E.E. Cummings
Numbers play a prominent role in Cummings's poetry, Forgoing the naming of his poems, Cummings's poems are generally numbered with few exceptions, His later collections and selections likewise forego the formality of a title, instead named for the number of poems between the covers sitelinkPoems, sitelinkPoems, sitelinkPoems.
Not surprisingly, numbers again play a prominent role in xOne Times One, but perhaps more so than in any previous collection both in the aforementioned and in the incorporation of numbers into various poems.
. .
My favourite poems, as always, are those in which Cummings fragments words and sentences, or otherwise deranges his words and sentences to the point of being unrecognizable.
This is Cummings at his most experimental, . .
Other favorites: “of all the blessings which to man,” “a salesman is an it that stinks Excuse,” “when god decided to invent,” “so isnt small one littlest why,” and “now i love you and you love me” the final line of the latter is the poem from which the collection takes its title.
Cummings uses experimental modernism to revisit romantic topics, The sections are on universality, love, nature, Top tips: XIV, XXIV, XXXIX, a politician is an arse upon
which everyone has sat except a man,
E. E. Cummings,x, "X"
these poems will
come tomorrow if, for
now crosseye faced to
warm bed unmade with
benadrylvicodinand
duct tape to increase
my chances thruhours
shut I with a desperate
hope for rest not eternal.
So heart keep beating find,
amp lungs breathe God'sst favor,
until and headaches blind
release me on good behavior.
Favorite Poem from this book:
XXXIX
all ignorance toboggans into know
and trudges up to ignorance again:
but winters not forever, even snow
melts and if spring should spoil the game, what then
all historys a winter sport or three:
but were it five, id still insist that all
history is too small for even me
for me and you, exceedingly too small.
Swoop shrill collective myth into thy grave
merely to toil the scale to shrillerness
per every madge and mabel dick and dave
tomorrow is our permanent address
and there theyll scarcely find us if they do,
well move away still further into now Cummings's ninth book of poems, was first published in.
The poems in have as their theme "oneness and the means one times one whereby that oneness is achievedlove," in the words of Cummings's biographer Richard S.
Kennedy. Besides new expressions of universal concerns, Cummings writes here in a lyric and optimistic mode, drawing portraits of people dear to him in New Hampshire and New York City's Greenwich Village.
This new edition joins other individual uniform Liveright paperback volumes drawn from the , most recently and and, cummings seems all over the place with this book, It has some of the most inventive rhymes I have seen, uses wonderful beats they are more beats than rhythms, write ecofriends poems, returns to the theme of sex which he does so well, and introduces just the slightest touch of romance, which is unusual for him.
I find more of these poems comprehensible than I have in the last several books, There are still too many that I cannot understand, so I nearly went with three, which may be what the obscurity really deserves, but the poems I like I like so much that Im boosting it to four.
It is nice to appreciate cummings again, “one times one” we are one the I the war and the language that can barely express the horror of the mid twentieth century horror of destruction of the past and the denying of a future I'm not really a poetry person, but I thought this was a delightful little book.
It's filled with memorable lines and relatable themes, My main issue with it and most poetry is I'm not a fan of the unorthodox format of some poems.
I don't like sentences or words split into miltiple lines or the excessive use of paratheses, it kind of takes me out of it.
All in all the main content of the book was well written and witty, but I guess I'm just not a big poetry person.
Love deconstructed.
With his uncompromising lyrical manipulation of language and distinctly nonlanguage, Cummings cleverly evokes childhood, innocence, spring, each with the diligence prescribed by concept and the simplicity echoed by thought.
Each word, each punctuation, each empty space and occupied space, unite to demonstrate the intricacy of the mind, the passion of oneness.
And beyond his ability to mimic the mind and the emotions, Cummings uses language to paint the paradox of 'what is language' as only language can.
A masterwork of love poetry and of love, and of poetry, My least favorite of his books so far, although I said that last time, too, I think, I liked the young Cummings much better, Favorites:
pity this busy monster,manunkind,
once like a spark
if strangers meet
let it go the smashed word broken
i've come to ask you if there isn't a
nothing false and possible is love
except in your honour, my loveliest,
we love each other very dearly ,more
if everything happens that can't be done
.
. .
what if a dawn of a doom of a dream
bites this universe in two,
peels forever out of his grave
and sprinkles nowhere with me and you
Blow soon to never and never to twice
blow life to isn't:blow death to was
all nothing's only our hugest home
the most who die,the more we live
b
a
r
f
Edward Estlin Cummings was born in Cambridge, Massachusetts, on October,.
He began writing poems as early asand studied Latin and Greek at the Cambridge Latin High School.
He received his BA inand his MA in, both from Harvard University, His studies there introduced him to the poetry of avant garde writers, such as Gertrude Stein and Ezra Pound.
In, Cummings published an early selection of poems in the anthology Eight Harvard Poets, The same year, Cummings left the United States for France as a volunteer ambulance driver in World War I.
Five months after his assignment, however, he and a friend were interned in a prison camp by the French authorities on suspicion of espionage an experience recounted in his novel Edward Estlin Cummings was born in Cambridge, Massachusetts, on October,.
He began writing poems as
early asand studied Latin and Greek at the Cambridge Latin High School.
He received his BA inand his MA in, both from Harvard University, His studies there introduced him to the poetry of avant garde writers, such as Gertrude Stein and Ezra Pound.
In, Cummings published an early selection of poems in the anthology Eight Harvard Poets, The same year, Cummings left the United States for France as a volunteer ambulance driver in World War I.
Five months after his assignment, however, he and a friend were interned in a prison camp by the French authorities on suspicion of espionage an experience recounted in his novel, The Enormous Room for his outspoken anti war convictions.
After the war, he settled into a life divided between houses in rural Connecticut and Greenwich Village, with frequent visits to Paris.
He also traveled throughout Europe, meeting poets and artists, including Pablo Picasso, whose work he particularly admired, In, The Dial published seven poems by Cummings, including "Buffalo Bill s, ” Serving as Cummings debut to a wider American audience, these “experiments” foreshadowed the synthetic cubist strategy Cummings would explore in the next few years.
In his work, Cummings experimented radically with form, punctuation, spelling, and syntax, abandoning traditional techniques and structures to create a new, highly idiosyncratic means of poetic expression.
Later in his career, he was often criticized for settling into his signature style and not pressing his work toward further evolution.
Nevertheless, he attained great popularity, especially among young readers, for the simplicity of his language, his playful mode and his attention to subjects such as war and sex.
The poet and critic Randall Jarrell once noted that Cummings is “one of the most individual poets who ever livedand, though it sometimes seems so, it is not just his vices and exaggerations, the defects of his qualities, that make a writer popular.
But, primarily, Mr. Cummingss poems are loved because they are full of sentimentally, of sex, of or less improper jokes, of elementary lyric insistence.
”During his lifetime, Cummings received a number of honors, including an Academy of American Poets Fellowship, two Guggenheim Fellowships, the Charles Eliot Norton Professorship at Harvard, the Bollingen Prize in Poetry in, and a Ford Foundation grant.
At the time of his death, September,, he was the second most widely read poet in the United States, after Robert Frost.
He is buried in Forest Hills Cemetery in Boston, Massachusetts, source: sitelink sitelink.
coisas fizeramme pensar em Stevens, Muito Abril em vários poemas, Poemas favoritos: 'ygUDuh', 'one Floatingly arrive', 'all ignorance toboggans into know', 'darling! because my blood can sing', 'life is more true than reason will deceive' e 'if everything happens that can't be done'.
Uma maravilha de uma ponta à outra,/While I appreciate his genius in how he bends and breaks language, and while some of the poems did understand and therefore did not make me feel like a moron, this wasn't my cup of tea.
we're anything brighter than even the sun
we're everything greater
than books
might mean
we're everyanything more than believe
with a spin
leap
alive we're alive
we're wonderful one times one
LIV pg.
Numbers play a prominent role in Cummings's poetry, Forgoing the naming of his poems, Cummings's poems are generally numbered with few exceptions, His later collections and selections likewise forego the formality of a title, instead named for the number of poems between the covers sitelinkPoems, sitelinkPoems, sitelinkPoems.
Not surprisingly, numbers again play a prominent role in xOne Times One, but perhaps more so than in any previous collection both in the aforementioned and in the incorporation of numbers into various poems.
. .
one's not half two, It's two are halves of one:
which halves reintegrating,shall occur
no death and any quantitybut than
all numerable mosts the actual more
minds ignorant of stern miraculous
this every truth beware of heartless them
given the scalpel,they dissect a kiss
or,sold the reason,they undream a dream
one is the song which fiends and angels sing:
all murdering lies by mortals told make two.
Let liars wilt,repaying life they're loaned
weby a gift called dying bornmust grow
deep in dark least ourselves remembering
love only rides his year.
All lose,whole find
XVI pg,
dead every enormous piece
of nonsense which itself must call
a state submicroscopic is
compared with pitying terrible
some alive individual
ten centuries of original soon
or make it ten times ten are more
than not entitled to complain
plunged in eternal now if who're
by the five nevers of a lear
XXI pg.
so isn't small one littlest why,
it into if shall climb all the
blue heaven green earth neither sea
here's more than room for three of me
and only while your sweet eyes close
have disappeared a million whys
but opening is are those eyes
every because is murdered twice
XLVIII pg.
My favourite poems, as always, are those in which Cummings fragments words and sentences, or otherwise deranges his words and sentences to the point of being unrecognizable.
This is Cummings at his most experimental, . .
E. E. Cummings never disappoints me. Beautiful collection in both construction and contents, It was neat to realize this is the book one of my all time favorite Cummings poems “pity this busy monster,manunkind” is from.ygUDuh
ydoan
yunnuhstan
ydoan o
yunnuhstan dem
yguduh ged
tunnuhstan dem doidee
yguduh ged riduh
ydoan o nudn
LISN bud LISN
dem
gud
am
lidl yellud bas
tuds wweer goin
duhSIVILEYEzum
VII pg.
a
float on some
i call twilight you
'll see
an in
ch
of an if
amp
who
is
the
more
dream than become
more
am than imagine
XXXI pg.
how
tinily
of
squirtwo be
tween sto
nesming a gr
eenes
t you b
ecome
s whi
mysterious
lyte
one
t
hou
XLI pg.
Other favorites: “of all the blessings which to man,” “a salesman is an it that stinks Excuse,” “when god decided to invent,” “so isnt small one littlest why,” and “now i love you and you love me” the final line of the latter is the poem from which the collection takes its title.
Cummings uses experimental modernism to revisit romantic topics, The sections are on universality, love, nature, Top tips: XIV, XXIV, XXXIX, a politician is an arse upon
which everyone has sat except a man,
E. E. Cummings,x, "X"
these poems will
come tomorrow if, for
now crosseye faced to
warm bed unmade with
benadrylvicodinand
duct tape to increase
my chances thruhours
shut I with a desperate
hope for rest not eternal.
So heart keep beating find,
amp lungs breathe God'sst favor,
until and headaches blind
release me on good behavior.
Favorite Poem from this book:
XXXIX
all ignorance toboggans into know
and trudges up to ignorance again:
but winters not forever, even snow
melts and if spring should spoil the game, what then
all historys a winter sport or three:
but were it five, id still insist that all
history is too small for even me
for me and you, exceedingly too small.
Swoop shrill collective myth into thy grave
merely to toil the scale to shrillerness
per every madge and mabel dick and dave
tomorrow is our permanent address
and there theyll scarcely find us if they do,
well move away still further into now Cummings's ninth book of poems, was first published in.
The poems in have as their theme "oneness and the means one times one whereby that oneness is achievedlove," in the words of Cummings's biographer Richard S.
Kennedy. Besides new expressions of universal concerns, Cummings writes here in a lyric and optimistic mode, drawing portraits of people dear to him in New Hampshire and New York City's Greenwich Village.
This new edition joins other individual uniform Liveright paperback volumes drawn from the , most recently and and, cummings seems all over the place with this book, It has some of the most inventive rhymes I have seen, uses wonderful beats they are more beats than rhythms, write ecofriends poems, returns to the theme of sex which he does so well, and introduces just the slightest touch of romance, which is unusual for him.
I find more of these poems comprehensible than I have in the last several books, There are still too many that I cannot understand, so I nearly went with three, which may be what the obscurity really deserves, but the poems I like I like so much that Im boosting it to four.
It is nice to appreciate cummings again, “one times one” we are one the I the war and the language that can barely express the horror of the mid twentieth century horror of destruction of the past and the denying of a future I'm not really a poetry person, but I thought this was a delightful little book.
It's filled with memorable lines and relatable themes, My main issue with it and most poetry is I'm not a fan of the unorthodox format of some poems.
I don't like sentences or words split into miltiple lines or the excessive use of paratheses, it kind of takes me out of it.
All in all the main content of the book was well written and witty, but I guess I'm just not a big poetry person.
Love deconstructed.
With his uncompromising lyrical manipulation of language and distinctly nonlanguage, Cummings cleverly evokes childhood, innocence, spring, each with the diligence prescribed by concept and the simplicity echoed by thought.
Each word, each punctuation, each empty space and occupied space, unite to demonstrate the intricacy of the mind, the passion of oneness.
And beyond his ability to mimic the mind and the emotions, Cummings uses language to paint the paradox of 'what is language' as only language can.
A masterwork of love poetry and of love, and of poetry, My least favorite of his books so far, although I said that last time, too, I think, I liked the young Cummings much better, Favorites:
pity this busy monster,manunkind,
once like a spark
if strangers meet
let it go the smashed word broken
i've come to ask you if there isn't a
nothing false and possible is love
except in your honour, my loveliest,
we love each other very dearly ,more
if everything happens that can't be done
.
. .
what if a dawn of a doom of a dream
bites this universe in two,
peels forever out of his grave
and sprinkles nowhere with me and you
Blow soon to never and never to twice
blow life to isn't:blow death to was
all nothing's only our hugest home
the most who die,the more we live
b
a
r
f
Edward Estlin Cummings was born in Cambridge, Massachusetts, on October,.
He began writing poems as early asand studied Latin and Greek at the Cambridge Latin High School.
He received his BA inand his MA in, both from Harvard University, His studies there introduced him to the poetry of avant garde writers, such as Gertrude Stein and Ezra Pound.
In, Cummings published an early selection of poems in the anthology Eight Harvard Poets, The same year, Cummings left the United States for France as a volunteer ambulance driver in World War I.
Five months after his assignment, however, he and a friend were interned in a prison camp by the French authorities on suspicion of espionage an experience recounted in his novel Edward Estlin Cummings was born in Cambridge, Massachusetts, on October,.
He began writing poems as
early asand studied Latin and Greek at the Cambridge Latin High School.
He received his BA inand his MA in, both from Harvard University, His studies there introduced him to the poetry of avant garde writers, such as Gertrude Stein and Ezra Pound.
In, Cummings published an early selection of poems in the anthology Eight Harvard Poets, The same year, Cummings left the United States for France as a volunteer ambulance driver in World War I.
Five months after his assignment, however, he and a friend were interned in a prison camp by the French authorities on suspicion of espionage an experience recounted in his novel, The Enormous Room for his outspoken anti war convictions.
After the war, he settled into a life divided between houses in rural Connecticut and Greenwich Village, with frequent visits to Paris.
He also traveled throughout Europe, meeting poets and artists, including Pablo Picasso, whose work he particularly admired, In, The Dial published seven poems by Cummings, including "Buffalo Bill s, ” Serving as Cummings debut to a wider American audience, these “experiments” foreshadowed the synthetic cubist strategy Cummings would explore in the next few years.
In his work, Cummings experimented radically with form, punctuation, spelling, and syntax, abandoning traditional techniques and structures to create a new, highly idiosyncratic means of poetic expression.
Later in his career, he was often criticized for settling into his signature style and not pressing his work toward further evolution.
Nevertheless, he attained great popularity, especially among young readers, for the simplicity of his language, his playful mode and his attention to subjects such as war and sex.
The poet and critic Randall Jarrell once noted that Cummings is “one of the most individual poets who ever livedand, though it sometimes seems so, it is not just his vices and exaggerations, the defects of his qualities, that make a writer popular.
But, primarily, Mr. Cummingss poems are loved because they are full of sentimentally, of sex, of or less improper jokes, of elementary lyric insistence.
”During his lifetime, Cummings received a number of honors, including an Academy of American Poets Fellowship, two Guggenheim Fellowships, the Charles Eliot Norton Professorship at Harvard, the Bollingen Prize in Poetry in, and a Ford Foundation grant.
At the time of his death, September,, he was the second most widely read poet in the United States, after Robert Frost.
He is buried in Forest Hills Cemetery in Boston, Massachusetts, source: sitelink sitelink.