The Enormous Room (The Green-Eyed Stores) is an autobiographical novel by E. E. Cummings about his temporary imprisonment in France during World War I. Cummings served as an ambulance driver during the war. In late August 1917 his friend and colleague, William Slater Brown (known in the book only as B.), was arrested by French authorities as a result of anti-war sentiments B. had expressed in some letters. When questioned, Cummings stood by his friend and was also arrested. Cummings spent over four months in the prison. He met a number of interesting characters and had many picaresque adventures, which he compiled into The Enormous Room. The book is written as a mix between Cummings' well-known unconventional grammar and diction and the witty voice of a young Harvard-educated intellectual in an absurd situation.

e.e. cummings' memoir of 4 months spent in a French prison during WWI “By the way, a gendarme assured me this is not a prison.” ― E.E. Cummings, The Enormous Room While e.e. cummings would later become famous for his poetry, The Enormous Room is an interesting and absurd record of his time spent as a prisoner during World War I. Cummings uses ironic humor and poetic language to twist his experience, exploring the familiar horrors of war in a new way. This Xist Classics edition has been professionally formatted for e-readers with a linked table of contents. This eBook also contains a bonus book club leadership guide and discussion questions. We hope you’ll share this book with your friends, neighbors and colleagues and can’t wait to hear what you have to say about it.

From the author of American Bloomsbury, Louisa May Alcott, and Home Before Dark, a major reassessment of the life and work of the novelist, painter, and playwright considered to be one of America’s preeminent twentieth-century poets. At the time of his death in 1962, at age sixty-eight, he was, after Robert Frost, the most widely read poet in the United States. E. E. Cummings was and remains controversial. He has been called “a master” (Malcolm Cowley); “hideous” (Edmund Wilson). James Dickey called him a “daringly original poet with more vitality and more sheer uncompromising talent than any other living American writer.” In Susan Cheever’s rich, illuminating biography we see Cummings’s idyllic childhood years in Cambridge, Massachusetts; his Calvinist father—distinguished Harvard professor and sternly religious minister of the Cambridge Congregational Church; his mother—loving, attentive, a source of encouragement, the aristocrat of the family, from Unitarian writers, judges, and adventurers. We see Cummings—slight, agile, playful, a product of a nineteenth-century New England childhood, bred to be flinty and determined; his love of nature; his sense of fun, laughter, mimicry; his desire from the get-go to stand conventional wisdom on its head, which he himself would often do, literally, to amuse. At Harvard, he roomed with John Dos Passos; befriended Lincoln Kirstein; read Latin, Greek, and French; earned two degrees; discovered alcohol, fast cars, and burlesque at the Old Howard Theater; and raged against the school’s conservative, exclusionary upper-class rule by A. Lawrence Lowell. In Cheever’s book we see that beneath Cummings’s blissful, golden childhood the strains of sadness and rage were already at play. He grew into a dark young man and set out on a lifelong course of rebellion against conventional authority and the critical establishment, devouring the poetry of Ezra Pound, whose radical verses pushed Cummings away from the politeness of the traditional nature poem toward a more adventurous, sexually conscious form. We see that Cummings’s self-imposed exile from Cambridge—a town he’d come to hate for its intellectualism, Puritan uptightness, racism, and self-righteous xenophobia—seemed necessary for him as a man and a poet. Headstrong and cavalier, he volunteered as an ambulance driver in World War I, working alongside Hemingway, Joyce, and Ford Madox Ford . . . his ongoing stand against the imprisonment of his soul taking a literal turn when he was held in a makeshift prison for “undesirables and spies,” an experience that became the basis for his novel, The Enormous Room. We follow Cummings as he permanently flees to Greenwich Village to be among other modernist poets of the day—Marianne Moore, Hart Crane, Dylan Thomas—and we see the development of both the poet and his work against the backdrop of modernism and through the influences of his contemporaries: Stein, Amy Lowell, Joyce, and Pound. Cheever’s fascinating book gives us the evolution of an artist whose writing was at the forefront of what was new and daring and bold in an America in transition. (With 28 pages of black-and-white images.)

Enormous Smallness is a nonfiction picture book about the poet E.E. cummings. Here E.E.'s life is presented in a way that will make children curious about him and will lead them to play with words and ask plenty of questions as well. Lively and informative, the book also presents some of Cummings's most wonderful poems, integrating them seamlessly into the story to give the reader the music of his voice and a spirited, sensitive introduction to his poetry. In keeping with the epigraph of the book -- "It takes courage to grow up and become who you really are," Matthew Burgess's narrative emphasizes the bravery it takes to follow one's own vision and the encouragement E.E. received to do just that. Matthew Burgess teaches creative writing and composition at Brooklyn College. He is also a writer-in-residence with Teachers & Writers Collaborative, leading poetry workshops in early elementary classrooms since 2001. He was awarded a MacArthur Scholarship while working on his MFA, and he received a grant from The Fund for Poetry. Matthew's poems and essays have appeared in various journals, and his debut collection, Slippers for Elsewhere, was published by UpSet Press. His doctoral dissertation explores childhood spaces in twentieth century autobiography, and he completed his PhD at the CUNY Graduate Center in June 2014. Kris Di Giacomo is an American who has lived in France since childhood. She has illustrated over twenty-five books for French publishers, which have been translated into many languages. This is her sixth book to be published by Enchanted Lion Books. The others are My Dad Is Big And Strong, But . . . , Brief Thief, Me First , The Day I Lost My Superpowers, and

DigiCat Publishing presents to you this special edition of "The Big Sleep" by Raymond Chandler. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

One hundred and fifty-six poems, grouped by theme, are accompanied by drawings, oils, and watercolors by the poet.

Virginia Woolf's playful exploration of a satirical »Oxbridge« became one of the world's most groundbreaking writings on women, writing, fiction, and gender. A Room of One's Own [1929] can be read as one or as six different essays, narrated from an intimate first-person perspective. Actual history blends with narrative and memoir. But perhaps most revolutionary was its address: the book is written by a woman for women. Male readers are compelled to read through women's eyes in a total inversion of the traditional male gaze. VIRGINIA WOOLF [1882–1941] was an English author. With novels like Jacob’s Room [1922], Mrs Dalloway [1925], To the Lighthouse [1927], and Orlando [1928], she became a leading figure of modernism and is considered one of the most important English-language authors of the 20th century. As a thinker, with essays like A Room of One’s Own [1929], Woolf has influenced the women’s movement in many countries.

Reissued with a new preface for the centennial.

In this lecture series, American poet and writer E.E. Cummings discusses his life and work on a personal level. He concludes each lecture with a poetry reading lasting about fifteen minutes. He reads mostly works of other poets.

New York Times Bestseller • Finalist for the National Book Award • Winner of the Anisfield-Wolf Book Award • A Best Book of the Year as chosen by the New York Times (Notable), Seattle Times, San Francisco Chronicle, The Atlantic, St. Louis Post Dispatch, The Oregonian, and Book Page. "Masterful…Evocative and moving." —NPR For twenty-five years, a reclusive American novelist has been writing at the desk she inherited from a young Chilean poet who disappeared at the hands of Pinochet’s secret police; one day a girl claiming to be the poet’s daughter arrives to take it away, sending the writer’s life reeling. Across the ocean, in the leafy suburbs of London, a man caring for his dying wife discovers, among her papers, a lock of hair that unravels a terrible secret. In Jerusalem, an antiques dealer slowly reassembles his father’s study, plundered by the Nazis in Budapest in 1944. Connecting these stories is a desk of many drawers that exerts a power over those who possess it or have given it away. As the narrators of Great House make their confessions, the desk takes on more and more meaning, and comes finally to stand for all that has been taken from them, and all that binds them to what has disappeared. Great House is a story haunted by questions: What do we pass on to our children and how do they absorb our dreams and losses? How do we respond to disappearance, destruction, and change? Nicole Krauss has written a soaring, powerful novel about memory struggling to create a meaningful permanence in the face of inevitable loss. "This is a novel about the long journey of a magnificent desk as it travels through the twentieth century from one owner to the next. It is also a novel about love, exile, the defilements of war, and the restorative power of language." —National Book Award citation