By E. E. Cummings
E.e. cummings is with out query one of many significant poets of this century, and this quantity, first released in 1959, is integral for each lover of contemporary lyrical verse. It includes 100 of cummings’s wittiest and such a lot profound poems, harvested from thirty-five of the main noticeably inventive years in modern American poetry. those poems show all of the notable lyricism, playfulness, technical ingenuity, and compassion for which cummings is legendary. They show fantastically his extrapolations from conventional poetic buildings and his departures from them, in addition to the original synthesis of lavish imagery and acute creative precision that has received him the adulation and recognize of critics and poetry fanatics everywhere.
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Extra resources for 100 Selected Poems
And 'The Walls Do not Fall' proceeds to explore the metaphorical implications of this image. 's early poetry. 34 It is more helpful to consider the shell as a container of internal vitality because one urgency in these poems is to express possibilities of survival. This H. D. does by shifting the 'flabby, amorphous hermit' within the shell to a proverbial image of the humblest form of life (the worm), which is then transformed into a figure of pride ('So we reveal our status I with twin·-horns, disk, erect serpent').
Reprinted in Ezra Pound and the Visual Arts, p. 198. D. D. ), The Letters of Ezra Pound (London: Faber and Faber, 1950) p. 248. See Ian F. A. ), Ezra Pound. S. Press, 1978) pp. 89-115, 155-164. The text of Hugh Selwyn Mauberley I am using is that given in Ezra Pound, Collected Shorter Poems (London: Faber and Faber, 1967). The most recent account of the aesthetic aspect of fragmentation is given in Andrew M. Clearfield, These Fragments I Have Shored: Collage and Montage in Early Modernist Poetry (Ann Arbor: UMI Research Press, 1984).
It is the surface of mythic vision, excellently described by Peter Nicholls as 'the revelation of single numinous objects' based on 'an ideal of artistic production which is anterior to any form of mechanical reproduction', 14 and its role within art's advertised resistance to those displays tellingly, as it displays to the world of consumption - the consumption which preoccupies Pound's art criticism (as it had preoccupied Whistler) during the period he is working on Mauberley. The 'Art Notes' he authored as 'B.
100 Selected Poems by E. E. Cummings