Ee Cummings Critical Essays

E.E. Cummings (1894-1962)

A selective list of literary criticism for American poet for E.E. Cummings, favoring signed articles by recognized scholars and articles published in peer-reviewed sources


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introduction

"E.E. Cummings." Excerpts from reputable critical articles. Ed. Michael Benzel. Modern American Poetry Site.

"E.E. Cummings." An extended article his career, list of his works and a recommended reading list, from the Poetry Foundation.

McGinnis, Misty. An introduction to E.E. Cummings from the Literary Encyclopedia, 21 March 2002. Eds. Robert Clark, Emory Elliott, Janet Todd. An introduction to the poet, from a database that provides signed literary criticism by experts in their field, and is available to individuals for a reasonably-priced subscription.

"E.E. Cummings." A brief introduction from the Academy of American Poets.


literary criticism

"The Osmotic Mandala" by Etienne Terblanche in Spring 10 (2001).

"An Analysis of Two Poems by E. E. Cummings," by Iain Landles Spring 10 (2001).

"E. E. Cummings: The New Nature Poetry and the Old." By Webster, Michael, Spring 9 (2000).

"Voice and Silence in E. E. Cummings' Poetry," by Isabelle Alfandary, Spring 9 (2000).

"'The Mysteries of Noyon': Emblem and Meaning in The Enormous Room," by W. Todd Martin, Spring 9 (2000).

"Cummings Into French: Three Pieces", by Thierry Gillyboeuf, Spring 8 (1999).

"The Enormous Room and 'The Windows of Nowhere': Reflections on Visiting La Ferté-Macé," by J.M. Gill, Spring 7 (1998).

"The Sight of Sound: Cummings' 'oil tel duh woil doi sez,'" by Larry Chott, Spring 6 (1997).

"'B' [William Slater Brown]." By Collier, James Lincoln. Spring 6 (1997).

An article with many photos about Silver Lake, New Hampshire, the region of the Cummingses' summer residence. "Our Trip to Silver Lake," by Norman Friedman and David V. Forrest, Spring 6 (1997).

"Two Portraits by E. E. Cummings: Jimmy Savo in Poem and Painting," by J.T. Ordeman, Spring 6 (1997).

"Sex on Wheels: A Reading of "she being Brand / -new," by Lewis H. Miller, Jr., Spring 6 (1997).

"Not 'e. e. cummings' Revisited," by Norman Friedman Spring 5 (1996).

"Cummings' Challenge to Academic Standards," by David Chinitz, Spring 5 (1996).

"The Enormous Room: Cummings' Reinterpretation of John Bunyan's Doubting Castle," by W. Todd Martin, Spring 5 (1996).

"The Cummings Line on Race." By Mott, Christopher M., Spring 4 (1995).

"Kick-Ass Cummings," by William Heyen Spring 4 (1995).

"Poems of Cummings Set to Music," by Norma Pollock, Spring 4 (1995).

"The Haiku Sensibilities of E. E. Cummings." By Welch, Michael Dylan. Spring 4 (1995).

"Cummings, Kennedy, and the Major / Minor Issue." By Webster, Michael. Spring 4 (1995).

"Thinking of Cummings," by Robert Creeley, Spring 3 (1994).

"Nature in the Poetry of E. E. Cummings." By Parekh, Pushpa N. Spring 3 (1994).

"Cummings, Goings, Stayings," by Theodore Weiss. Spring 3 (1994).

"Corn and Creativity: The Paradoxes of E. E. Cummings," by Lewis Turco. Spring 3 (1994).

Krames recounts his experiences teaching Cummings. "Long Footnotes to Brief References: A Memoir," by Aaron Kramer. Spring 3 (1994).

"On the Precision of E. E. Cummings," by Lawrence Weinstein. Spring 3 (1994).

"Photographing Cummings' Art," by Douglas Faulkner, Spring 2 (1993).

"Boswell in America: The Case of Charles Norman," by Philip L. Gerber. Spring 2 (1993).

"The Enormous Room and the Uses of Parody." By Headrick, Paul. Spring 2 (1993).

'The Influence of Cummings on Selected Contemporary Poets," by Gerald Locklin, Spring 2 (1993).

"The Dial's 'White-Haired Boy': E. E. Cummings as Dial Artist, Poet, and Essayist," by M.A. Cohen. Spring 1 (1992).

Cummings' Him--and Me," by Linda Wagner-Martin. Spring 1 (1992).

"E. E. Cummings, a Major Minor Poet." By Kennedy, Richard S. Spring 1 (1992).

"'Brilliant Obscurity': The Reception of The Enormous Room." By Headrick, Paul. Spring 1 (1992).

"Language and Silence in The Enormous Room (1922)" By Olsen, Taimi. Spring 1 (1992).

"William Slater Brown and The Enormous Room." Spring 1 (1992).

Not "e. e. cummings," by Norman Friedman, Spring 1 (1992).


web sites

The E.E. Cummings Society. Ed. Michael Webster. Bibliography, timeline, news, photos. Contents: Spring: The Journal of the E.E. Cummings Society. (articles indexed here through 2001) and The Enormous Room, explanatory notes and discussion questions.

E.E. Cummings. From Petals on a web black bough: American Modernist Writers and the Orient. A Beinecke Rare Book & Manuscript Library Exhibition, Yale University. Curator Patricia C. Willis.

Preserving the Paintings of E. E. Cummings. The College at Brockport State University of New York.

The Paintings of E. E. Cummings. Ed. Ken Lopez.


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E.E. Cummings and his Life as a Poet Essay

1967 Words8 Pages

This research paper is going to be about E.E. Cummings his life as a poet. How he wrote his poems the grammar he used in his poems. The rewards that E.E. Cummings got before his death. There is going to be three poems that are going to be a critical analyzed for the literary devices used and the type of poem in the three poems.
Biography
His early experiments in poetry whilst still a child were encouraged by liberal parents to whom Cummings remained close (“E.E. Cummings”). After an unsuccessful stint in private school, Cummings father switched him to the Agassiz school, of which Maria Baldwin was the head. Here he displayed a talent for memorizing the poems of Longfellow and Emerson and, before his teens, wrote some simple,…show more content…

This research paper is going to be about E.E. Cummings his life as a poet. How he wrote his poems the grammar he used in his poems. The rewards that E.E. Cummings got before his death. There is going to be three poems that are going to be a critical analyzed for the literary devices used and the type of poem in the three poems.
Biography
His early experiments in poetry whilst still a child were encouraged by liberal parents to whom Cummings remained close (“E.E. Cummings”). After an unsuccessful stint in private school, Cummings father switched him to the Agassiz school, of which Maria Baldwin was the head. Here he displayed a talent for memorizing the poems of Longfellow and Emerson and, before his teens, wrote some simple, two-or-four-line poems (Frazee, “E.E. Cummings”). His poetry covered many subjects, but he was particularly taken with physical love and the miracle of life. He wrote several poems praising God for the rivers, trees, and animals: lions and tigers and especially the elephants (Frazee, “E.E. Cummings). His own experience as a painter, as well as a writer, meant that for Cummings the appearance of the poem on the page contributes significantly to its mood and meaning (“E.E. Cummings”). His first published poems appeared in the anthology Eight Harvard Poets in 1917. These eight pieces feature the experimental verse forms and the lowercase personal pronoun “I” that were to become his trademark. The copyeditor of the book, however, mistook Cumming’s

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