Poems List

take it from me kiddo believe me my country, ’tis of you, land of the Cluett Shirt Boston Garter and Spearmint Girl With The Wrigley Eyes (of you land of the Arrow Ide and Earl & Wilson Collars) of you i sing: land of Abraham Lincoln and Lydia land above all of Just Add Hot Water And from every B.V.D. let freedom ring amen.

POEM, OR BEAUTY HURTS MR. VINAL [1926]

2

the Cambridge ladies who live in furnished souls are unbeautiful and have comfortable minds.

Sonnets—Realities [1923], I

4

Buffalo Bill’s defunct and break onetwothreefourfive pigeons- he was a handsome man how do you like your blueeyed boy Mister Death

Portraits [1923], 8

2

when the world is puddle-wonderful

Chansons Innocentes, 1

3

All in green went my love riding on a great horse of gold into the silver dawn.

All in green went my love riding [1923]

3

in Just- spring when the world is mud- luscious the little lame balloonman whistles far and wee

Chansons Innocentes [1923], 1

2

ygUDuh

ygUDuh


ygUDuh

ydoan
yunnuhstan


ydoan o
yunnuhstand dem
yguduh ged

yunnuhstan dem doidee

yguduh ged riduh

ydoan o nudn


LISN bud LISN

dem
gud
am


lidl yelluh bas
tuds weer goin


duhSIVILEYEzum
698

when serpents bargain

when serpents bargain

when serpents bargain for the right to squirm
and the sun strikes to gain a living wage when
thorns regard their roses with alarm
and rainbows are insured against old age


when every thrush may sing no new moon in
if all screech-owls have not okayed his voice


-and any wave signs on the dotted line
or else an ocean is compelled to close
when the oak begs permission of the birch
to make an acorn - valleys accuse their
mountains of having altitude - and march
denounces april as a saboteur


then we'll believe in that incredible
unanimal mankind (and not until)
575

this(let's remember)day died again and...

this(let's remember)day died again and...

this(let's remember)day died again and
again;whose golden,crimson dooms conceive


an oceaning abyss of orange dream


larger than sky times earth:a flame beyond
soul immemorially forevering amand
as collapsing that grey mind by wave
doom disappeared,out of perhaps(who knows?)


eternity floated a blossoming


(while anyone might slowly count to soon)
rose-did you see her?darling,did you(kiss
me)quickly count to never?you were wrong


-then all the way from perfect nowhere came


(as easily as we forget something)
livingest the imaginable moon
519

Sometimes I Am Alive Because With

Sometimes I Am Alive Because With

sometimes i am alive because with
me her alert treelike body sleeps
which i will feel slowly sharpening
becoming distinct with love slowly,
who in my shoulder sinks sweetly teeth
until we shall attain the Springsmelling
intense large togethercoloured instant


the moment pleasantly frightful


when, her mouth suddenly rising, wholly
begins with mine fiercely to fool
(and from my thighs which shrug and pant
a murdering rain leapingly reaches the upward singular deepest flower which she
carries in a gesture of her hips)
558

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Identification and basic context

Full name: Edward Estlin Cummings. He often signed his name in lowercase, e.g., 'e. e. cummings,' as a deliberate stylistic choice to emphasize his rejection of traditional conventions and his focus on the individual. He was an American writer, poet, painter, essayist, author, and playwright. He wrote in English.

Childhood and education

Cummings was born in Cambridge, Massachusetts. His father, Edward Cummings, was a professor of English at Harvard University and later a minister. His mother, Rebecca Haseltine Clarke, was a writer. Cummings attended Cambridge School of C. J. of America and then Harvard University, where he studied English and Classics and began to experiment with poetry. He received his Master's degree from Harvard in 1915. His early influences included classical literature and the burgeoning modernist movements in art and literature.

Literary trajectory

Cummings's literary career began during his time at Harvard. His first collection of poems, *Tulips and Chimneys*, was published in 1923. Throughout his life, he continued to write prolifically, producing poetry, novels, plays, and essays. He was a highly original voice whose work evolved stylistically but remained committed to his core themes of love, nature, and individualism. He was also active as a painter, exhibiting his artwork throughout his career.

Works, style, and literary characteristics

Cummings's major works include *Tulips and Chimneys* (1923), *NoThanks* (1935), and *95 Poems* (1958). His poetry is instantly recognizable for its unique style: unconventional use of capitalization, punctuation, and spacing; invented words; and often a playful, lyrical tone. Common themes include romantic love, the beauty of nature, the individual's struggle against conformity, and a critique of mass society and political institutions. He often employed the sonnet form but radically adapted it to his experimental style. His language is rich with imagery, often celebrating the simple and the profound. He brought a fresh, modern sensibility to lyric poetry.

Cultural and historical context

Cummings lived through significant historical periods, including World War I and World War II, and the social and political changes of the 20th century. His experiences during WWI, particularly his imprisonment in France for alleged espionage, deeply impacted him and are reflected in his novel *The Enormous Room* (1922). He was often critical of what he perceived as the conformity and soullessness of modern industrial society. His work can be seen as a reaction against the prevailing social and political currents of his time, emphasizing individual freedom and authentic experience.

Personal life

Cummings had a complex personal life, marked by a passionate engagement with art and life. He was married twice. His time in Paris in the early 1920s was formative, exposing him to avant-garde artistic circles. He maintained a strong connection to his family and friends, and his personal relationships often found expression in his poetry.

Recognition and reception

While Cummings was not always embraced by mainstream literary critics during his lifetime, he achieved significant popularity among readers for his accessible themes and innovative style. He received several honors and awards for his poetry, including the Shelley Memorial Award and the National Medal for Literature. His work continues to be widely read and studied.

Influences and legacy

Cummings was influenced by traditional poets like William Blake and E. A. Robinson, as well as by modernist painters and poets. His legacy lies in his distinctive contribution to American poetry, demonstrating the power of linguistic and visual experimentation to convey profound human emotions and ideas. He inspired many poets to explore unconventional forms and to celebrate individuality.

Interpretation and critical analysis

Cummings's poetry is often interpreted as a celebration of romantic love, the natural world, and the inherent value of the individual consciousness. His experiments with form are seen not as mere gimmickry but as integral to his message of liberation from restrictive norms. His critique of conformity and his embrace of sincerity are recurring points of critical analysis.

Curiosities and lesser-known aspects

Cummings was a passionate visual artist in addition to being a poet and writer. He often integrated his paintings and drawings with his poems. He was also known for his strong opinions and his independent spirit, often refusing to compromise his artistic vision.

Death and memory

Edward Estlin Cummings died in North Conway, New Hampshire. His enduring legacy is secured by his unique and beloved body of work, which continues to captivate readers with its originality and emotional depth.