Customer Reviews:
A Complete Biography.......2005-10-26
This book outlines every facet of the facinating life of E.E. Cummings. A must read for anyone researching or interested in his life.
Reason Without Rhyme.......2004-06-20
'Dreams in the Mirror: A Biography of E.E. Cummings' is a precise account of a unique, creative poet. Richard S. Kennedy has made sense of the seemingly incoherent mind that made the literary world spin in a profoundly deconstructed orbit during the period following Cummings' graduation from the Harvard School of Arts and Sciences in 1916. Perhaps the most significant element of Kennedy's book is the previously unpublished Cummings' poem discovered in the dusty closet of a Tunisian Bed&Beakfast he'd occupied in 1931. Titled 'Insanity is Just a Mind of State', it is one of Cummings' most autobiographical works, revealing the poet's life-long regret that he'd never wrestled an alligator. The lament, on page 79, reads:
'i'm mad; say they
but Almonds aren't NUTS!
(is) thE river SEINE in pariS;?'
The human mind is a beautiful thing.
Dreams In The Mirror.......2002-05-08
a wonderful book ... especially the love story and photos of cummings and marion moorehouse
"Dreams" a thought provoking bio.......1999-01-03
Recently having completed DREAMS IN THE MIRROR, I can say that I haven't read a better biography in a long time. If you are a true E.E. Cummings fan (or e.e. cummings as he spelled it), the insights that Kennedy has into the man's life, as well as the interpretations of his poems, seems to make sense. I own a copy of his "Complete Poems 1904-1962", and having read many of them, I thought that the logical next step was to see how someone else thought of them. Kennedy's biography of Cummings is the only one that I know of in existance. Adding to that is Nancy Andrews, Cummings' daughter, who gave a lot of insight into her father, as well as previously unpublished poems and even drawings(!!). The book doesn't read like a novel, so don't expect to pace though it quickly. It is a well-written account of Cummings' life, so remember to pay attention. Being it as it may, and considering that information, I say go on and read it. It's worth the time.
Book Description
Even before his groundbreaking style helped change the landscape of American poetry, E. E. Cummings was going against the grain. Defying the traditionalists of the early 20th century, Cummings lived a life devoted to the shifting archetypes of art and literature, and wrote some of the most celebrated poetry of the modern era. Nearly a century after his first works were published, E. E. Cummings is still inspiring readers. Noted nonfiction writer Catherine Reef provides a well-rounded portrait of Cummings while examining the culture in which he lived as he developed his craft. Serving as both an exploration of his rich and sensational life as well as a foundation from which readers can learn about his work, this comprehensive biography includes Cummings’s original sketches and paintings, quotes from friends and family, photographs, and the poetry of Cummings and his peers. Bibliography, endnotes, index.
Book Description
The Long-Awaited, Intimate Portrait of an Extraordinary Life
Throughout the forty-five years of his professional writing life, Edward Estlin Cummings consistently celebrated the ordinary, reviled pretentiousness, scourged conformity, experimented boldly with words and syntax and punctuation, and wrote some of the most erotic and tender love poetry in the English language. Yet Cummings could also be difficult, truculent, opinionated, wrong-headed, emotional, bigoted and egotistical. Dubbed by Ezra Pound as "Whitman's one living descendant," Cummings sang of himself and of America in a unique voice, as resonant now as it was a half-century ago.
Charismatic and famous among the famous, Cummings always seemed to be in the right place at the right time, and was a major presence wherever he resided, whether in Cambridge, Europe or New York. He counted some of the most important artists of his time as friends: Pound, Hemingway, Dylan Thomas and many more.
For nearly half a century, the personal papers, journals and diaries of Edward Estlin Cummings were kept from public view. These documents reveal far more about the inner life of the famous poet and painter than has ever been known. Now, noted biographer Christopher Sawyer-Lauçanno presents the first, definitive, revelatory life story of E.E. Cummings (1894-1962), an American original.
For E.E. Cummings: A Biography, the author had unprecedented access to all of Cummings's papers—anguished diary entries, reflections on consultations with two psychoanalysts, an autobiographical novel, and a carefully prepared manuscript containing more than one hundred blatantly erotic poems.
In the words of William Corbett, author of Boston Vermont and Don't Think Look, "E.E. Cummings, Yankee individualist and, rare for an American poet, satirist is here in full. This means warts and all, but Sawyer-Lauçanno has not come to judge. In this readable and absorbing life he has paid Cummings the honor of clear-eyed candor." Christopher Sawyer-Lauçanno paints a full and memorable portrait of this extraordinary American poet.
Customer Reviews:
A Man Of Means.......2005-10-03
Cummings is a wonderful poet and three cheers for C. Sawyer-Laucanno for attempting to give us a full-scale new reading of the complete works, while trying to clear a space so we can understand his complicated life a bit better.
I wound up seeing the life clearly, and noticing for the first time the extreme high reaches of class privilege that made Cummings' poetry possible. I suppose I had been reading this through the screen of Cummings' novel, THE ENORMOUS ROOM, with its bleak descriptions of prison poverty and deprivation, so without really thinking about it I just assumed that EE Cummings was sort of our American Genet, born of poverty, a hero of the underclass, an outsider artist who just scraped by, like Darger. Far from it, Sawyer-Laucanno reveals. Everything he did seems to have been paid for by generous friends or family, and even in the French jail he was able to buy cartons of cigarettes, razors, books, and fruit from the concierge, because he had a huge trust fund.
Later, during the 1920s when he was writing all his masterpieces, the discerning Scofield Thayer became his patron. Thayer was a complicated case; as editor of THE DIAL his taste helped usher in a new American modernism. He married a beautiful and refined heiress, Elaine, and when Cummings fathered her daughter through an adulterous union, he assumed paternity of little "Mopsy" in a an act of upper-class generosity. A few years later, he granted Elaine a divorce and she married Cummings, although only for two months. Thayer began a descent into madness that lasted until his death in 1982. He had apparently been gay the entire time and nurtured a secret passion for underage boys which got him in hot water from time to time, and perhaps he was in love with Cummings himself. Why not, everyone else was. Cummings must have had something, erotically speaking, for many women were drawn to him and not a few men. In any case we can see, bleakly, how spoiled and privileged Cummings was. No matter what harm he did to others, or to himself, someone would come along with a large checkbook and clean up after him. It's appalling the selfishness, and yet if great poems come in the wake of such self-love, what real harm and what real benefit? It's a stumper.
Sawyer-Laucanno argues that Cummings' play, HIM, is a major ignored work of the American theater. Such is his conviction that it fairly sweeps the reader into feeling the same way, or at any rate wanting to see a first rate production. My idea is that HIM might make a really good movie--by Lars Von Trier perhaps. I can see it on the screen of my imagination, thanks to Sawyer-Laucanno's persuasive, always elegant argumentation.
As for the reviewer in the Washington Post Book World, I honestly don't know what to make of someone whose idea of the three great American poets is Whitman, Frost and Cummings. What kind of mind comes up with that combo? It's like the boys who formed the "Troika" in the later episodes of BUFFY.
Blissful biography of much-loved poet.......2005-07-14
Before reading this great slab of a book, I had little idea of who E.E. Cummings was, besides knowing he had an unconventional attitude towards punctuation. Thankfully, Sawyer-Laucanno manages to shed much light on the poet and his work in a way which is both accessible to newcomers and meaningful to more seasoned Cummings enthusiasts.
In particular, I liked the way in which the author juggles so many competing demands. He had access to a wealth of archive material and Cummings had a long and eventful life. Yet S-L manages to give play to all aspects of Cummings' activities whilst maintaining the pace and flow of his narrative.
I especially appreciated the almost equal weight given to critiquing Cummings' work as opposed to describing his life. An analysis of how "Buffalo Bill's defunct" came into being, based on early drafts of the poem, gives a particularly rare and precious glimpse of how a fully-formed poem is grown from a few choice phrases.
Another dilemma which L-S addresses, is the fact that Cummings was an enthusiastic and successful painter. It would have been easy to overlook or underplay this aspect but here the paintings are seen as an integral part of Cummings' artistic achievement.
I spotted one or two faults. I don't think Dylan Thomas would relish being called an English poet - he was a Welsh one - and there is a misplaced bracket (horror!) on p.533.
I think E.E. Cummings would have appreciated the way this biography manages to find space for a number of small anecdotes aside from the great sweep of the life story. I loved the description of the humming birds bobbing goodbye before migrating south from Joy Farm. This was both heart-warming and highlighted Cummings' love of natural history.
Overall, I found "E.E. Cummings: A biography" to be absolutely compelling. At first daunted by its length I soon found myself regretting it was so soon coming to an end. Christopher Sawyer-Laucanno more than meets the challenge of enlightening us about Cummings' life. He is no mean story-teller and this work is a masterful achievement.
Bad Stuff.......2005-06-04
Accusing someone of plagiarism in public is always a difficult issues. In other words, you'd better be pretty damn sure before you say anything. That's why I was so surprised to see the recent review in Harpers claiming that this book was, for all practical purposes, ripped off from a previous Cummings biography (by Kennedy) which is still in print. I won't recap the entire thing here, just issues this review as a warning and suggest you read the May 2005 issue of Harpers. Sawyer-Laucanno, while he wouldn't exactly admit that he stole material from the oprevious book, he did admit that he couldn't explain how the similarities occured... and Sourcebooks also refused to take any responsibility. It's an interesting read, but my advice would be to just go with the original biography by Kennedy since he's the one who seesm to have done all the original research for both volumes.
Solid Biography.......2005-01-23
This new biography is the first based on complete access to Cummings's papers and also quotes extensively from his poetry in exploring links between his life and work. It is quite readable and makes a good case for the significance of Cummings's poetry without claiming too much.
Mostly words, but spacing and punctuation are unusual.......2004-11-12
I read poems by E. E. Cummings before I went to Harvard, and might consider him my favorite American poet if Richard Brautigan had not written so many great little novels that seen far more comic to me than any mere poem. Cummings has the breadth, though, to require some small print for the index of poems by first line on pages 602-606 of this book, which must be a couple hundred poems at 53 lines per page. The items in the usual index on pages 591-601 have 54 lines per page, but with many more capital letters and the two columns of text covering an extra quarter inch of the page, items in the index do not seem so tiny. 31 of the 32 photographs are printed by permission of the Houghton Library, Harvard University, and the photo on the cover, taken by Manuel Komroff, was by permission of Columbia University's Rare Book and Manuscript Library. The pictures in black and white include a major abstract oil painting by Cummings in 1925 and numerous sketches.
The index does not attempt to capture every mention of each name in the book. The entries for Ernest Hemingway do not include page 389, on which two poems in NO THANKS are called "really nothing more than a swipe at Hemingway" playfully "provoked in part by Cumming's reading of Hemingway's celebration of bullfighting, DEATH IN THE AFTERNOON:
what does little Ernest croon
in his death at afternoon?
(kow dow r 2 bul retoinis
wus de woids uf lil Oinis ".
Author Christopher Sawyer-Laucanno also calls this "a parody of Longfellow's line in A Psalm of Life, `Dust thout art, to dust returnest.' " Modern versions of Genesis 3:19 have "you are dust, and to dust you shall return" for the familiar curse on Adam, but the King James version might have used a poetical thou, not thout. No doubt there are a few mistakes somewhere. I tried to find the verse with that line on the internet, and what Longfellow wrote was:
Life is real! Life is earnest!
And the grave is not its goal;
"Dust thou art, to dust returnest,"
Was not spoken of the soul.
There are 12 lines for Harvard entities in the index, between Harry Wadsworth Clubs and Anthony Haswell, of HASWELL'S MASSACHUSETTS SPY OR AMERICAN ORACLE OF LIBERTY fame. The Preface reveals that the author shares the anti-war feeling found in many of Cummings's most famous poems, and reports that "At one of the early [fall of 1969] California Moratoriums against the war I whipped up a crowd with `my old sweet etcetera,' `plato told / him,' and `the bigness of cannon / is skillful.' When I got to `i sing of Olaf glad and big' a number of young men at the gathering set their draft cards on fire." (p. xiv). People who have some copies of poems already will want to have them nearby while reading this book to remind themselves of all that the original said, especially about his aunt and Olaf. Cummings was forty-seven when World War Two took the United States by surprise and Cummings wrote in his notes, among his definitions of War, "when the angry Jehovah gets back His Own." (p. 441). This book offers translations into English of the phonetic poems written in "a parody of bigoted (probably drunken) speech" on pages 442-443 before putting the entire `plato told' poem on pages 443-444.
E. E. Cummings developed some unique spacing and punctuation techniques that are constantly quoted throughout the book. It is inspiring to read about so many people who admired what he did and supported his work, but he could also be highly critical of such friends. The English philosopher A. J. Ayer is only listed in the index under Morehouse, Marion, affair with A. J. (Freddie) Ayer, 414, 423-424. Back in June, 1937, things like that were starting to happen a lot in Europe, and modern readers shouldn't be as surprised as someone like E. E. Cummings's father, who had been an Instructor in Political Economy offering Harvard's first course in sociology, (p. 3), but then became an assistant minister at South Congregational Church when Cummings was about six, but lost his position in a church merger in 1925, and then became a director of the World Peace Foundation. (p. 284). People who are suspicious of pointy headed intellectuals who try to believe more than they read in the newspapers might not like this book, and people who watch TV all the time will find nothing in this book that is familiar, not to mention fair and balanced, but anyone who believes that an intellectual life can be the bedrock supporting future generations might find this book educational as well as enjoyable.
Book Description
A rambunctious modern novel by the twentieth century's most inventive poet.
Born in Cambridge, Massachusetts, in 1894, Edward Estlin Cummings rebelled against the prevailing values of his Harvard and Unitarianism-- steeped milieu. His relentless search for personal freedom led him to Greenwich Village in early 1917, where he established himself as a Modernist, composing his sui generis poems and abstract paintings. Later that year, he impulsively joined the war, serving in a Red Cross ambulance unit on the Western Front. His free-spirited, combative ways, however, soon got him tagged as a possible enemy of La Patrie, and he was summarily tossed into a French concentration camp at La Ferte-Mace in Normandy.
Unexpectedly, under the vilest conditions, Cummings found fulfillment of his ever-elusive quest for freedom. The Enormous Room (1922), the fictional account of his four-month confinement, reads like a Pilgrim's Progress of the spirit, a journey into dispossession, to a place among the most debased and deprived of human creatures. Yet Cummings's hopeful tone reflects the essential paradox of his experience: to lose everything--all comforts, all possessions, all rights and privileges--is to become free, and so to be saved. Drawing on the diverse voices of his colorful prisonmates--Emile the Bum, the Fighting Sheeney, One-Eyed Dah-veed--Cummings weaves a "crazy-quilt" of language, which makes The Enormous Room one of the most evocative instances of the Modernist spirit and technique, as well as "one of the very best of the war-books" (T. E. Lawrence).
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At any rate I passed a few remarks calculated to wither the by this time a little nervous Übermensch; got up, put on some enormous sabots (which I had purchased from a horrid little boy whom the French Government had arrested with his parent, for some cause unknown--which horrid little boy told me that he had 'found' the sabots 'in a train' on the way to La Ferté) shook myself into my fur coat, and banged as noisemakingly as I knew how over to One-Eyed Dahveed's paillasse, where Mexique joined us. 'It is useless to sleep,' said One-Eyed Dah-veed in French and Spanish. 'True,' I agreed, 'therefore let's make all the noise we can.'
Customer Reviews:
Plotless Series of Character Sketches Make the Work a Bore.......2007-03-28
This is not a book for everyone. I received this book as a gift from a relative, and that's the main reason I thought I'd try it. The book is a portrayal of E.E. Cummings' imprisonment in France during WWI, and the bulk of the work is a portrayal of the many characters Cummings saw at the prison -- and the many cruelties they suffered at the hands of their keepers and each other. While Cummings' prose is casual, ironic, and sometimes amusing, the work as a whole suffers from a lack of a plot to drive it forward. I frequently grew tired of reading one elaborate character sketch after another. Other people obviously are forgiving of this fault because they enjoy Cummings' prose so much, but I couldn't bear it.
Interior Decorating.......2006-12-28
Best known for his poetry, "The Enormous Room" may seem like a departure for e.e. cummings. The artist turned his experience as a prisoner-of-war in France during WWI into a lyric memoir that reads like a novel. At times poetic, at others almost laughingly absurd in its depictions of the absurdities of imprisonment, "The Enormous Room" is a delectable read.
Cummings begins his novel by recounting his arrest and that of his friend, referred to only as B. They are eventually separated, and questioned, only to be reunited in jail. Apparently B. wrote some letters that the French censors considered to be seditious, and since Cummings was his constant companion and wouldn't denounce his friend, he was sent to jail as well. The remainder of the novel is filled with sketches of everyday life and the fellow inmates that Cummings befriends during his stay. For that reason, it reads like a series of vignettes rather than a cohesive novel.
While I enjoyed the book overall, I did not like the edition I had - an older printing of the Everyman's Library, which included no translations for entire conversations in French. Perhaps the most poignant aspect of "The Enormous Room" is the letter included at the start, written by Cummings' father as he tries to discover exactly what has happened to his son. Anyone familiar with the poems of e.e. cummings can see the poetry in his prose, in his descriptions and observations about life in jail, and the delight he takes in the rare moments of beauty that he could find.
The other shoe drops.......2006-08-09
This book somehow fell onto my shelves, perhaps because the author illustrated it and I like artists drawings, but I had not read it..until today. This is a story of early Cummings. He volunteered to do service in WW1 as an ambulance worker in France-versus conscription- meeting and making a friend along the way to the assignment. (I had a grandfather in this war so it is interesting to me on several levels.) Once there in France they spend a month in Paris due to some mistake (much like my own Dad did prior to shipping to Guam in his service days-tho he was in CA.) They learn French as they are pretty sharp and have a great time and then get sent to do very boring work under some real bullet head dumb heads who basically make their lives a hell. As it happens reality hits- they encounter Americans with grave disrespect for the French-can't stand how uneducated and ridiculously all for America they are, cozy up too much to French workers, the friend writes letters and French intelligence ironically seizes the letters and then them as possibly problematically revealing things about French troops-they are in deep. So this book is the tale of being arrested and put in jail. And staying there for a good while tho not forever for talking too much in letters home about things learning French and fraternizing revealed to them. Or in other words they were too "different".. What I liked is the fascinating humor that peeks into the text account, the turn of phrase, naming tricks, the truth telling. Cummings could have sprung himself by saying he "hated Germans" in his initial questioning as it really was his friend's writing issue, but he doesn't want to abandon his friend nor own that thought. Many the time I put myself in worse places with that particular kind of spirit.You just have to love how he frames these scenes. It was to him essentially far better to be captive than to be under the stupidity of his prior assignment as a volunteer especially if it required sucking up to idiotically misrepresented swearing allegiances. Its not the only time I've read such stuff but the voice here is quite unique... I really enjoyed the way in just a few pages you drop into the stinking cell and practical realities of confinement, the absurdity, the introspection, the look at how the detainees fare with this, those that hold them, deny them livable treatment. All in all a very interesting account of this particular experience in his life replete with his small images. It is poetic.
Quite obviously at some point in situations of absurdity there is a point in which certainly it becomes easily read as an ordeal of spirit, maybe Christ like comparisons...maybe sacrificial lamb like because certainly this is an understood frame. He's enduring something that speaks to man's capacity to inflict on one another remarkably stupid and devaluing experiences, to mistake and to blunder in such stultifying ways....so the journey is. You laugh because its possible what you are seeing is an entire tableau of individuals so far beyond their capacity deciding and in control simply doing a lot of ridiculously idiotic things with no one stopping it. I liked Catch 22 for much the same kind of comment. What I find remarkable is he lived to tell about it-for these kinds of situations can go very bad, very wrong, very randomly. He recovered, he wrote, he evolved creative voice and wrote about spring and balloons and lots of things in the now of IS ness, his belief. And the work was good.
If you are looking to delve into a journal through a bad experience written to capture the oddities and insights of someone with remarkable turn of phrase, French phrases, mind language galore....with a kind of irreverence, wit, sweet bird of youth, here and now, stink of the urinal...this is very good. As they say the more things change, the more it is the same, no?
Great, but not a classic........2004-05-18
Never more relevant than today, eighty-some years removed from World War I (to end all wars, ironically), this book deals with issues that nations still have not seemed to solved: fascist governments, disregard for due process, injustice in the name of expediency and national security. That the US quarantines Japanese-Americans twenty years after its first run only embarasses us; that eighty years later we still do the same thing breaks your heart.
Mr. Cummings writes in a sort of stream-of-consciousness first person, something on the order of Romantic prose mixed with his own style that is inimitably his own. A student of Cummings might be quick to see the parallel between his earliest poems and that evolution to his modern free verse, as taking place within this novel right before one's eyes.
Enjoyable stories, and Mr. Cummings and his friend are something of snobs, something of braggards even (becoming fluent in French after two weeks is extremely hard to believe). The annoyance quickly passes (and crops up again whever he mentions how much more evolved he is than other Americans) when he paints such vivid mental images of life in the enormous room, the ennui and absurdity of being held without due process, and the veritable Ellis Island of characters populating his new world.
A reader would do well to approach this book without reading the hyperbole of its back cover or the well-meaning but misguided praqises of some reviewers. This is a great book, but not a classic. Cummings is not a master novelist, which does not dimish his effort or take anything from his creative genius. Rather, it is much like falling into the trap of thinking a master in one form can be a master in another. Enjoy the reading, and marvel at ironic relevance it holds for us today.
Fred
Much better than I expected it to be........2003-10-30
E. E. Cummings, The Enormous Room (Liveright, 1921)
Cummings became famous for his poetry, but before that he wrote a now obscure novel-cum-memoir about his temporary imprisonment during World War I, The Enormous Room. Modeled loosely after Bunyan's magnum opus, Pilgrim's Progress, Cummings gives us the arrest and detention (for he is never sent to prison, only detained awaiting the word of the Commission on whether he is to be imprisoned or freed) of a friend of his and himself. The friend is charged with treason after writing letters home critical of the French government; Cummings is charged with nothing but being his friend.
The book touches all the expected bases; the horrors of war, problems with authority, etc., etc. Nothing here you haven't seen before. What causes it to stand out is Cummings' treatment of the whole thing. Cummings takes an horrific experience and makes it a whimsical way to pass the time, only allowing enough of the horror to show through so that the reader can understand the irony of Cummings' presentation here.
The book is well-written, though a bit jarring in places; it is written rather like you would hear the story from someone sitting next to you at the club smoking a cigar, although all too overeager at times. Cummings' enthusiasm for his subject, though, is a refreshing change from the usual war novel. This is not a book that is easy to digest, but is worth the effort. *** ½
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E.E. Cummings (Voices in Poetry) (Voices in Poetry)
S. L. Berry , and
E. E. Cummings
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E. E. Cummings (Bloom's Major Poets)
Manufacturer: Chelsea House Publications
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Book Description
The myth of E.E. Cummings stressed isolation, the difficulty of love, and the realities of death. This volume includes extracts from critical essays that examine important themes in Cummings' poetry. Studied works include "All in green went my love riding," "Memorabilia," "i sing of Olaf glad and big," "somewhere i have never traveled, gladly beyond," and "my father moved through dooms of love."
This series is edited by Harold Bloom, Sterling Professor of the Humanities, Yale University; Henry W. and Albert A. Berg Professor of English, New York University Graduate School. History's greatest poets are covered in one series with expert analysis by Harold Bloom and other critics. These texts offer a wealth of information on the poets and their works that are most commonly read in high schools, colleges, and universities.
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E. E. Cummings,: A biography
Charles Norman
Manufacturer: Dutton
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ASIN: B0006BQ3EK |
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E.E. Cummings: Complete Poems 1904-1962
E.E. Cummings: A Biography
The Enormous Room
Voice of the Poet: e.e. cummings (Voice of the Poet)
i--six nonlectures (The Charles Eliot Norton Lectures)
