His Poetic Style
EE Cummings is famous as the poet who discarded capitalization and punctuation. He used word placement, spaces and parentheses in original ways. He would use adjectives for nouns (“my true") and successfully wrote in the way a person feels. He would sometimes use a measured stanza for with predictable rhyme or near-rhyme (as in my father moved through dooms of love). On other occasions he would play games with letters and spelling almost impossible to understand (as in r-p-o-p-h-e-s-s-a-g-r.)
Over the 20s and 30s, Cummings' unique style became immensely popular, influencing numerous writers to reconsider everything they thought poetry was. His critics state that Cummings continued to copy his own signature style without continuing to advance. The poetry he wrote in his later years was similar to what he wrote when young.
His fans claim he is one of the best love poets of all time. He makes the reader look at ordinary, commonplace words in a new light by his syntax and structure.
i carry your heart with me(i carry it in
my heart)i am never without it(anywhere
i go you go,my dear; and whatever is done
by only me is your doing,my darling)
no fate(for you are my fate,my sweet)i want
no world(for beautiful you are my world,my true)
and it's you are whatever a moon has always meant
and whatever a sun will always sing is you
here is the deepest secret nobody knows
(here is the root of the root and the bud of the bud
and the sky of the sky of a tree called life;which grows
higher than the soul can hope or mind can hide)
and this is the wonder that's keeping the stars apart
i carry your heart(i carry it in my heart)
What Cummings Said About his Style
Perhaps he says it himself best. Perhaps he does not, but here is part of his foreword to is 5, published in 1926:
On the assumption that my technique is either complicated or original or both, the publishers have politely requested me to write an introduction to this book. At least my theory of technique, if I have one, is very far from original; nor is it complicated. I can express it in fifteen words, by quoting The Eternal Question And Immortal Answer of burlesk, viz. "Would you hit a woman with a child?--No, I'd hit her with a brick." Like the burlesk comedian, I am abnormally fond of that precision which creates movement.