E. E. Cummings:
A Miscellany Revised (New York: October House, 1965; New York: Liveright, 2018) Long out of print, E. E. Cummings: A Miscellany Revised has been republished by Liveright as E. E. Cummings: A Miscellany. Apart from being redesigned and reset in a new typeface, little has changed from the 1965 edition. As before, the book lacks a sorely-needed index, and has no new notes and no new introduction. (The publishers have retained Firmage's cursory 1965 introduction and Cummings' very short foreword to the first 1958 edition.) One welcomes the republication of the volume while regretting the lack of updated scholarly content. And curiously, the back cover of the new edition classifies this collection of essays and humorous squibs as "Poetry." We present here the contents and the first three paragraphs of George
Firmage's introduction to A Miscellany Revised, a book that collects
almost all of Cummings' occasional prose pieces, most of which date from
the 1920s and '30s. In addition, we offer here a few notes as well as links
to edited and annotated versions of three essays that are in the public
domain in the United States: "The New Art" (1915),
"Gaston Lachaise" (1920), and "T. S. Eliot" (1920). (Links to the original appearances
of the Lachaise and Eliot essays in The Dial may be found below.)
In the table of contents and the notes
below, the page numbers of the new edition are followed by the page numbers
of the 1965 edition. The two poems in the volume, "Ballad of an Intellectual" and Cummings' translation of Louis Aragon's "The Red Front," also appear in the Complete Poems. The anthology AnOther E. E. Cummings, edited by Richard Kostlanetz and John Rocco (Liveright, 1998) reprints the essays "The New Art," "Vanity Fair’s Prize Movie Scenario," "Seven Samples of Dramatic Criticism," "The Adult, the Artist and the Circus," "Coney Island," and "Foreword to an Exhibit: II." Portions of Cummings' essay on Krazy Kat ("A
Foreword to Krazy") are available on Peter Campbell's now-archived
Krazy site, Coconino County. Maria Popova discusses the essay "The Agony of the Artist" in her
blog post "The
Agony of the Artist (with a capital A): E. E. Cummings on What It
Really Means to Be an Artist and His Little-Known Line Drawings."
Works Cited
|
Cover to the 2018 Liveright edition of A Miscellany Revised |
Contents:
[At right: Cover to the 1965 paperback edition of A Miscellany
Revised]
Introduction by George J. Firmage xi / vii
Foreword by E. E. Cummings 1 /3
The New Art 3 / 5
Gaston Lachaise 11 / 12
T. S. Eliot 25 / 25
The Soul Story of Gladys Vanderdecker 30 / 30
Vanity Fair’s Prize Movie Scenario 41 / 40
What Our Loving Subscribers Say 49 / 47
An Ex-Multimillionaire’s Rules for Success in Life 56 / 52
A Modern Gulliver Explores the Movies 63 / 59
When Calvin Coolidge Laughed 73 / 68
William Adams-Wiggley: Genius and Christian 80 / 74
Seven Samples of Dramatic Criticism 93 / 86
Unexpected Light on the Dawes Plan 98 / 91
Jean Cocteau As a Graphic Artist 106 / 98
How to Succeed As an Author 114 / 105
The Adult, the Artist and the Circus 118 / 109
The Very Latest School in Art 125 / 115
Helen Whiffletree, American Poetess 131 / 121
[end page vii (2018)]
You Aren’t Mad, Am I? 137 / 126
"I Confess!" 144 / 132
"I Take Great Pleasure in Presenting" 149 / 127
The Theatre: I 154 / 141
The Theatre: II 158 / 145
Coney Island 163 / 149
Conflicting Aspects of Paris 168 / 154
Vive la Folie! 173 / 159
How I Do Not Love Italy 178 / 164
[end page v (1965)]The Tabloid Newspaper 184 / 169
The Secret of the Zoo Exposed 189 / 174
Frenzied Finance 194 / 179
Ivan Narb: Abstract Sculptor of the Cosmic 199 / 184
The Agony of the Artist (with a capital A) 205 / 189
Why I Like America 211 / 194
The New Mother Goose 216 / 199
Mr. X 222/ 205
Miracles and Dreams 228 / 211
A Book without a Title 233 / 215
Brief Biography 267 / 247
A Fairy Tale 269 / 249
The Red Front 272 / 252
And It Came to Pass 298 / 274
Ballad of an Intellectual 301 / 277
Weligion Is Hashish 304 / 280
In Memoriam 307 / 283
Exit the Boob 311 / 286
Burlesque, I Love It! 317 / 292
Speech from an Unfinished Play: I 317 / 296
[end page viii (2018)]
Speech from an Unfinished Play: II 324 / 298
Speech from an Unfinished Play: III 327 / 300
Fair Warning 334 / 306
What about It? 335 / 307
Re Ezra Pound: I 340 / 312
Re Ezra Pound: II 341 / 313
Foreword to an Exhibit: I 342 / 314
Foreword to an Exhibit: II 344 / 316
Foreword to an Exhibit: III 346 / 318
Foreword to an Exhibit: IV 347 / 319
Is Something Wrong? 349 / 321
A Foreword to Krazy 351 / 323
Words into Pictures 357 / 329
Jottings 358 / 330
Videlicet 361 / 333
A Poet’s Advice to Students 363 / 335
[end page vi (1965), page ix (2018)]
The prose and poetry of E. E. Cummings, as well as the life and times of the late poet-painter, have recently received the long overdue attention of several able critics and a biographer.[1] To add yet another introduction to this body of Cummings criticism is not the intention of the editor nor was it the wish of Mr. Cummings. His own brief foreword to the original edition of this book was all that he wanted said. However, a word or two about this volume’s history might not be out of place.
A Miscellany—as published in 1958 in an edition limited to seventy-five signed and less than a thousand unsigned copies—contained "a cluster of epigrams," forty-nine essays, a poem and three speeches from as many unfinished plays. All of these pieces had been written for or first published in magazines, anthologies or art gallery catalogues. A considerable number of them were published under pseudonyms; a few appeared anonymously.
The original Miscellany was intended to be a gathering of all the shorter pieces by Cummings that had not previously been published in book form by the author himself. This intention did not fall far short of total realization; only six known appearances were purposely omitted. Three fairy tales, first published in the Harvard Wake, were being held for publication in book form [2] and three other stories [3] were left out at the request of the author who did not consider them successful.
2. The three tales and a fourth, unpublished one are soon to be issued in an edition illustrated by the young Canadian artist John Eaton. [Ed. note: this volume, Fairy Tales, is still in print.]
3. "The King" (The Harvard Monthly, July 1915); "Everybody’s Mother, Anybody’s Mate," by "An Anonymous Author" (Vanity Fair, October 1925); and "Little Red Riding Hood," by "Eugene Heltai" (Vanity Fair, March 1926).
"The Agony of the Artist (with a capital A)" (205-210 / 189 -193)
Maria Popova discusses this essay in her blog post "The
Agony of the Artist (with a capital A): E. E. Cummings on What It
Really Means to Be an Artist and His Little-Known Line Drawings."
"A Book without a Title" (233-266 / 215-246)
Usually referred to as [No Title], this book of nonsense has gained
little attention from the critics. The exception is an article by Antonio
Ruiz, "The Dadaist Prose of Williams and Cummings: A Novelette and
[No Title]." Ruiz notes that the book "is composed of eight stories,
each headed by a drawing that holds no relation to the text. The book was
published in 1930, though it appeared, without the drawings, in the magazine
The [New] American Caravan. [No Title] is without
a doubt the most Dadaist of Cummings' works, and perhaps for that reason
the most forgotten" (107).
"A Foreword to Krazy" (351-356 / 323-328)
Krazy Kat was a comic strip cat beloved
by Cummings, created by George Herriman (1880-1944). In "The Krazy Kat
That Walks by Himself," an essay in his book The Seven Lively Arts (1924), Cummings'
friend Gilbert Seldes wrote:
Cummings' essay was the preface to the first collection
of Krazy Kat cartoons, published in 1946. The biographer of George Herriman,
Michael Tisserand, writes that Cummings was responsible for editing this
collection of Kat cartoons, citing as support a letter in which Gilbert Seldes
offered to loan Cummings his collection of "masterpieces," along with "whatever
clerical or other assistance" that might be necessary (430). See also
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