This selection made by E.E. Cummings himself from eleven books of poems constitutes a comprehensive introduction to his work.

This Norton Critical Edition includes: 166 poems spanning the range of Cummings's career, selections of his prose and dramatic writing, twelve paintings and sketches, and three facsimiles of his drafts-the first ever annotated and cross-genre collection of his work aimed at student readers. Annotations, headnotes and a thorough introduction by Milton A. Cohen, along with an essay by Cohen chronicling the development of Cummings's idiosyncratic style. Four contemporary reviews and six critical essays-by Randall Jarrell, Edmund Wilson, Isabelle Alfandary and Michael Webster, among others-prefaced by an overview. Comparative studies of two poems-featuring five different responses to each-designed to promote classroom discussion. A chronology, a selected bibliography and an index of the poems.

Composed between 1958 and his death in 1962, this was the last published collection by E. E. Cummings. It contains some of his surest and most characteristic work.Much has been made of his innovations in typography and punctuation, which have been often misunderstood as mere 'effects'. But it is evident that they are one aspect - and a very important one - of his search for the purest and most complete expression of his thought and feeling.

The one hundred and fifty-six poems here, arranged in twelve sections and introduced by E. E. Cummings's biographer, Richard S. Kennedy, include his most popular poems, spanning his earliest creations, his vivacious linguistic acrobatics, up to his last valedictory sonnets. Also featured are thirteen drawings, oils, and watercolors by Cummings, most of them never before published.

With a new introduction by Pulitzer Prize-winning poet Stephen Dunn, this redesigned and fully reset edition of Complete Poems collects and presents all the poems published or designated for publication by E.E. Cummings in his lifetime.

Formally fractured and yet gleefully alive and whole, E.E. Cummings's groundbreaking modernist poetry expanded the boundaries of language. In A Miscellany, originally released in a limited run in 1958, Cummings lent his delightfully original voice to "a cluster of epigrams", forty-nine essays, a poem and three speeches from an unfinished play. Seven years later, George J. Firmage broadened the scope of this idiosyncratic collection, adding seven poems and essays, and many of Cummings's unpublished line drawings. Together, these pieces paint a distinctive portrait of Cummings's eccentric genius. His essays explore everything from Cubism to the circus, analyse his poetic contemporaries and satirise New York society. As Cummings wrote in his original foreword, A Miscellany "contain[s] a great deal of liveliness and nothing dead." This remains true today.

The four tales in this enchanting, newly illustrated volume, tell of lonely and extraordinary characters finding friendship in unlikely companions. In "The Old Man Who Said Why" a wise fairy's kind nature is taxed when one old man's questions throw the entire heavens into madness. In "The Elephant and the Butterfly" and "The House That Ate Mosquito Pie" shyness is overcome by the compelling love of new friends. "The Little Girl Named I" is a conversation between the author and a small girl, in the manner of A.A. Milne's Winnie the Pooh. Clever, insightful and magical, peopled with vivid characters-a house that prefers one bird to any human inhabitants, an elephant paralysed with delight, a fairy who "always breakfasted on light and silence"-here are tales as only E.E. Cummings could write them. These timeless tales, by a treasured poet, will appeal to any generation.

Unavailable for more than fifty years, EIMI finally returns. While sometimes termed a "novel," it is better described as a novelistic travelogue, the diary of a trip to Russia in the 1930s during the rise of the Stalinist government. Despite some contempt for what he witnesses, Cummings's narrator has an effective, occasionally hilarious way of evoking feelings of accord and understanding. As Ezra Pound wrote, Cummings's Soviet Union is laid "out there pellucidly on the page in all its Slavic unfinishedness, in all of its Dostoievskian slobberyness....Does any man wish to know about Russia? 'EIMI' "

A stylistic tour de force, EIMI is a melange of styles and tones, the prose containing many abbreviations, grammatical and syntactical shifts, typographical devices, compounds, and word coinages. This is Cummings's invigorating and unique voice at its finest, and EIMI is without question one of his most substantial accomplishments."

As a poet, Cummings was a pioneer not only in linguistic and typographic inventions, but also in sound and concrete poetry. But his prose is no less experimental; he wrote memoirs, essays, and fiction that are constantly provocative and often radically experimental. To read the avant-garde Cummings is to read a writer who consistently broke with established norms, "never to rest and never to have: only to grow." To not read the avant-garde Cummings is to not read Cummings.

Fresh and candid, by turns earthy, tender, defiant, and romantic, Cummings's poems celebrate the uniqueness of each individual, the need to protest the dehumanizing force of organizations, and the exuberant power of love.

Four months after Cummings's death in September 1962, his widow, the photographer Marion Morehouse, collected the typescripts of 29 new poems. These poems, as well as uncollected poems published only in periodicals up to that time, make up 73 Poems. This is the final volume in Liveright's reissue of Cummings's individual volumes of poetry, with texts and settings based on E. E. Cummings: The Complete Poems 1904-1962.

The most notable work of fiction from our most beloved modernist poet, The Enormous Room was one of the greatest yet still not fully recognized American literary works to emerge out of World War I. Drawing on E. E. Cummings s experiences in France as a volunteer ambulance driver, this novel takes us through a series of mishaps that led to the poet s being arrested for treason and imprisoned. Out of this trauma Cummings produced a work like no other a story of oppression and injustice told with his characteristic linguistic energy and unflappable exuberance, which celebrates the spirit of the individual and offers a brave and brilliant opposition in the face of the inhumanity of war.

Illustrated with drawings Cummings made while imprisoned in France and featuring an illuminating new introduction by Susan Cheever, this reissued edition offers a unique and multifaceted lens onto the inner life of the poet in his youth and demands recognition by a twenty-first-century readership."

The poems in Etcetera were discovered in three Cummings manuscript collections and selected from more than 350 unpublished pieces. Many of the poems are from his early years and all convey his freshness and youthful spirit, exhibiting his celebration of love and delight in common natural phenomena. Etcetera was first published by Liveright in 1983. This newly reissued edition is published in a uniform format with Is 5, Tulips & Chimneys, ViVa, XAIPE, and No Thanks.

Many years ago the prodigious and famously prolific E. E. Cummings sat in his study writing and thinking about sex. His private brooding gave way to poems and drawings of sexual and romantic love that delight and provoke. Here, collected for this first time in a single volume, are those erotic poems and sketches, culled from Cummings’s original manuscripts by the distinguished editor George James Firmage. from “16” may i feel said he (i’ll squeal said she just once said he) it’s fun said she (may i touch said he how much said she a lot said he) why not said she

I Carry Your Heart With Me, rereleased as a board book, is a children’s adaptation of the beloved E. E. Cummings poem, beautifully illustrated by Mati Rose McDonough. Showing the strong bond of love between mother and child, within nature and throughout life, Cummings’ heartfelt words expressed through McDonough’s lovely illustrations combine to create a fresh, yet classic, portrayal of love.

Published in 1958, "95 Poems" is the last book of new poems published in Cummings's lifetime. Remarkable for its vigor, freshness, interest in ordinary individuals, and awareness of the human life cycle, the book reflects Cummings's observations on nature and his prevailing gratitude for whatever life offers: "Time's a strange fellow: more he gives than takes." This new edition joins other individual uniform Liveright paperback volumes drawn from the "Complete Poems," most recently "Etcetera" and "22 and 50 Poems."