Best Selling Books by E. E. Cummings

Four tales include "The Old Man Who Said ''Why''," "The Elephant and The Butterfly," "The House That Ate Mosquito Pie," and "The Little Girl Named I."

Conventional grammar and syntax are ignored in this avant-garde poetry collection by the masterfully lyrical writer e.e. cummings, featuring 25 originally unpublished pieces from his first volume of poetry. Exploring traditional ideas of love, nature, and death, alongside examinations of sexuality, e.e. cummings’ third poetry collection highlights his talent for reviving classic and cliché poetic themes with a modern voice. Only 86 of the 152 poems in cummings’ original manuscript for his first poetry collection, Tulips and Chimneys (1923), were published. His second collection, XLI Poems (1925), features 41 of these unreleased pieces. Later that same year, the poet self-published this renowned volume featuring the remaining 25 poems from the original manuscript, alongside 34 new pieces. This volume’s name also derives from cummings’ first collection. The poet had intended the book to be titled ‘Tulips & Chimneys’, but the publisher omitted the ampersand. In 1925, when cummings came to privately publish the remaining pieces from his first collection, he ensured the volume was released under the title &. Featured in this collection are five sections: - Post Impressions - Portraits - &:Seven Poems - Sonnets - Realities - Sonnets - Actualities & has been republished in a beautiful new edition by the specialist poetry imprint Ragged Hand. This volume is not to be missed by those who enjoyed Tulips and Chimneys or XLI Poems by e.e. cummings.

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.

Now children can claim for their very own the puddle-wonderful (mudluscious) world where buds know better than books don''t grow, where little itchy mousies with scuttling eyes rustle and run and hidehidehide, and the ree ray rye roh rowster shouts rawrOO. Cummings''s poetry more than that of any other major American poet keeps faith with childhood. These twenty poems were selected by him and published privately in 1962. Hist Whist combines the original twenty poemes enfantins with the first appearance of the beautiful and evocative line drawings of the young California artist David Calsada. His sensitive pen has captured the spirit of Cummings''s poems in its detailed rendering of a world that only poets and children can see.

Controversial and passionate, XLI Poems is e.e. cummings’ second masterful poetry collection, complete with 41 poems that were originally disregarded by publishers. Of the 152 poems included in e. e. cummings’ original manuscript for his first poetry collection, Tulips and Chimneys (1923), only 86 were published. 41 of the omitted pieces were published two years later in XLI Poems. Although written at the same time as his previous collection, the poetry demonstrates further evidence of cummings’ experimentation in form and style. Much of the work featured in this volume was designed to shock cummings’ readers. The poetry heavily focuses on themes of eroticism and controversy. The collection unironically examines the traditional sonnet and common poetic themes such as romance, death, and nature, while giving the familiar styles a modern twist. This volume features titles such as: - ‘the sky was’ - ‘of my’ - ‘when life is quite through with’ - ‘This Is The Garden’ Republished in a brand new edition by specialist poetry imprint, Ragged Hand, XLI Poems is not to be missed by collectors of e.e. cummings’ work and fans of modernist poetry.

e.e. cummings’ fourth poetry collection demonstrates his skilled modernist voice and unmatched ability to test the limitations of the English language. First published in 1926, is 5 contains 88 poems in cummings’ distinctively complex style. Featuring satirical work, many experimental pieces, and several anti-war poems, this volume is a collection of modernist poetry that explores classic poetic themes. This volume’s title is the first hint of e. e. cummings’ signature grammatical style. In the foreword, he claims that a poet gains advantage from their ‘ineluctable preoccupation with The Verb’. He suggests that poets are able to roam outside the bounds of punctuation and syntax, therefore, where it is indisputably known that ‘two time two is four’, poets are able to explore other possibilities for the sum’s answer, giving the volume its title is 5. Five sections are featured in this collection, including notable poems such as: - ‘my sweet old etcetera’ - ‘She being Brand’ - ‘since feeling is first’ Now in a new high-quality edition, is 5 has been proudly republished by Ragged Hand, Read & Co. Books’ specialist poetry imprint. An ideal read for fans of war poetry and cummings’ experimental work.

An eye-opening selection of Cumming''s more avant-garde poetry and prose. 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. Adjusting type size may change line breaks. Landscape mode may help to preserve line breaks.

Presented here in a bold new edition, E. E. Cummings: Complete Poems 1904–1962 showcases Cummings’s transcendent body of work, collected in its entirety. Combining Thoreau’s controlled belligerence with the brash abandon of an uninhibited bohemian, E. E. Cummings, together with Ezra Pound, T. S. Eliot, and William Carlos Williams, helped bring about the twentieth-century revolution in literary expression. Today Cummings is recognized as the author of some of the most sensuous lyric poems in the English language, as well as one of the most inventive American poets of his time. Formally fractured and yet gleefully alive and whole, at once cubistic and figurative, Cummings’s work expanded the boundaries of what language is and can do. With a new introduction by Pulitzer Prize–winning poet Stephen Dunn, this redesigned, newly corrected, and fully reset edition of Complete Poems collects and presents all the poems published or designated for publication by E. E. Cummings in his lifetime. It includes 36 poems that were first collected in the 1991 edition and 164 unpublished poems issued in 1983 under the title Etcetera. It spans his earliest creations, his vivacious linguistic acrobatics, up through his last valedictory sonnets. In the words of Randall Jarrell, “No one else has ever made avant-garde, experimental poems so attractive to the general and special reader.”

In Great War–era France, E. E. Cummings is lifted, along with his friend B., from his job as an ambulance driver with the Red Cross, and deposited in a jail in La Ferté Macé as a suspected spy. There his life consists of strolls in the cour, la soupe, and his mattress in The Enormous Room, the male prisoners’ communal cell. It’s these prisoners whom Cummings describes in lurid detail. The Enormous Room is far from a straightforward autobiographical diary. Cummings’ descriptions, peppered liberally with colloquial French, avoid time and, for the most part, place, and instead focus on the personal aspects of his internment, especially in the almost metaphysical description of the most otherworldly of his compatriots: The Delectable Mountains. During his imprisonment, Cummings’ father petitioned the U.S. and French authorities for his liberty. This, and his eventual return home, are described in the book’s introduction.

Intransigent and honest, e.e. cummings’ first collection of poetry, Tulips and Chimneys, is an early example of his masterful linguistic skill and artistic use of free verse. Over 80 poems are included in this prolific poetry collection, and many highlight early evidence of cummings’ famous experiments with form and grammar. The modernist poet enjoyed writing in avante-garde styles and would regularly disregard syntax rules or utilise his love of painting to improve his poetry’s typographical presentation. Originally published in 1923, this early work reflects many of the themes that cummings’ became known for exploring. His experiments in eroticism and exploration of nature’s beauty accompany his sensitive analysis of fleeting life and mortality. This volume features titles such as: - ‘Puella Mea’ - ‘All in green went my love riding’ - ‘Thy fingers make early flowers of’ - ‘Buffalo Bill’s’ Tulips and Chimneys has been republished in a beautiful new edition by the specialist poetry imprint, Ragged Hand. The volume is candid, beautiful, and an essential bookshelf addition for all lovers of poetry and e.e. cummings collectors.

e.e. cummings is without question one of the major poets of this century, and this volume, first published in 1959, is indispensable for every lover of modern lyrical verse. It contains one hundred of cummings’s wittiest and most profound poems, harvested from thirty-five of the most radically creative years in contemporary American poetry. These poems exhibit all the extraordinary lyricism, playfulness, technical ingenuity, and compassion for which cummings is famous. They demonstrate beautifully his extrapolations from traditional poetic structures and his departures from them, as well as the unique synthesis of lavish imagery and acute artistic precision that has won him the adulation and respect of critics and poetry lovers everywhere.

A paperback collection newly offset from Complete Poems 1904-1962 with an afterword by the Cummings scholar George James Firmage. 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.

E. E. Cummings’s erotic poems and drawings gathered in a single volume. 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 she just once said he) it’s fun said she (may i touch said he how much said she a lot said he) why not said she

A master of modernist experimentation, e.e. cummings was one of the finest American poets of the Jazz Age. This collection features many of his greatest works including the long-form poem ‘Puella Mea’. Over 300 poems are featured in this volume of e.e. cummings’ collected poetry. The avant-garde writer is known for his experimentation with form, grammar, and typography. His work explores many themes that were considered taboo at the time, including eroticism, and his poetry is beautifully candid. cummings also utilises classic poetic themes such as the beauty of nature and the fragility of life, while giving these Romantic ideas a modern voice. Testing the limits of the English language, cummings’ often omitted capitalisation and ignored spelling and syntax rules to present traditional poetic themes in a new, captivating manner. This volume is divided into three sections: - Poetry published in articles 1910–1920 - Tulips and Chimneys - & (And) - XLI Poems - is 5 This brand new collection has been published by specialist poetry imprint Ragged Hand, featuring an introductory biography of e.e. cummings. The volume would make the perfect read for fans of the modernist writer and experimental poetry.

In "Eight Harvard Poets," the collection breathes life into the rich tapestry of early 20th-century American literature, weaving a narrative that is as diverse as it is profound. This anthology encapsulates an eclectic mix of literary styles, emblematic of the significant shifts occurring in poetry of the era. With works spanning from traditional lyricism to avant-garde experimentation, the anthology serves as a lens through which the reader can witness the dynamic evolution of poetic form and subject. Each poem stands out in its own unique way, contributing to the compelling dialogue within the collection, making it an essential compendium for any study of modern poetry''s origins. United by their shared experiences and backgrounds at Harvard, the poets''ÄîJohn Dos Passos, Robert Hillyer, E. E. Cummings, and others''Äîforge a collective voice that both reflects and challenges the traditions from which they emerge. These writers, during their formative years at the university, were deeply influenced by the social and political currents of their time, resulting in a diverse confluence of perspectives that speak to the varied experiences of their generation. The anthology draws on historical, cultural, and artistic movements, showcasing how these luminaries collectively address and reinterpret the complexities of their world. "Eight Harvard Poets" invites readers into a world of intricate literary exploration and reflection. This anthology is both an insightful educational tool and a gateway to experiencing the vibrant dialogue that exists between these influential authors. The collection promises to enrich any reader''Äôs understanding of modern poetic evolution, presenting a rare opportunity to engage with a multivalent array of voices and styles within a single compendium. Dive into these pages to witness the birth of new literary movements and to appreciate the timeless engagement of the human intellect with art and society.

The complete collection of E. E. Cummings’s writing for the stage, from the most inventive poet of the twentieth century. 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.

A Miscellany, confined to a private edition for decades, sheds further light on the prodigious vision and imagination of the most inventive poet of the twentieth century: E.E. Cummings. 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,” a poem, three speeches from an unfinished play, and forty-nine essays—most of them previously written for or published in magazines, anthologies, or art gallery catalogues. Seven years later, George J. Firmage—editor of much of Cummings’s work, including Complete Poems—broadened the scope of this delightfully eclectic collection, adding seven more poems and essays, and many of Cummings’s unpublished line drawings. Together, these pieces paint a distinctive portrait of Cummings’s eccentric, yet precise, genius. Like his poetry, Cummings’s prose is lively; often witty, biting, and offbeat, he is an intelligent observer and critic of the modern. His essays explore everything from Cubism to the circus, equally quick to analyze his poetic contemporaries and satirize New York society. As Cummings wrote in his original foreword, A Miscellany contains “a great deal of liveliness and nothing dead.” This remains true today, more than fifty years after its original publication.

A reissue of E. E. Cummings''s long-unavailable, yet pointed and moving story of a journey through Soviet Russia. 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.

This beautiful picture book featuring the beloved Christmas poem, "Little Tree," will delight children and parents alike! In a warm and touching poem, e.e. cummings describes the wonder and excitement of a young brother and sister who find a little tree on a city sidewalk and carry it home, where they adorn it with Christmas finery.

"Cummings...at his most unfoolish and poetic best."—Nation 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.

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XAIPE (Greek for "rejoice"), which first appeared in 1950, contains some of E. E. Cummings''s finest work. 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."

The classic book of all time.