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About E. E. Cummings
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"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.
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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
An autobiographical novel of captivity in World War I France from a prize-winning literary icon.
Working as an ambulance driver in the First World War, a young man is suddenly taken in by the authorities, along with his friend who has been targeted for his antiwar sentiments. This novel recounts E. E. Cummings’s experience spending four months in an “enormous room” with other prisoners, enlivened by the people he meets and the events he witnesses in the midst of his bizarre situation.Cummings, recipient of a Bollingen Prize, a National Book Award citation, and many other literary honors, draws on his own life for this outstanding novel.
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.
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The poems in Etcetera were discovered in three Cummings manuscript collections and selected from more than 350 unpublished pieces.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 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.
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.
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.
Now children can claim for their very own the puddle-wonderful (mudluscious) world where buds know better than books don't grow, where little itchy mousies with scuttling eyes rustle and run and hidehidehide, and the ree ray rye roh rowster shouts rawrOO.
Cummings's poetry more than that of any other major American poet keeps faith with childhood. These twenty poems were selected by him and published privately in 1962. Hist Whist combines the original twenty poemes enfantins with the first appearance of the beautiful and evocative line drawings of the young California artist David Calsada. His sensitive pen has captured the spirit of Cummings's poems in its detailed rendering of a world that only poets and children can see.
The complete collection of E. E. Cummings’s writing for the stage, from the most inventive poet of the twentieth century.
The Theatre of E. E. Cummings collects in their entirety Cummings’s long out-of-print theatrical works: the plays HIM (1927), Anthropos (1930), and Santa Claus (1946), and the ballet treatment Tom (1935). In HIM, a creatively blocked artist and his lover, Me, struggle to bridge the impasse in their relationship and in his art. In Anthropos, a Platonic parable, three “infrahumans” brainstorm slogans while a man sketches on a cave wall; and in Santa Claus, Death and Saint Nick exchange identities. Harriet Beecher Stowe’s Uncle Tom’s Cabin is reimagined as dance, transforming the novel into a symbolic attack against Evil itself. Cummings’s prodigious creativity is on display in each of these works, which are ultimately about the place of the artist outside of society. “DON’T TRY TO UNDERSTAND IT, LET IT TRY TO UNDERSTAND YOU,” Cummings famously wrote about his intentions for the stage. Thoughtful and witty, Cummings’s dramas are an integral part of his canon.
An eye-opening selection of Cumming's more avant-garde poetry and prose.
As a poet, Cummings was a pioneer not only in linguistic and typographic inventions, but also in sound and concrete poetry. But his prose is no less experimental; he wrote memoirs, essays, and fiction that are constantly provocative and often radically experimental. To read the avant-garde Cummings is to read a writer who consistently broke with established norms, "never to rest and never to have: only to grow." To not read the avant-garde Cummings is to not read Cummings. Adjusting type size may change line breaks. Landscape mode may help to preserve line breaks.