along the brittle treacherous bright streets
of memory comes my heart singing like
an idiot whispering like drunken man
who(at a certain corner suddenly)meets
the tall policeman of my mind.
awake
being not asleep elsewhere our dreams began
which now are folded:but the year completes
his life as a forgotten prisoner
-"Ici?"-"Ah non mon chéri;il fait trop froid"-
they are gone:along these gardens moves a wind br
inging
rain and leaves filling the air with fear
and sweetness....pauses. (Halfwhispering....half
singing
stirs the always smiling chevaux de bois)
when you were in Paris we met here
ee cummings
Notes on "along the brittle treacherous bright streets"
"along the
brittle treacherous bright streets" is not a love poem exactly, but it was apparently written for Elaine Thayer, the wife of his
patron Professor Scofield Thayer, with whom Cummings was having an illicit love affair around 1919. Other poems written
for her probably include my love is building a building
and
i like my body when it is with your.
E. E. Cummings' (1894 - 1962) writing and approach
represented a new departure in poetry. He first flourished in the intellectually innovative and daring world of the
1920s. His work has never been fully appreciated by critics, but has an avid following among both connoisseurs and
"ordinary" folk, because his poems touch people directly, especially young people.
The modern era was born in the 1920s, out of the ruins
and desolation of World War I. The war smashed more than cities and people. It smashed Victorian conventions and class
distinctions. Suddenly, people were not afraid to speak and write about sex as something enjoyable and beautiful. This
was the era of James Joyce's Ulysses and Lawrence's Lady Chatterley's Lover, but also, especially in America, the era of
Scott Fitzgerald's "Tender is the Night." A time of daring and romance in literature.
His poetry is informed by his unique philosophy of life and
art. Cummings would laugh at most of the pedantic and trite dissections of his work by "objective" critics. Cummings had
nothing against science and logic, but he didn't think it applied to feelings. He was intensely against regimentation
and conventional thinking. His rebellion and unconventionality were symbolized superficially by his refusal to use capital
letters in his poems, but they went far beyond that.
Typography and layout of the poem were often very
important to Cummings, who was also an artist. Please note that we will not always be able to be faithful to the
original typography, because of limitations of the medium. Like some other modern poets, ee cummings' often
conveyed images and feelings by indirect allusions that would make readers see the images and feel the feelings
he was feeling, though he also made skilful use of poetic conventions. He also had the gift of making the English
language do unexpected and wondrous things, a gift that has made great poetry since the time of Shakespeare and
before.
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