....Does any man wish to know about Russia? 'EIMI'!"
A stylistic tour de force, EIMI is a mélange of styles and tones, the prose containing many abbreviations, grammatical and syntactical shifts, typographical devices, compounds, and word coinages. This is Cummings's invigorating and unique voice at its finest, and EIMI is without question one of his most substantial accomplishments.
Reissued in an edition newly offset from the authoritative Complete Poems 1904-1962, edited by George James Firmage.
E. E. Cummings, along with Pound, Eliot, and Williams, helped bring about the twentieth-century revolution in literary expression. He is recognized as the author of some of the most beautiful lyric poems written in the English language and also as one of the most inventive American poets of his time. Fresh and candid, by turns earthy, tender, defiant, and romantic, Cummings's poems celebrate the uniqueness of each individual, the need to protest the dehumanizing force of organizations, and the exuberant power of love. No Thanks was first published in 1935; although Cummings was by then in mid-career, he had still not achieved recognition, and the title refers ironically to publishers' rejections. No Thanks contains some of Cummings's most daring literary experiments, and it represents most fully his view of life—romantic individualism. The poems celebrate an openly felt response to the beauties of the natural world, and they give first place to love, especially sexual love, in all its manifestations. The volume includes such favorites as "sonnet entitled how to run the world)," "may I feel said he," "Jehovah buried. Satan dead," "be of love (a little)," and the now-famous grasshopper poem.
In 1917, after the entry of America into World War I, E. E. Cummings, a recent graduate of Harvard College, volunteered to serve on an ambulance corps in France. He arrived in Paris with a new friend, William Slater Brown, and they set about living it up in the big city before heading off to their assignment. Once in the field, they wrote irreverent letters about their experiences, which attracted the attention of the censors and ultimately led to their arrest. They were held for months in a military detention camp, sharing a single large room with a host of fellow detainees. It is this experience that Cummings relates in lightly fictionalized form in The Enormous Room, a book in which a tale of woe becomes an occasion of exuberant mischief. A free-spirited novel that displays the same formal swagger as his poems, a stinging denunciation of the stupidity of military authority, and a precursor to later books like Catch-22 and MASH, Cummings’s novel is an audacious, uninhibited, lyrical, and lasting contribution to American literature.
Fresh and candid, but turns earthy, defiant, and romantic, E. E. Cummings' poems celebrate the uniqueness of each individual, the need to protest the dehumanizing force of organizations, and the exuberant power of love.
First published in 1931, ViVa contains four of E. E. Cummings' most experimental poems as well as some of his most memorable. The volume includes such no-famous celebrations as "i sing of Olaf glad and big" and "if there are any heavens my mother will (all be herself) have," along with such favorites as "Space being (don't forget to remember) Curved," "a clown's smirk in the skull of a baboon," and "somewhere I have never traveled, gladly beyond."
THE ENORMOUS ROOM is an eclectic jumble of many things. On the one hand, it is a war story. It takes place over the three months of autumn, roughly, of 1917. Cummings’ and his friend B had volunteered to serve in the French Red Cross, Section Sanitaire, No. 21, during World War I, and they had completed three of their requisite six months of service when the book begins. On the other hand, the book is far less about the war itself, and far more about the administrative idiocy of the French Government during the war. It is, perhaps, a prison story — it is Cummings’ general account of the three months he spent at La Ferté-Macé, which was sort of a temporary holding place for those people the French government suspected of wrongdoing but had not yet been proven criminals. The whole account is told with such joy, such cheerfulness and amiability, that one almost forgets how horrifying the conditions really were for the prisoners.
At its heart, the book is a series of portraits. They might even be called caricatures, for their peculiarly laughable and exaggerated quality. It is a marvelous collection of in-depth, often chapter-long descriptions of the various characters from all walks of life who have been deemed, for some reason or other, a threat to the French government and therefore worthy of imprisonment. If nothing else (though it is, in fact, many other things as well) it is a technical study in how to describe personalities and physiques engagingly and accurately; how to paint a visual picture of a character and at the same time study his or her psychology.
As an added persuasion to pick this one up from the dusty shelves of the classics, I might also point out the undercurrents of political commentary on the wartime treatment of prisoners and the blatant and overwhelming idiocy of bureaucracy; the themes of innocence and simplicity that run through the book like little silver streams; or the fact that Cummings was the first author to use two languages at the same time in this style, for French is incorporated easily and fluidly alongside the English (after all, they were in a French prison, maintained by French gendarmes, and at the mercy of the French government), with a full glossary at the end of all the French terms and their translations. There are so many reasons to read this, all of them equally valuable.
What a magical, artistic, delightful book.