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J. Firmage broadened the scope of this idiosyncratic collection, adding seven poems and essays, and many of Cummings's unpublished line drawings.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.

The poems in Etcetera were discovered in three Cummings manuscript collections and selected from more than 350 unpublished pieces.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

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."

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."

Appearing for the first time in a Liveright paperback edition, 22 and 50 Poems combines twenty-two new poems from Cummings's Collected Poems (1938) with his 50 Poems (1940). Included are such favorites as "My father moved through dooms of love" and "anyone lived in a pretty how town," along with the usual Cummings dazzle of satirical epigrams, love poems, and syntactical anagrams.This edition is published in a uniform format with Is 5, Tulips & Chimneys, ViVa, XAIPE, and No Thanks.

The Theatre of E. E. Cummings collects in their entirety Cummings's long out-of-print theatrical works: the plays HIM (1927), Anthropos (1930), and Santa Claus (1946), and the ballet treatment Tom (1935). In HIM, a creatively blocked artist and his lover, Me, struggle to bridge the impasse in their relationship and in his art. In Anthropos, a Platonic parable, three "infrahumans" brainstorm slogans while a man sketches on a cave wall; and in Santa Claus, Death and Saint Nick exchange identities. Harriet Beecher Stowe's Uncle Tom's Cabin is reimagined as dance, transforming the novel into a symbolic attack against Evil itself. Cummings's prodigious creativity is on display in each of these works, which are ultimately about the place of the artist outside of society. "DON'T TRY TO UNDERSTAND IT, LET IT TRY TO UNDERSTAND YOU," Cummings famously wrote about his intentions for the stage. Thoughtful and witty, Cummings's dramas are an integral part of his canon.

E. E. Cummings, along with Pound, Eliot, and Williams, helped bring about the twentieth-century revolution in literary expression. He is recognized as the author of some of the most beautiful lyric poems written in the English language and also as one of the most inventive American poets of his time. 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. No Thanks was first published in 1935; although Cummings was by then in mid-career, he had still not achieved recognition, and the title refers ironically to publishers' rejections. No Thanks contains some of Cummings's most daring literary experiments, and it represents most fully his view of life romantic individualism. The poems celebrate an openly felt response to the beauties of the natural world, and they give first place to love, especially sexual love, in all its manifestations. The volume includes such favorites as "sonnet entitled how to run the world)," "may I feel said he," "Jehovah buried. Satan dead," "be of love (a little)," and the now-famous grasshopper poem."