By E. E. Cummings
E.e. cummings is with no query one of many significant poets of this century, and this quantity, first released in 1959, is quintessential for each lover of contemporary lyrical verse. It comprises 100 of cummings’s wittiest and such a lot profound poems, harvested from thirty-five of the main considerably artistic years in modern American poetry. those poems express all of the awesome lyricism, playfulness, technical ingenuity, and compassion for which cummings is known. They show superbly his extrapolations from conventional poetic constructions and his departures from them, in addition to the original synthesis of lavish imagery and acute inventive precision that has received him the adulation and recognize of critics and poetry fans everywhere.
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Example text
The old ghosts, long laid, lifted their heads again. But they were different and more deadly ghosts. The old ghosts, intellectual in their inception, had been laid by a sane and normal logic. But now they were raised by the White Logic of John Barleycorn, and John Barleycorn never lays the ghosts of his raising. " Jack London, John Barleycorn Page vii Contents Preface ix 1 From Intemperance to Alcoholism in the Fiction of W. D. " F. Scott Fitzgerald's grim pronouncement has often been cited by those who try to account for the depressing frequency of attenuated careers and imaginative diminution among the American modernists.
Page xi Dartmouth College Library, extended his hospitality during my research visit thereafter Carolyn Davis of the George Arents Research Library at Syracuse had kindly helped me locate the Charles Jackson Papers. The White Logic originated in two essays I wrote for Dionysos: The Literature and Addiction Triquarterly (Spring 1991, Winter 1992). I thank Roger Forseth, the journal's founding editor, for permission to use revised and expanded versions of these essays as my first two chapters. "Paradigms of Addiction in Howells's Novels," yet another version of Chapter 1, appeared in the George Warren Arms memorial issue of American Literary Realism (Spring 1993).
19 Mortified by his behavior, of which he has no clear recollection because of an alcoholic blackout, Hicks stands duly contrite before Staniford and begs him to convey apologies to Lydia. Insofar as Howells reads intemperance as a sign of a more pervasive inner corruption, however, he treats it less tolerantly. The moral decay of Bartley Hubbard in A Modern Instance (1882), for example, is suggested subtly by his increasing consumption of Tivoli beer. Whether or not Bartley is truly a drunkard remains unclear in the novel, from which he all but disappears just at the point when his complete degeneration seems imminent.