E. E. Cummings – författare

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.

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.

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.from “16”may i feel said he(i’ll squeal said shejust once said he)it’s fun said she(may i touch said hehow much said shea lot said he)why not said she

This Norton Critical Edition includes:166 poems spanning the range of Cummings’s career, selections of his prose and dramatic writing, twelve paintings and sketches, and three facsimiles of his drafts—the first ever annotated and cross-genre collection of his work aimed at student readers.Annotations, headnotes and a thorough introduction by Milton A. Cohen, along with an essay by Cohen chronicling the development of Cummings’s idiosyncratic style.Four contemporary reviews and six critical essays—by Randall Jarrell, Edmund Wilson, Isabelle Alfandary and Michael Webster, among others—prefaced by an overview.Comparative studies of two poems—featuring five different responses to each—designed to promote classroom discussion.A chronology, a selected bibliography and an index of the poems.

“Marvelously unconventional...a credo of intense individualism.”—AtlanticA brilliantly eccentric autobiography from one of the most widely read poets of the twentieth century. “Let me cordially warn you, at the opening of these socalled lectures, that I haven’t the remotest intention of posing as a lecturer.” So begins the first of six delightfully off-kilter “nonlectures” delivered at Harvard in 1952–1953. Gleefully flouting the conventions of the prestigious Charles Eliot Norton Professorship in Poetry, which had previously hosted T. S. Eliot, Igor Stravinsky, and other luminaries, E. E. Cummings declines to offer anything in the way of critical analysis, citing Rainer Maria Rilke’s contention that “Works of art are of an infinite loneliness and with nothing to be so little reached as with criticism.” Instead, six nonlectures presents a kaleidoscopic tour of the great poet’s life, influences, and favorite poems, from Chaucer, Wordsworth, and Swinburne to selections of his own work. After an autobiographical sketch of his youth in Cambridge, Massachusetts—including reflections on his father’s tragic death, accounts of his formative relationships with the pragmatist philosophers William James and Josiah Royce, stories from his days as a Harvard undergraduate, and readings of his earliest attempts at poetry—Cummings captivates with stream-of-consciousness musings on a dizzying array of subjects: freedom and democracy, New York and Paris, Lenin’s tomb and high-speed elevators, death and Santa Claus. Replete with digressions, irreverent wordplay, and, of course, parentheses, six nonlectures is a moving tribute to the spirit of artistic individuality, that dedication to unmitigated personal truth without which the poet “would cease to exist at all.”

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.

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.

Among many poems can be found "dying is fine)but Death," "so many selves(so many friends and gods," "when serpents bargain for the right to squirm," "no time ago," "I thank You God for most this amazing," and "now all the fingers of this tree(darling)have."

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."

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.

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.

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.

Appearing for the first time in a Liveright paperback edition, 22 and 50 Poems combines twenty-two new poems from Cummings's Collected Poems (1938) with his 50 Poems (1940). Included are such favorites as "My father moved through dooms of love" and "anyone lived in a pretty how town," along with the usual Cummings dazzle of satirical epigrams, love poems, and syntactical anagrams.This edition is published in a uniform format with Is 5, Tulips & Chimneys, ViVa, XAIPE, and No Thanks.

Cummings's ninth book of poems, One Times One, was first published in 1944. The poems in One Times One have as their theme "oneness and the means (one times one) whereby that oneness is achieved—love," 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 Complete Poems, most recently Etcetera and 22 and 50 Poems.

Published in 1958, 95 Poems is the last book of new poems published in Cummings's lifetime. Remarkable for its vigor, freshness, interest in ordinary individuals, and awareness of the human life cycle, the book reflects Cummings's observations on nature and his prevailing gratitude for whatever life offers: "Time's a strange fellow: more he gives than takes." This new edition joins other individual uniform Liveright paperback volumes drawn from the Complete Poems, most recently Etcetera and 22 and 50 Poems.

Four months after Cummings's death in September 1962, his widow, the photographer Marion Morehouse, collected the typescripts of 29 new poems. These poems, as well as uncollected poems published only in periodicals up to that time, make up 73 Poems. This is the final volume in Liveright's reissue of Cummings's individual volumes of poetry, with texts and settings based on E. E. Cummings: The Complete Poems 1904-1962.

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.

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”, forty-nine essays, a poem and three speeches from an unfinished play. Seven years later, George J. Firmage broadened the scope of this idiosyncratic collection, adding seven poems and essays, and many of Cummings’s unpublished line drawings.Together, these pieces paint a distinctive portrait of Cummings’s eccentric genius. His essays explore everything from Cubism to the circus, analyse his poetic contemporaries and satirise New York society. As Cummings wrote in his original foreword, A Miscellany “contain[s] a great deal of liveliness and nothing dead.” This remains true today.

The most notable work of fiction from our most beloved modernist poet, The Enormous Room was one of the greatest—yet still not fully recognised— American literary works to emerge out of World War I. Drawing on E. E. Cummings’s experiences in France as a volunteer ambulance driver, this novel takes us through a series of mishaps that led to the poet being arrested for treason and imprisoned. Out of this trauma Cummings produced a work like no other—a story of oppression and injustice told with his characteristic linguistic energy and unflappable exuberance, which celebrates the spirit of the individual and offers a brave and brilliant opposition in the face of the inhumanity of war.