ction of Critical Essays. New Jersey: Prentice-Hall, Inc., 1972. Kidder, Rushworth M. E. E. Cummings: An Introduction to the Poetry. New York: Columbia University Press, 1979. Marks, Barry A. E. E. Cummings. New York: Twayne Publishers, Inc., 1964. Triem, Eve. E. E. Cummings. Minneapolis: University of Minnesota Press, 1969. Wegner, Robert E. The Poetry and Prose of E. E. Cummings. New York: Harcourt, Brace & World, Inc., 1965.E. E. Cummings, who was born in 1894 and died in 1962, wrote many poems with unconventional punctuation and capitalization, and unusual line, word, and even letter placements. Cummings' most difficult form of prose is probably the ideogram; it is extremely short and it combines both visual and aural elements. There may be sounds or characters on the page that cannot be said or cannot carry the same message if pronounced and not read. Four of Cummings' poems - l(a, mortals), !blac, and swi illustrate the ideogram form quite well. Cummings utilizes unique syntax in these poems in order to convey messages visually as well as verbally. Although one may think of l(a as a poem of sadness and loneliness, Cummings probably did not intend that. “This poem is about individuality ; oneness” (Kid 200-1). The theme of oneness can be derived from the numerous instances and forms of the number '1' throughout the poem. First, 'l(a' contains both the number 1 and the singular indefinite article, 'a'; the second line contains the French singular definite article, 'le'; 'll' on the fifth line represents two ones; 'one' on the 7th line spells the number out; the 8th line, 'l', isolates the number; and 'iness', the last line, can mean "the state of being I" - that is, individuality - or "oneness", deriving the "one" from the lowercase roman numeral 'i' (200). Cummings could have simplified this poem drastically ("a leaf falls:/loneliness"), and still conveyed the same verbal message, but he has altered the normal syntax ...
