Author: Bethany K. DumasPublisher:
ISBN:
Category : Literary Criticism
Languages : en
Pages : 170
Book Description
E. E. Cummings
Author: Bethany K. DumasPublisher:
ISBN:
Category : Literary Criticism
Languages : en
Pages : 170
Book Description
E. E. Cummings: a Remembrance of Miracles [by] Bethany K. Dumas
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Author: Bethany K. DumasE. E. Cummings
Author: Harold BloomPublisher: Infobase Publishing
ISBN: 1438115660
Category :
Languages : en
Pages : 111
Book Description
A comprehensive research and study guide to five of the poems of E.E. Cummings.
E. E. Cummings: a Remembrance of Miracles
Author: Bethany K. DumasPublisher:
ISBN:
Category : Literary Criticism
Languages : en
Pages : 166
Book Description
E. E. Cummings: A Remberance of Miracles
Author: Bethany K. DumasCollected Poems [of] E. E. Cummings
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Author: Edward Estlin CummingsPublisher: New York : Harcourt, Brace
ISBN:
Category : American poetry
Languages : en
Pages : 338
Book Description
Is 5
Author: Edward Estlin CummingsPublisher:
ISBN:
Category :
Languages : en
Pages : 136
Book Description
The Theatre of E. E. Cummings
Author: E. E. CummingsPublisher: W. W. Norton & Company
ISBN: 0871406543
Category : Drama
Languages : en
Pages : 223
Book Description
The complete collection of E. E. Cummings's writing for the stage, from the most inventive poet of the twentieth century.
E. E. Cummings
Author: Susan CheeverPublisher: Vintage
ISBN: 0307908674
Category : Biography & Autobiography
Languages : en
Pages : 298
Book Description
From the author of American Bloomsbury, Louisa May Alcott, and Home Before Dark, a major reassessment of the life and work of the novelist, painter, and playwright considered to be one of America’s preeminent twentieth-century poets. At the time of his death in 1962, at age sixty-eight, he was, after Robert Frost, the most widely read poet in the United States. E. E. Cummings was and remains controversial. He has been called “a master” (Malcolm Cowley); “hideous” (Edmund Wilson). James Dickey called him a “daringly original poet with more vitality and more sheer uncompromising talent than any other living American writer.” In Susan Cheever’s rich, illuminating biography we see Cummings’s idyllic childhood years in Cambridge, Massachusetts; his Calvinist father—distinguished Harvard professor and sternly religious minister of the Cambridge Congregational Church; his mother—loving, attentive, a source of encouragement, the aristocrat of the family, from Unitarian writers, judges, and adventurers. We see Cummings—slight, agile, playful, a product of a nineteenth-century New England childhood, bred to be flinty and determined; his love of nature; his sense of fun, laughter, mimicry; his desire from the get-go to stand conventional wisdom on its head, which he himself would often do, literally, to amuse. At Harvard, he roomed with John Dos Passos; befriended Lincoln Kirstein; read Latin, Greek, and French; earned two degrees; discovered alcohol, fast cars, and burlesque at the Old Howard Theater; and raged against the school’s conservative, exclusionary upper-class rule by A. Lawrence Lowell. In Cheever’s book we see that beneath Cummings’s blissful, golden childhood the strains of sadness and rage were already at play. He grew into a dark young man and set out on a lifelong course of rebellion against conventional authority and the critical establishment, devouring the poetry of Ezra Pound, whose radical verses pushed Cummings away from the politeness of the traditional nature poem toward a more adventurous, sexually conscious form. We see that Cummings’s self-imposed exile from Cambridge—a town he’d come to hate for its intellectualism, Puritan uptightness, racism, and self-righteous xenophobia—seemed necessary for him as a man and a poet. Headstrong and cavalier, he volunteered as an ambulance driver in World War I, working alongside Hemingway, Joyce, and Ford Madox Ford . . . his ongoing stand against the imprisonment of his soul taking a literal turn when he was held in a makeshift prison for “undesirables and spies,” an experience that became the basis for his novel, The Enormous Room. We follow Cummings as he permanently flees to Greenwich Village to be among other modernist poets of the day—Marianne Moore, Hart Crane, Dylan Thomas—and we see the development of both the poet and his work against the backdrop of modernism and through the influences of his contemporaries: Stein, Amy Lowell, Joyce, and Pound. Cheever’s fascinating book gives us the evolution of an artist whose writing was at the forefront of what was new and daring and bold in an America in transition. (With 28 pages of black-and-white images.)
No Thanks
Author: E. E. CummingsPublisher: W. W. Norton & Company
ISBN: 0871403951
Category : Poetry
Languages : en
Pages : 97
Book Description
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.