e e cummings
adding page because on day of reading this:
Maria Popova (@brainpicker) tweeted at 6:01 AM – 14 Oct 2016 :
How to neutralize haters – a lesson from the case of e.e. cummings, born on this day in 1894 https://t.co/UpMhHp3P18https://t.co/ckcART321x (http://twitter.com/brainpicker/status/786899706270085120?s=17)
The Artist is no other than he who unlearns what he has learned, in order to know himself,” young E.E. Cummings(October 14, 1894–September 3, 1962)
imagining .. eudaimoniative surplus..
we can – a nother way..
to take us somewhere higher, where time stands still and we actually experience the concept of ‘interiority’ that he had spoken about and the inner worlds his music represents… this was music not for god or court; it was about feelings, about looking inwards, about humanity… ee cummings wrote.. to be nobody but yourself.. ….Beethoven lived that every day of his goddamn life..
and now/new from Maria – in a little more context
Maria Popova (@brainpicker) tweeted at 6:58 AM on Sun, Nov 26, 2017:
“To be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight.” https://t.co/4ZiMGRTHYY
A lot of people think or believe or know they feel — but that’s thinking or believing or knowing; not feeling. And poetry is feeling — not knowing or believing or thinking.
Almost anybody can learn to think or believe or know, but not a single human being can be taught to feel. Why? Because..
whenever you think or you believe or you know, you’re a lot of other people: but the moment you feel, you’re nobody-but-yourself..t
To be nobody-but-yourself — in a world which is doing its best, night and day, to make you everybody else — means to fight the hardest battle which any human being can fight; and never stop fighting.
And so my advice to all young people who wish to become poets is: do something easy, like learning how to blow up the world — unless you’re not only willing, but glad, to feel and work and fight till you die.
another via Maria
In E. E. Cummings: A Life(public library), memoirist, biographer, and journalist Susan Cheever chronicles the celebrated poet’s “wildly ambitious attempt at creating a new way of seeing the world through language.”
(Cummings’s name itself provides tragicomic evidence of our modern hubris in flaunting half-understood, partially correct “facts” — while many people believe, and some would adamantly insist, that the only acceptable spelling of the poet’s name is lowercase, he himself used both lowercase and capitalized versions in signing his work; in fact, he capitalized more frequently than not.)
He was delighted by almost everything in life except for the institutions and formal rules that he believed sought to deaden feelings.
“already drunk on a different kind of substance — inspiration” as she fathomed for the first time the idea that authority is to be questioned, that “being right was a petty goal,” and that “being free was the thing to aim for.”
Cummings despised fear, and his life was lived in defiance of all who ruled by it.
from enormous smallness (want that for the ginorm small ness)
style of some of his poems—see name and capitalization below), was an American poet, painter, essayist, author, and playwright. His body of work encompassed approximately 2,900 poems; two autobiographical novels; four plays; and several essays, as well as numerous drawings and paintings. He is remembered as an eminent voice of 20th-century English literature.
Cummings’ work often does not proceed in accordance with the conventional combinatorial rules that generate typical English sentences (for example, “they sowed their isn’t”). His readings of Stein in the early part of the century probably served as a springboard to this aspect of his artistic development. In some respects, Cummings’ work is more stylistically continuous with Stein’s than with any other poet or writer.
In addition, a number of Cummings’ poems feature, in part or in whole, intentional misspellings, and several incorporate phonetic spellings intended to represent particular dialects. Cummings also made use of inventive formations of compound words, as in “in Just” which features words such as “mud-luscious”, “puddle-wonderful”, and “eddieandbill.” This poem is part of a sequence of poems entitled Chansons Innocentes; it has many references comparing the “balloonman” to Pan, the mythical creature that is half-goat and half-man. Literary critic R.P. Blackmur has commented that this usage of language is “frequently unintelligible because he disregards the historical accumulation of meaning in words in favour of merely private and personal associations.”
Many of Cummings’ poems are satirical and address social issues…
Friends begged Cummings to reconsider publishing these poems, and the book’s editor pleaded with him to withdraw them, but he insisted that they stay. All the fuss perplexed him. The poems were commenting on prejudice, he pointed out, and not condoning it. He intended to show how derogatory words cause people to see others in terms of stereotypes rather than as individuals. “America (which turns Hungarian into ‘hunky’ & Irishman into ‘mick’ and Norwegian into ‘square- head’) is to blame for ‘kike,'” he said.
Name and capitalization
Cummings’s publishers and others have sometimes echoed the unconventional orthography in his poetry by writing his name in lowercase and without periods (full stops), but normal orthography (uppercase and periods) is supported by scholarship and preferred by publishers today. Cummings himself used both the lowercase and capitalized versions, though he most often signed his name with capitals.
The use of lowercase for his initials was popularized in part by the title of some books, particularly in the 1960s, printing his name in lower case on the cover and spine. In the preface to E. E. Cummings: The Growth of a Writer by Norman Friedman, critic Harry T. Moore notes Cummings “had his name put legally into lower case, and in his later books the titles and his name were always in lower case.” According to Cummings’s widow, however, this is incorrect. She wrote to Friedman: “You should not have allowed H. Moore to make such a stupid & childish statement about Cummings & his signature.” On February 27, 1951, Cummings wrote to his French translator D. Jon Grossman that he preferred the use of upper case for the particular edition they were working on. One Cummings scholar believes that on the rare occasions Cummings signed his name in all lowercase, he may have intended it as a gesture of humility, not as an indication that it was the preferred orthography for others to use