Reviewing E. E. Cummings' poetry is challenging due to the complexity of line and phrase construction employed by Mr. Cummings. Instead, consider what it is: A short collection of poetry by one of the most influential English language poets of the last 50 years. This, for me, was enough to by "95 Poems."

The poems have no titles except for numbers. While this might dismiss the need for a table of contents, it makes referencing a poem here difficult. Luckily, the publishers chose to include first lines in the contents. High school students will find "57" ("old age sticks"), the first Cummings' poem most us encounter. That said, "59" (or should I say number 59?) is my favorite.

when any mortal(even the most odd)

can justify the ways of man to God
i'll think it strange that normal mortals can

not justify the ways of God to man

Readers newly introduced to Cummings' groundbreaking style might find him hard to read. For me, it works for most of his poems. It fails occasionally, but this may be more as a result of my ignorance rather than Cummings' poetic inadequacies. Allowing the unique use of punctuation and line breaks to become like notes in a score, things came together for me, and this poetry became less obtuse. With each rereading, understanding Cummings becomes like learning to listen through an accent.

I fully recommend "95 Poems" by E. E. Cummings.

Anthony Trendl

The sexagenarian Edward Estlin Cummings gives us poems of remarkable versatility and joy. The volume begins with autumn and ends with spring. In between we have songs and sonnets and serene calligraphy, urbanity and sarcasm and protest against tyranny, we have childlike wonder at a distant star and the ultranecessary reminder that "not all matterings of mind equal one violet."

We have clarity, we have acceptance of the universe as it appears:

now air is air and thing is thing:no bliss

of heavenly earth beguiles our spirits,whose

miraculously disenchanted eyes

live the magnificent honesty of space.

We have the bluejay as "beautiful anarchist" and the slender eulogy for "this man's heart" who was "true to his earth" and not interested in "anyone's world." We have the famous (and to our mind unsplendid) jingle about "maggie and milly and molly and may."

We have apothegms: "dive for dreams / or a slogan may topple you"; we have "first robin the" and his message "april hello," and we have the limitless grace of "out of the lie of no."

Poems 87 through 95 -- with perhaps one exception -- are immortal. It bears repeating: immortal.

There are a few typographical poems that don't quite work, and a few ballad-jingles where Cummings conceals his meaning rather too well, but all in all, the book called "95 poems" is a splendour and an ineffably graceful achievement, reminding us that:

--saharas have their centuries,ten thousand

of which are smaller than a rose's moment

(and, from the same poem, the 11th)

... there is a time for timelessness

I really was amazed by this book. It is a classic of american poetry (once again out of print) it is worth finding. Half the poems are experiments and sort of have a puzzle to them. Which makes them really good study in how far one can go with laungage.

The rest are as equal in creativity of construction but hammer home the poet's ideas in a very direct and certain manner. This book shows that cummings could master any style and create new forms. Words were bent to the poets needs. ee cummings could follow any poetic style, yet he decided to hae his own. For his style alone he should be read. But for this themes he should be charished.

Her is one of the best ones

i shal imagine life

is not worth dying,if

(and when)roses complain

their beauties are in vain

but though mankind persuades

itself that every weed's

a rose,roses(you feel

certain)will only smile

A must have for cummings lovers and poetry addicts in general. The collection of poems put together in this book will leave you craving for more and yet will let your slip into the dark places in your mind to constantly analyse the poem you're reading while analysing yourself. A must have in your collection.

Written by America's most inventive poet, "The Enormous Room" is a book of prose set in a French detention camp during World War One. It is a coming-of-age story in which events happen, not always to the narrator (E.E. Cummings), but to the inhabitants of a place that serves as a microcosm for all the folly and brutality of war itself. As a war narrative it is unique -- unlike Hemingway's "Farewell to Arms" or Remarque's "All Quiet on the Western Front," the central story doesn't take place on the front lines. The plot of the book is basically non-linear, with the exception of the first three or four chapters, and several passages are written in French (thankfully a glossary of foreign terms is printed at the back of the book). I would describe Cummings' story as a stream-of-consciousness dialogue with himself, written in the language of a talented budding poet. Most memorable are the wonderful characters Cummings encountered during his short stay at La Ferte Mace, the name of the camp in which he was interned. They are objects of torn humanity and how terrible it must have been for him to leave them, knowing that upon his release many would languish in prison for the rest of their lives. "The Enormous Room" is a unique historical fiction. It is not an easy read, but it is one of those books that is even more difficult to put down. I have never read another book quite like it. [P.S.: There are two editions of the book, one published by Boni & Liveright and the other by Penquin Classics. The Liveright edition is the better one (and naturally harder to locate online or in book stores), and includes samples of drawings that Cummings made during his confinement.]

Some works of literature that I have read in the past required several scans of certain passages due to their thick and wholly unconsumable nature. While reading E. E. Cummings' The Enormous Room, I found myself skimming back over entire paragraphs simply for the sheer joy of reading them again. Cummings' ability to turn a phrase is astonishing. It's not hard to glean from reading only this work that the author has a poetic nature.

The personal journey recounted here amounts to a fantastic tale that happens to be (for the most part) completely true. By turns, bleak and hopeless - then joyous and brimming with a kind of spiritual joy, The Enormous Room takes the reader to extremities of all sorts in its relatively short span of chapters.

Though it takes place during a three month stint in a French concentration camp during the latter parts of World War One, it could just as well be set on another planet, for all of its fantastic characters, settings and behavioral interactions that never cease to alternately amaze and confound the reader.

Even if it seems a cruel statement to make, after having the pleasure of experiencing this world through the prose of E. E. Cummings you will be thankful that he found himself in this squalid and vile place so that we now have the honor of sharing in it.

Reading Cumming's poetry was never a priority in my school days, except such excerpts as appeared in my far from comprehensive American Lit book. After reading this, I wish I'd paid more attention to this truly gifted writer.

The Enormous Room is the story of Cumming's three month incarceration at La Ferte Mace, a squalid French prison camp. Cummings is locked up as accessory to exercise of free speech, his friend B. (William Brown) having written a letter with some pro German sentiments. What Cummings experienced in those three months and the stories of the men and women he met are, despite the straits of the polyglot texture of the book, never other than fascinating. At moments touching (the stories of the Surplice and The Wanderer's family), hilarious (the description of the Man In the Orange Cap is hysterical), and maddening (the smoking of the four les putains), this is a brilliant weft of memorable characters and not a little invective for the slipshod French goverment.

Something I noticed. Though the book claims as its primary influence Bunyan's Pilgrim's Progress, I noticed a similarity with Thoreau's Walden. In both books, there is the idea of self-abnegation breeding liberty and peace of mind. The idea is to shear away all luxuries, all privileges. But Thoreau had one very important luxury to his credit: Free will. Whereas Thoreau chose his isolated and straitened existence near Walden Pond, Cummings' was involuntary. So, if the touchstone of freedom both men share is valid, is not Cummings, by virtue of the unrequested nature of his imprisonment, the freer of the two men?

This is a fascinating, thought provoking, ribald and intelligent book. I only regret that the Fighting Sheeney was never given commupance...

This may not be the all-time greatest collection of poems from the fabulous Mr. Cummings, but it still contains a lot of gems, and is (quite simply) quite wonderful.

(I know, how predictable, right?)
Anyway, this is a wonderfully fun little book of poems. E.E. Cummings' style will not and can never really be duplicated. But it's not just a gimmick, this guy was one of the best.

"ViVa," by E.E. Cummings, is a collection of 70 poems numbered with Roman numerals. The afterword by George James Firmage notes that an earlier edition of the book (one riddled with errors) was published back in 1931.

"ViVa" shows Cummings to be one of the most distinctive and inventive poets in the English language. He uses a lot of eye-catching, and apparently made-up, words: "fasterishly," "infrafairy," "uneyes," "firsting," "nonglance," etc. In many of his poems he experiments with punctuation, word structure, word order, and capitalization in startling ways--he's like a sculptor playfully molding the English language into strange new shapes.

But I must admit that I found some of his poems too experimental--to the point of incomprehensibility. Still, even his most impenetrable poems are stimulating in odd ways. Many poems imitate people's speech; some raise theological questions. There is a sadness to much of the book in the form of poems that touch on the despair, loneliness, and dislocation of modern life. But these are balanced by some truly striking and beautiful love poems. There is also a satirical element present in the book.

When Cummings' experiments succeed, he really dazzles; consider poem XXXVIII, where the words seem to really dance and crackle across the page. His imagery at its best is fresh and invigorating. "ViVa" is not an easy read, but it's a remarkable work from a true original.

While I was not familiar with many of the works of e.e.cummings, I heard a poem used in a scene in the movie"Hannah and Her Sisters". A beautifully touching love poem"Somewhere I have never travelled". It affected me so deeply I had to find out who wrote this piece.I researched it and found it in Viva. This collection by e.e.cummings is so intensely beautiful,complex and challenging,you may think your'e in over your head. It is not for just its lyrical complexity but even the way it is typed it is a puzzle worthy to piece together and watch its beauty unfold in your hands.If you love poetry on levels beyond the rhyme this is the reason to get Viva. Viva la difference!Exquisitely done.

As a long time ee cummings fan, I found this book to be just as wonderful as the rest of his writing, although this one isn't as well known. If you can appreciate his artistic use of words, you will not be disapointed by etcetera.

In an afterword to "Xaipe," the book of poems by E.E. Cummings, George James Firmage notes that the title is derived from a Greek word whose simplest transliteration is "khi-ra" (with accent on the first syllable). Firmage further notes that the book was published by Oxford in 1950.

Xaipe is a curious collection of sequentially numbered poems. Many of the poems are very visually oriented; Cummings plays with with word division, punctuation, and the arrangement of words on the page. He often warps and reshapes language like a sculptor using clay; reading some of these poems is like deciphering a series of strange hieroglyphics.

Much of the book is also ear-oriented. Cummings demonstrates his mastery of rhyme, meter, alliteration, and repetition. He even includes a number of sonnets; sonnets, that is, as channeled through his experimental sensibility.

The tone of the book varies: cynical, satiric, revelatory, even tender. Cummings often uses seemingly invented words: "livingest" (from poem #1); "unteach" (#5); "fingeryhands," "whying" (#14); etc. One of my favorite poems is #22, a sonnet that begins "when serpents bargain for the right to squirm."

But is there an overall theme to "Xaipe"? I'll leave that to each reader to answer. But I sensed in the book as a whole a distrust of officialdom and a wariness of war, and a sense of skepticism about humanity; I felt at times that Cummings was resisting the rationality and formality of language and seeking a pure experience and attentiveness that actually transcends the written or spoken word.

"Xaipe" feels like a prolonged experiment, and while the experiment may not be wholly successful, it is nonetheless marked by flashes of genius. Definitely a volume of poetry worth exploring. For a stimulating companion text, try something by the philosopher J. Krishnamurti.