By E. E. Cummings
E.e. cummings is with out query one of many significant poets of this century, and this quantity, first released in 1959, is integral for each lover of contemporary lyrical verse. It includes 100 of cummings’s wittiest and so much profound poems, harvested from thirty-five of the main noticeably artistic years in modern American poetry. those poems convey the entire outstanding lyricism, playfulness, technical ingenuity, and compassion for which cummings is known. They exhibit fantastically 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 admire of critics and poetry enthusiasts everywhere.
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Extra resources for 100 Selected Poems
34 Like Clark, Altieri focuses his analysis on canonical works yet emphasizes the playful, constructed, and metaphoric dimensions of modernism and its passage beyond referencing a particular social landscape or instantiating itself in a singular political horizon. This allows for a more open consideration of noncanonical modernism in the periphery than does Clark’s formulation, which remains tied to developments within Europe since the mid-nineteenth century. 35 Twentieth-century modernism draws on this classical Islamic art, broader Islamicate poetic and philosophical articulations, and post-cubist transnational modernism, all of which are nonrealist forms.
Persian was also a privileged language of cultural expression for the North Indian elite well into the nineteenth century and even the twentieth century—indeed, the greatest poets of Urdu in the nineteenth and the twentieth centuries, Ghalib and Iqbal, respectively, both composed what they deemed to be their major works in Persian. Since the time of Akbar (reigned 1556–1605), India had attracted a flow of Persian-speaking scholars and artists from West Asia, allowing India to be 22 Introduction more closely connected to Muslim intellectual life in West Asia.
In Pakistan, at least, none of the representational vehicles of imagination identified by Benedict Anderson—national language, the novel, census, map, and museum—are fully valid. For example, the insistence on Urdu as the national language, spoken by a minority of Pakistanis in 1947, 30 Introduction was in fact instrumental in the breakup of Pakistan in 1971 and continues to exacerbate ethnic tensions. 83 Census remains a fraught undertaking in Pakistan due to tensions between ethnic groups. The map of Pakistan is not primordial in any sense; British colonial officials unacquainted with India drew it up only a few months before partition in 1947.