Yes. Great website with all C's paintings that are for sale:

www.eecummingsart.com

I'd be interested to see what you think


----- Original Message -----
From: "jason sweitzer" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, March 13, 2002 10:57 AM
Subject: Re: Imagism and Joyce


> Along these lines, would it be fallacious to consider
> Cummings' landscape paintings?
>
> --- Richard Seddon <[log in to unmask]> wrote:
> > Kate:
> >
> > With the two set as discussion points, e. e.
> > cummings seems the more
> > mainline modern to me.  His poetry, even that of the
> > country,  seems urban.
> > Frost seems throw-back pastoral; almost Georgian.
> > Much of Frost's Imagery,
> > like some of H.D., is of the countryside.  Of course
> > as someone has said the
> > Pastoral is about the primitive urges of the Urban
> > so maybe Frost is
> > primitive modern?  :>)  In all seriousness I would
> > suppose that a paper
> > could be developed along the lines of Frost
> > detailing, through Pastoralism,
> > a rejection of the decayed modern Urb.  (Maybe it
> > has already been done)
> > Pound, who relished the Urb, would not probably
> > agree but maybe Eliot would.
> >
> > Marianne Moore's images (note: little "i")  of
> > animals, she is an
> > objectivist like Robert Creeley not a strict
> > Imagist, might be profitable.
> > You might also look at the "Amygism" of Amy Lowell,
> > what Pound thought
> > Imagism gone astray,  in order to see vitiation of
> > the idea.
> >
> > Are you interested in Imagism or Vorticism?  For an
> > excellent discussion of
> > the Ideogramic method, which necessarily has a lot
> > of good info on Imagism,
> > see,  _Ideogram, History of a Poetic Method_ by
> > Laszlo K. Gefin.  Pound's
> > work on the Fenolosa papers would probably be of
> > interest also.
> >
> > Be sure to keep your big "I" Images seperate from
> > your little "i" images.
> >
> > I don't think the ex-pat idea would work well.
> > William Carlos Williams and
> > Richard Aldington would be hard to work into such a
> > scheme.
> >
> > Rick Seddon
> > McIntosh, NM, USA
> >
> > ----- Original Message -----
> > From: "Kate Cone" <[log in to unmask]>
> > To: <[log in to unmask]>
> > Sent: Wednesday, March 13, 2002 5:48 AM
> > Subject: Re: Imagism and Joyce
> >
> >
> > > Tim:
> > >
> > > I've been reading C's poetry and bio's for over 30
> > years. In fact, as a
> > > result of my research and inquiries to Jay Parini
> > at Middlebury, a Frost
> > > scholar and biographer, I've been asked to write
> > the Cummings article for
> > > the Oxford Encyclopedia of American Literature,
> > which Parini is editing.
> > > (wheeee!!!)
> > >
> > > Frost I knew as all American students do -- the
> > anthologized poems. I
> > loved
> > > the imagery, but didn't "get" how deep they were
> > then. But one little poem
> > > hit me a different way:
> > >
> > > The Secret Sits
> > >
> > > We dance 'round a ring and suppose.
> > > The secret sits in the middle and knows.
> > >
> > > Frost
> > >
> > > ****
> > >
> > > seeker of truth
> > >
> > > follow no path
> > > all paths lead where
> > >
> > > truth is here
> > >
> > > Cummings
> > >
> > > ****
> > >
> > > At first I thought of this type of poem as having
> > a Zen influence, but on
> > > further investigation I learned that both C and F
> > were tremendously
> > > influenced by Emerson, whose essay "Circles"
> > pretty much pegs the notion
> > of
> > > coming back: "I keep and pass and turn again."
> > (Brahma).
> > >
> > > Anyway, the nature poetry of C and F are the most
> > alike in that regard.
> > > Where Pound comes in: he was among some other
> > influential poets met in
> > > England and was instrumental in getting Frost's
> > first two books
> > > well-reviewed in England, essentially "making"
> > Frost the first and perhaps
> > > only best-selling American poet of the 20th
> > century. As a young poet at
> > > Harvard, Cummings' notebooks show a keen interest
> > in being part of the
> > > imagist movement.
> > >
> > > I guess what I'm asking for are any thoughts at
> > all about Pound's
> > influence
> > > and/or dealings with either Frost or Cummings. And
> > with regard to Mr.
> > > Savage's comment about Frost's poor treatment of
> > Pound -- if you could
> > > elaborate further on that/those incident/s, it
> > would give me more
> > insight --
> > > was Frost abandoning a poet who helped  him in
> > order to "lay low" from
> > > controversy? This will further my theory that
> > Frost "invented" himself as
> > a
> > > Yankee farmer poet and didn't want to rock any
> > boat by being involved
> > > (publicly) in the politics of the day. Cummings
> > was much more "in your
> > > face."
> > >
> > > Thanks!
> > >
> > > Kate
> > >
> > >
> > >
> > > ----- Original Message -----
> > > From: "Tim Romano" <[log in to unmask]>
> > > To: <[log in to unmask]>
> > > Sent: Wednesday, March 13, 2002 6:15 AM
> > > Subject: Re: Imagism and Joyce
> > >
> > >
> > > > Kate,
> > > > What do you think their work has in common? I
> > see no similarity, though
> > I
> > > > must admit that I don't know cummings's work
> > inside and out.
> > > > Tim Romano
> > > >
> > > > Kate Cone wrote:
> > > >
> > > > >I am writing my masters thesis on how E.E.
> > Cummings and Robert Frost's
> > > > >poetry are related.
> > > >
> > >
>
>
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