{"id":59249,"date":"2025-10-14T08:00:44","date_gmt":"2025-10-14T12:00:44","guid":{"rendered":"http:\/\/www.sheilaomalley.com\/?p=59249"},"modified":"2025-10-13T08:28:24","modified_gmt":"2025-10-13T12:28:24","slug":"happy-birthday-e-e-cummings-2","status":"publish","type":"post","link":"https:\/\/www.sheilaomalley.com\/?p=59249","title":{"rendered":"&#8220;Knowledge is a polite word for dead but not buried imagination\u2026think twice before you think.&#8221; &#8212; E.E. Cummings"},"content":{"rendered":"<p><a href=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2014\/10\/ee-cummings.jpg\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2014\/10\/ee-cummings.jpg\" alt=\"ee-cummings\" width=\"510\" height=\"394\" class=\"alignnone size-full wp-image-108047\" srcset=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2014\/10\/ee-cummings.jpg 510w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2014\/10\/ee-cummings-100x77.jpg 100w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2014\/10\/ee-cummings-200x155.jpg 200w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2014\/10\/ee-cummings-400x309.jpg 400w\" sizes=\"(max-width: 510px) 100vw, 510px\" \/><\/a><\/p>\n<p>It&#8217;s his birthday today. I responded to E.E. Cummings in a visceral way when I first had to read his stuff in high school. I didn&#8217;t know what it was all about, but I loved the syntax, the unmistakable <i>look<\/i> of his poem on the page. (You could tell a poem was his without reading a word of it.) I liked puzzling the poems out. Thinking about them. I still do. <\/p>\n<p>Speaking of the &#8220;syntax of things&#8221;:<\/p>\n<p><big>since feeling is first<\/big><\/p>\n<p>since feeling is first<br \/>\nwho pays any attention<br \/>\nto the syntax of things<br \/>\nwill never wholly kiss you;<\/p>\n<p>wholly to be a fool<br \/>\nwhile Spring is in the world<\/p>\n<p>my blood approves,<br \/>\nand kisses are better fate<br \/>\nthan wisdom<br \/>\nlady i swear by all flowers. Don&#8217;t cry<br \/>\n\u2014the best gesture of my brain is less than<br \/>\nyour eyelids&#8217; flutter which says<\/p>\n<p>we are for each other: then<br \/>\nlaugh, leaning back in my arms<br \/>\nfor life&#8217;s not a paragraph<\/p>\n<p>And death i think is no parenthesis<\/p>\n<p>\n<a href=\"https:\/\/www.sheilaomalley.com\/?attachment_id=131927\" rel=\"attachment wp-att-131927\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/886089823.0.x.jpg\" alt=\"\" width=\"600\" height=\"861\" class=\"alignnone size-full wp-image-131927\" srcset=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/886089823.0.x.jpg 600w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/886089823.0.x-70x100.jpg 70w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/886089823.0.x-139x200.jpg 139w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/886089823.0.x-279x400.jpg 279w\" sizes=\"(max-width: 600px) 100vw, 600px\" \/><\/a><\/p>\n<p>\nMore on Cummings after the jump: <\/p>\n<p>\n<!--more--><\/p>\n<p>\n&nbsp;<br \/>\n&nbsp;<\/p>\n<p>One of the poems we read in high school was &#8220;next to of course god america i&#8221;. I didn&#8217;t quite understand it yet, but somehow I <i>knew<\/i> it. I got the critique. It was a glimpse into a world of perspective beyond my years. Again, I liked thinking about it, wondering about it. <\/p>\n<p><big>next to of course god america i<\/big><\/p>\n<p> &#8220;next to of course god america i<br \/>\n love you land of the pilgrims&#8217; and so forth oh<br \/>\n say can you see by the dawn&#8217;s early my<br \/>\n country &#8217;tis of centuries come and go<br \/>\n and are no more what of it we should worry<br \/>\n in every language even deafanddumb<br \/>\n thy sons acclaim your glorious name by gorry<br \/>\n by jingo by gee by gosh by gum<br \/>\n why talk of beauty what could be more beaut-<br \/>\n iful than these heroic happy dead<br \/>\n who rushed like lions to the roaring slaughter<br \/>\n they did not stop to think they died instead<br \/>\n then shall the voice of liberty be mute?&#8221;<\/p>\n<p> He spoke. And drank rapidly a glass of water<\/p>\n<p>\n<a href=\"https:\/\/www.sheilaomalley.com\/?attachment_id=131929\" rel=\"attachment wp-att-131929\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/13313392_f1024.jpg\" alt=\"\" width=\"1024\" height=\"816\" class=\"alignnone size-full wp-image-131929\" srcset=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/13313392_f1024.jpg 1024w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/13313392_f1024-100x80.jpg 100w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/13313392_f1024-200x159.jpg 200w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/13313392_f1024-768x612.jpg 768w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2017\/10\/13313392_f1024-400x319.jpg 400w\" sizes=\"(max-width: 1024px) 100vw, 1024px\" \/><\/a><\/p>\n<p>\nPerhaps the most famous of his poems is &#8220;somewhere i have never traveled, gladly beyond&#8221;, the one woven into the plot and themes of Woody Allen&#8217;s <i>Hannah and her Sisters<\/i>.  <\/p>\n<p>\n<iframe loading=\"lazy\" width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/ieoFkuu_aNM\" frameborder=\"0\" allowfullscreen><\/iframe><\/p>\n<p>I know a lot of people who count it as one of their favorite poems, and I would rank it with some of Shakespeare&#8217;s sonnets as great love poetry. Some guy I fell in love with (<a href=\"https:\/\/www.sheilaomalley.com\/?p=38149\" target=\"_blank\" rel=\"noopener noreferrer\">love at &#8211; almost &#8211; first sight<\/a>, an experience I cannot recommend) sent me an email after we left each other&#8217;s lives. He didn&#8217;t write a personal message in the email, or even a personal greeting. He just sent me the poem. Maybe he should have thought twice before pressing Send. <\/p>\n<p>In the midst of a love affair, or during the falling-in-love process, the poem would be a beautiful valediction and tribute. Post-love-affair, it takes on the mantle of unbearable loss. The poem has a fluid identity, shifting depending on the context. <\/p>\n<p><big>somewhere i have never travelled,gladly beyond<\/big><\/p>\n<p>somewhere i have never travelled,gladly beyond<br \/>\nany experience,your eyes have their silence:<br \/>\nin your most frail gesture are things which enclose me,<br \/>\nor which i cannot touch because they are too near<\/p>\n<p>your slightest look easily will unclose me<br \/>\nthough i have closed myself as fingers,<br \/>\nyou open always petal by petal myself as Spring opens<br \/>\n(touching skilfully,mysteriously)her first rose<\/p>\n<p>or if your wish be to close me, i and<br \/>\nmy life will shut very beautifully ,suddenly,<br \/>\nas when the heart of this flower imagines<br \/>\nthe snow carefully everywhere descending;<\/p>\n<p>nothing which we are to perceive in this world equals<br \/>\nthe power of your intense fragility:whose texture<br \/>\ncompels me with the color of its countries,<br \/>\nrendering death and forever with each breathing<\/p>\n<p>(i do not know what it is about you that closes<br \/>\nand opens;only something in me understands<br \/>\nthe voice of your eyes is deeper than all roses)<br \/>\nnobody,not even the rain,has such small hands<\/p>\n<p>\n<a href=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/NPG_98_91-cummings.jpg\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/NPG_98_91-cummings.jpg\" alt=\"e.e. cummings\" width=\"575\" height=\"535\" class=\"size-full wp-image-108049\" srcset=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/NPG_98_91-cummings.jpg 575w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/NPG_98_91-cummings-100x93.jpg 100w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/NPG_98_91-cummings-200x186.jpg 200w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/NPG_98_91-cummings-400x372.jpg 400w\" sizes=\"(max-width: 575px) 100vw, 575px\" \/><\/a><\/p>\n<p>Cummings was doing stuff with language that had been done before, was still being done, the fracturing of the modernist &#8220;movement&#8221;, the shattering of certainty brought about by the first world war, the realization that the existing language was not up to the task of describing the current world. Disorientation. Alienation. Gertrude Stein and others had been obsessed with how things LOOKED on the page. Even in Cummings&#8217; own generation, though, he stood apart. <\/p>\n<p>\n<big>i carry your heart with me<\/big><\/p>\n<p>i carry your heart with me(i carry it in<br \/>\nmy heart)i am never without it(anywhere<br \/>\ni go you go, my dear;and whatever is done<br \/>\nby only me is your doing,my darling)<br \/>\n                                                        i fear<br \/>\nno fate(for you are my fate,my sweet)i want<br \/>\nno world(for beautiful you are my world,my true)<br \/>\nand it&#8217;s you are whatever a moon has always meant<br \/>\nand whatever a sun will always sing is you<\/p>\n<p>here is the deepest secret nobody knows<br \/>\n(here is the root of the root and the bud of the bud<br \/>\nand the sky of the sky of a tree called life;which grows<br \/>\nhigher than soul can hope or mind can hide)<br \/>\nand this is the wonder that&#8217;s keeping the stars apart<\/p>\n<p>i carry your heart with me(i carry it in my heart)<\/p>\n<p>\nOne of the driving engines of his poetry was a hatred of phoniness, officiousness and pettiness (ironic considering his attraction to Communism, where bureaucracy was the only God.) His <i><a href=\"http:\/\/www.amazon.com\/gp\/product\/0871406527\/ref=as_li_tl?ie=UTF8&#038;camp=1789&#038;creative=9325&#038;creativeASIN=0871406527&#038;linkCode=as2&#038;tag=thesheivari-20&#038;linkId=E4LWHWYV5XGYSGIW\">EIMI: A Journey Through Soviet Russia<\/a><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/ir-na.amazon-adsystem.com\/e\/ir?t=thesheivari-20&#038;l=as2&#038;o=1&#038;a=0871406527\" width=\"1\" height=\"1\" border=\"0\" alt=\"\" style=\"border:none !important; margin:0px !important;\" \/><\/i> is an impressionistic travelogue of his time in the Soviet Union. Eventually, the veil dropped from his eyes, and he compared his trip to Dante&#8217;s <i>Inferno<\/i>. Bureaucrats represented to him inhumanity, a mechanistic approach to human life. (Many people who started out as Socialists were shocked\/heartbroken\/disappointed\/betrayed by what the end result looked like in Russia. See: Orwell, Rebecca West, Arthur Koestler, or &#8211; front-row seat, and the first one to perceive what was happening, Victor Serge, etc.)<\/p>\n<p>Cummings could be very judgmental and elitist: There were those (a very small number) who &#8220;got it&#8221;, and outside of the charmed circle, were ignoramuses. He wanted no part of convention. He was of that generation (born in 1894, died in 1962) who saw two World Wars, carnage on an industrialized level never before seen on the planet. Those wars changed how writers dealt with language, how they even felt about language. He grappled with the same issues T.S. Eliot, William Carlos Williams, Ezra Pound did. Cummings&#8217; use of language feels organic, not a trick or a gimmick (as was the case with some of his contemporaries). The strange startling forms of his poems, the way he arranged words, were a <i>vehicle<\/i> for emotions. The necessity of form and the strong passions contained in that form: You can feel both in his poems.<\/p>\n<p>We all can probably name a few writers who think if they<\/p>\n<p>just break up<\/p>\n<p>the lines<br \/>\non (the<br \/>\npage)<br \/>\nin a seeeeeeemingly r-a-n-d-o-m<br \/>\nway<br \/>\nthen that means<br \/>\nit must be<br \/>\na<\/p>\n<p>P<br \/>\nO<br \/>\nE<br \/>\nM<\/p>\n<p>Cummings knew the traditional forms of poetry well. You can still feel it alive in his poetry, although he created his own forms, veering off from the old. There is in Cummings a baseline, a tradition.<\/p>\n<p>He&#8217;s also one of the few poets of that period who was truly <i>funny<\/i>. I love this one. <\/p>\n<p><big>may i feel said he<\/big><\/p>\n<p>may i feel said he<br \/>\n(i&#8217;ll squeal said she<br \/>\njust once said he)<br \/>\nit&#8217;s fun said she<\/p>\n<p>(may i touch said he<br \/>\nhow much said she<br \/>\na lot said he)<br \/>\nwhy not said she<\/p>\n<p>(let&#8217;s go said he<br \/>\nnot too far said she<br \/>\nwhat&#8217;s too far said he<br \/>\nwhere you are said she)<\/p>\n<p>may i stay said he<br \/>\n(which way said she<br \/>\nlike this said he<br \/>\nif you kiss said she<\/p>\n<p>may i move said he<br \/>\nis it love said she)<br \/>\nif you&#8217;re willing said he<br \/>\n(but you&#8217;re killing said she<\/p>\n<p>but it&#8217;s life said he<br \/>\nbut your wife said she<br \/>\nnow said he)<br \/>\now said she<\/p>\n<p>(tiptop said he<br \/>\ndon&#8217;t stop said she<br \/>\noh no said he)<br \/>\ngo slow said she<\/p>\n<p>(cccome? said he<br \/>\nummm said she)<br \/>\nyou&#8217;re divine! said he<br \/>\n(you are Mine said she)<\/p>\n<p>\nIt&#8217;s sexy. You could even say the poem is about the sexiness of consent. (It&#8217;s also a reminder that consent is not some brand new concept invented yesterday.)<\/p>\n<p><a href=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/AVT_Edward-Estlin-Cummings_2693.jpeg\"><img decoding=\"async\" loading=\"lazy\" src=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/AVT_Edward-Estlin-Cummings_2693.jpeg\" alt=\"AVT_Edward-Estlin-Cummings_2693\" width=\"341\" height=\"400\" class=\"alignnone size-full wp-image-108053\" srcset=\"https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/AVT_Edward-Estlin-Cummings_2693.jpeg 341w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/AVT_Edward-Estlin-Cummings_2693-85x100.jpeg 85w, https:\/\/www.sheilaomalley.com\/wp-content\/uploads\/2015\/10\/AVT_Edward-Estlin-Cummings_2693-171x200.jpeg 171w\" sizes=\"(max-width: 341px) 100vw, 341px\" \/><\/a><\/p>\n<p><h2><strong>QUOTES:<\/strong><\/h2>\n<p><strong>S. I. Hayakawa:<\/strong><\/p>\n<blockquote><p>No modern poet to my knowledge has such a clear, childlike perception as E. E. Cummings\u2014a way of coming smack against things with unaffected delight and wonder. This candor &#8230; results in breath-takingly clean vision.<\/p><\/blockquote>\n<p><strong>Randall Jarrell:<\/strong><\/p>\n<blockquote><p>No one else has ever made avant-garde, experimental poems so attractive to the general and the special reader.<\/p><\/blockquote>\n<p><strong>The <em>Norton Anthology of Modern Poetry<\/em>:<\/strong><\/p>\n<blockquote><p>Cumming&#8217;s poems are either lyrical or satirical, and they changed little as he took up endless variations out of a limited group of ideas. His love poems express a childlike wonder and humor that Cummings has almost to himself in modern poetry and that he retained into old age. His satirical poems are witty as well as savage. <\/p><\/blockquote>\n<p><strong>John Logan:<\/strong><\/p>\n<blockquote><p>One of the greatest lyric poets in our language. <\/p><\/blockquote>\n<p><strong>George Orwell, &#8220;Review of <i>Spearhead: Ten Years&#8217; Experimental Writing in America<\/i>, edited by James Laughlin, <i>Times Literary Supplement<\/i>, April 17, 1948<\/strong><\/p>\n<blockquote><p>Perhaps the best poem in the book is by E.E. Cummings. He is an irritating writer, partly because of his largely meaningless typographical tricks, partly because his restless bad temper soon provokes a counter-reaction in the reader, but he has a gift for telling phrases (for insttance, his often-quoted description of Soviet Russia &#8212; &#8220;Vicariously childlike kingdom of slogan&#8221;), and, at his best, for neat, rapidly moving verse. <\/p><\/blockquote>\n<p><strong>John Cheever:<\/strong><\/p>\n<blockquote><p>I was in doubt that I could make something of myself as a writer until I met two people who were very important to me: one was Gaston Lachaise and the other was E.E. Cummings. Cummings I loved, and I love his memory. He did a wonderful imitation of a wood-burning locomotive going from Tiflis to Minsk. He could hear a pin falling in soft dirt at the distance of three miles. Do you remember the story of Cummings&#8217;s death? It was September, hot, and Cummings was cutting kindling in the back of his house in New Hampshire. He was sixty-six or sixty-seven or something like that. Marion, his wife, leaned out the window and asked, Cummings, isn&#8217;t it frightfully hot to be chopping wood? He said, I&#8217;m going to stop now, but I&#8217;m going to sharpen the ax before I put it up, dear. Those were the last words he spoke. At his funeral Marianne Moore gave the eulogy. Marion Cummings had enormous eyes. You could make a place in a book with them. She smoked cigarettes as though they were heavy, and she wore a dark dress with a cigarette hole in it. <\/p><\/blockquote>\n<p><strong>E.E. Cummings:<\/strong><\/p>\n<blockquote><p>Only so long as we can laugh at ourselves are we nobody else.<\/p><\/blockquote>\n<p><strong>The <em>Norton Anthology of Modern Poetry<\/em>:<\/strong><\/p>\n<blockquote><p>He was influenced by Pablo Picasso&#8217;s fracturing of space, Gertrude Stein&#8217;s linguistic experimentation, and Ezra Pound&#8217;s and Amy Lowell&#8217;s Imagist concision and freedom. The title of his first book of poems, Tulips and Chimneys (1923), suggests the opposition that was to become lifelong to his work, between organic life and what he calls &#8220;manunkind&#8221; (&#8220;pity this busy monster, manunkind \/ not&#8221;). <\/p><\/blockquote>\n<p><strong>Malcolm Cowley:<\/strong><\/p>\n<blockquote><p>[He] suffers from comparison with those [poets] who built on a larger scale\u2014Eliot, Aiken, Crane, Auden among others\u2014but still he is unsurpassed in his special field, one of the masters.<\/p><\/blockquote>\n<p><strong>Michael Schmidt, <i><a href=\"http:\/\/www.amazon.com\/gp\/product\/0375706046?ie=UTF8&#038;tag=thesheivari-20&#038;linkCode=as2&#038;camp=1789&#038;creative=9325&#038;creativeASIN=0375706046\">Lives of the Poets<\/a><img decoding=\"async\" loading=\"lazy\" src=\"http:\/\/www.assoc-amazon.com\/e\/ir?t=thesheivari-20&#038;l=as2&#038;o=1&#038;a=0375706046\" width=\"1\" height=\"1\" border=\"0\" alt=\"\" style=\"border:none !important; margin:0px !important;\" \/><\/i>:<\/strong><\/p>\n<blockquote><p>He split himself between Paris and Greenwich Village, and later in life between the Village and his New Hampshire farm. He died in 1962. Never happy in a single form, cummings dabbled in painting and drawing, based a satirical ballet on <i>Uncle Tom&#8217;s Cabin<\/i>, wrote plays, and a travel diary about his trip to the Soviet Union, <i>Eimi<\/i> (1933), because he was fascinated with the human experiment of communism. Poems were his primary activity, but set against those of Moore and Loy, Williams and Stevens, his verse is soft-centered. It is often said that dialect poetry, translated into standard English, can prove standard-sentimental, the charm imparted only by the distortions of language: cummings is a dialect poet in this sense. His belief in the Individual, the sacred unit, the anarchic &#8220;I&#8221; in tension or conflict with the world and its institutions, issues in inventive distortions of language, but not the radical vision of a Loy or the bleakness of Jeffers. The experimentalist and iconoclast takes his place in the Elysian Fields among the conservatives.<\/p><\/blockquote>\n<p><strong>John Dos Passos, review of <em>The Enormous Room<\/em>:<\/strong><\/p>\n<blockquote><p>In a style infinitely swift and crisply flexible, an individual not ashamed of his loves and hates, great or trivial, has expressed a bit of the underside of History with indelible vividness.<\/p><\/blockquote>\n<p><strong>Bethany K. Dumas, <em>E. E. Cummings: A Remembrance of Miracles<\/em>:<\/strong><\/p>\n<blockquote><p>More important than the specific devices used by Cummings is the use to which he puts the devices. That is a complex matter; irregular spacing allows both amplification and retardation. Further, spacing of key words allows puns which would otherwise be impossible. Some devices, such as the use of lowercase letters at the beginnings of lines allow a kind of distortion that often re-enforces that of the syntax&#8230;. All these devices have the effect of jarring the reader, of forcing him to examine experience with fresh eyes.<\/p><\/blockquote>\n<p><strong>Robert Lowell, letter to Elizabeth Bishop, July 3, 1957: <\/strong><\/p>\n<blockquote><p>I meant to write you about Cummings&#8217; reading on the public garden, but its colors have somewhat faded on me after a week in Maine &#8230; Well, Cummings was introduced by MacLeish as some one who had been against Communism when it was still dangerous to take such a position. &#8220;Unlike Archie,&#8221; Allen [Tate] said loudly. And there we sat, a rather conspicuous and hateful row, the two Merwins, us, Allen, Moira Sweeney, Bill Alfred&#8211;all ages, all degrees of innocence and cynicism&#8211;while Cummings read outrageous and sentimental poems, good and bad of both kinds. About eight thousand people listened and those who couldn&#8217;t hear crowded in huge masses under awnings across the Public Garden pond to look at non-objectivist paintings. The Revolution has come, I guess, yet we&#8217;re still creatures of flesh and blood.<\/p><\/blockquote>\n<p><strong>Stanley Edgar Hyman: <\/strong><\/p>\n<blockquote><p>Cummings has written at least a dozen poems that seem to me matchless. Three are among the great love poems of our time or any time.<\/p><\/blockquote>\n<p><strong>E.E. Cummings, intro to Collected Poems (1938):<\/strong><\/p>\n<blockquote><p>It&#8217;s no use trying to pretend that most people and ourselves are alike. Mostpeople have less in common with ourselves than the squarerootofminusone.<\/p><\/blockquote>\n<p><strong>John Peale Bishop, 1938: <\/strong><\/p>\n<blockquote><p><em>The Enormous Room<\/em> has the effect of making all but a very few comparable books that came out of the War look shoddy and worn.<\/p><\/blockquote>\n<p><strong>The <em>Norton Anthology of Modern Poetry<\/em>:<\/strong><\/p>\n<blockquote><p>E.E. Cummings is one of the most innovative modern poets, but his innovation is on a different level from T.S. Eliot&#8217;s ambitious, polyglot collages or Wallace Stevens&#8217;s philosophically complex long poems. In some ways, Cummings is oddly traditional. Though he drops most punctuation and capitalization, breaks words into syllables and letters, and deliberately distorts syntax, he is fond of the sonnet and other regular forms, and he likes rhymes and off-rhymes. And though he alters part of speech, making verbs into nouns and nouns into verbs, he does so chiefly to express feelings whose simplicity belies all this complication. He does not seek, or find, the authoritative utterance of some of the modernists, but he achieves a magnificent, subversive smallness.<\/p><\/blockquote>\n<p><strong>Elizabeth Bishop, letter to Robert Lowell, April 26th, 1962:<\/strong><\/p>\n<blockquote><p>But Cummings, strange to say, seems best known [in Brazil, as compared to other poets]. Not so strange, maybe&#8211;that sentimental side of Cummings, in love and &#8220;social comment,&#8221; is sort of the stage they are at here&#8211;<\/p><\/blockquote>\n<p><strong>M. L. Rosenthal: <\/strong><\/p>\n<blockquote><p>The chief effect of Cummings\u2019 jugglery with syntax, grammar, and diction was to blow open otherwise trite and bathetic motifs through a dynamic rediscovery of the energies sealed up in conventional usage&#8230;. He succeeded masterfully in splitting the atom of the cute commonplace.<\/p><\/blockquote>\n<p><strong>John Cheever:<\/strong><\/p>\n<blockquote><p>Cummings was never paternal. But the cant of his head, his wind-in-the-chimney voice, his courtesy to boobs, and the vastness of his love for Marion were all advisory.<\/p><\/blockquote>\n<p><strong>Richard P. Blackmur:<\/strong><\/p>\n<blockquote><p>Cummings has a fine talent for using familiar, even almost dead words, in such a context as to make them suddenly impervious to every ordinary sense; they become unable to speak, but with a great air of being bursting with something very important and precise to say.<\/p><\/blockquote>\n<p><strong>Harriet Monroe, editor of Poetry magazine: <\/strong><\/p>\n<blockquote><p>Beware his imitators!<\/p><\/blockquote>\n<p>\n&nbsp;<br \/>\n&nbsp;<br \/>\n<small><em>Thank you so much for stopping by. If you like what I do, and if you feel inclined to support my work, here&#8217;s a link to <a href=\"https:\/\/www.venmo.com\/u\/Sheila-OMalley-3\" rel=\"noopener\" target=\"_blank\">my Venmo account<\/a>. And I&#8217;ve launched a Substack, <a href=\"https:\/\/sheilaomalley.substack.com\/\" rel=\"noopener\" target=\"_blank\">Sheila Variations 2.0<\/a>, if you&#8217;d like to subscribe.<\/em> <\/small><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/sheilaomalley.substack.com\/embed\" width=\"480\" height=\"320\" style=\"border:1px solid #EEE; background:white;\" frameborder=\"0\" scrolling=\"no\"><\/iframe><\/p>\n","protected":false},"excerpt":{"rendered":"<p>It&#8217;s his birthday today. I responded to E.E. Cummings in a visceral way when I first had to read his stuff in high school. I didn&#8217;t know what it was all about, but I loved the syntax, the unmistakable look &hellip; <a href=\"https:\/\/www.sheilaomalley.com\/?p=59249\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[15,39,9],"tags":[171,162,231,2610,1544],"_links":{"self":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts\/59249"}],"collection":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=59249"}],"version-history":[{"count":39,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts\/59249\/revisions"}],"predecessor-version":[{"id":194633,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=\/wp\/v2\/posts\/59249\/revisions\/194633"}],"wp:attachment":[{"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=59249"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=59249"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.sheilaomalley.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=59249"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}