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Comment 21 of 101, added on May 1st, 2006 at 7:51 PM.
if you don't get the poem, look at the name i put in. It says poem reader.
that is the kind of format in which this poem is written
Po Emrea Der
from Antigua and Barbuda
Comment 20 of 101, added on April 25th, 2006 at 7:55 AM.
I'm sorry but I really didn't understand what this poem was supposed to
Ellie from United States
Comment 19 of 101, added on March 27th, 2006 at 5:42 PM.
really dont understand why its all a bunch of letters but whatever your the
poet noot i
brittany davis from United States
Comment 18 of 101, added on February 27th, 2006 at 4:49 PM.
i dont understand it
aaron from United States
Comment 17 of 101, added on February 25th, 2006 at 12:57 PM.
(SNOW) cru (is wing Hi) sperf ul lydesc BYS FLUTTERFULLY (IF end begin
design) becend tang lesp ang les (of Come go CRINGE WITHS) lilting lyful
of! s r (BIRDS BECAUSE AGAINS remarkable) sh? y&a (from no into where find)
nd (Are) GLIB (SCARCELY-EST AMONGS FLOWERING)
Her from United States
Comment 16 of 101, added on February 21st, 2006 at 7:01 PM.
It funny how some people think ee cummings in alive. He died a long time
Linda from United States
Comment 15 of 101, added on December 3rd, 2005 at 10:08 AM.
Modern literature very much places the onus of interpretation on the
reader; sometimes poems can be encypted, there to be solved like teasing
crossword puzzles. More often however, the process of decoding a poem is
simply an effort to assume the viewpoint of the poet. "SNOW" is a confusing
poem to read because it doesn't 'read'; when held up against the orthodox
poetic tradition, ee cummings' "SNOW" simply looks childish. Like "L(a" and
"in Just-", the form of the poem reminds one of the illiterate scribbling
of newly-learned letters written randomly in crayon on the page of a
kintergarten scrap book. However, on closer inspection, there is balance
within its disarrayed format. Whole words are hidden within the jumble;
they shine like beacons on a dark runway: they are not to be treated as
keys to a secret door, but nevertheless something tangible to cling on to
amid initial confusion: cruising, whisper, fully, FLUTTER, FULLY, IF, end,
begin, design, tangle, spangle, Come, go, CRINGE, WITH, lilt, of, BIRDS,
BECAUSE, AGAIN, mark, able, from, no, into, where, find, are, GLIB,
SCARCELY, AMONG, FLOWERING are the words that can be picked out whole from
the poem. If we are to work off concepts and imagery (to deduce an
‘argument’ put forward by the poem at this stage would be premature),
already antitheses present themselves. The apposition of “end” and “begin”
(in that order, a reversed chronology), the contradiction of come and go,
fully (twice) and scarcely, the incongruity of birds, flowering, fluttering
and lilting in a poem entitled “snow”.
These contradictions create another level of confusion; the poet is not
lost, but acutely aware that these opposing forces exist, that they ArE.
The broken images of the poem suggest a bewildered author who is unable to
decide which end of the spectrum to “mark” himself, if indeed one’s self is
actually “markable” on a graph: his poem is itself fluttering between two
antipodes. The form of the poem is reminiscent with falling snowflakes in
Winter; each one is different in the same way that the layout of the words
within the lines appears unique. The tone of the poem is more summary and
“flowering.” I am content to draw a conclusion of lack of identity from the
conflicts within the poem, but to picture a scene flowering winter
wonderland is odd. I will admit that e.e.cummings might be pointing towards
the fertility of his imagination in Winter, but I like the idea that the
poem is not just about SNOW, but about NOW. If ‘read’ with the poet’s (or
anyone’s) transience in mind, sense can be gained from the poem as opposed
to Boggle-esque word-spotting. We start off with the relaxed image of
“cruising”. The pace is slow, and the word is spread over three lines. The
mood descends to a rapid awareness of cyclical liminality. As soon as
something finishes, something else is designed and begun straight away
(hence the enjambed “end begi n”). The poet is repressed – the hidden “w
Hi/aper” of the first “stanza” is reaffirmed by the “s)h” of the last- from
start to finish, yet he still manages to get to the end, still manages to
put his thoughts down on paper, even if he hasn’t the courage to spell it
out for everyone to read. Yet it can be heard; by reading the poem aloud,
the apposition between gargle and fully formed words is audible. The Poet
leaves us with an un-fully formed array of sentiments so dense that it
flowers individually within the consciousness of its reader.
Charlie from United Kingdom
Comment 14 of 101, added on November 12th, 2005 at 5:22 PM.
that was amazing...it was like i understood but i didnt know...instead of
reading it i felt it, who says words have to be in order to make
sense?!?!?! i think it was an inspiration...dont let bad comments bring you
down if you confident to write something like that then surely you can
ahndle critezism not that them lyrics would deserve that!
from United Kingdom
Comment 13 of 101, added on October 17th, 2005 at 10:08 PM.
What are u tryin' to say?I like the other 1's,but I don't understand this
1.Its like if u did it fast and put whatever.KEEP UP THE GOOD WORK!(Hey!
I'm not telling u 2 stop writing poems).
Cynthia from United States
Comment 12 of 101, added on August 31st, 2005 at 2:04 AM.
i like cummings poems. they are always fascinating. i've got a feeling that
it is snowing though i cannot make any sense from the words in this poem
"snow". that's ok, right? does anybody could tell me how to put the words
in a reasonable order? i believe there exists one.
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