poems with unconventional punctuation and capitalization, and unusual

line, word, and even letter placements - namely, ideograms. Cummings'

most difficult form of prose is probably the ideogram; it is extremely

terse and it combines both visual and auditory elements. There may be

sounds or characters on the page that cannot be verbalized or cannot

convey 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

the top of the poem, where he finds 'mortals)'. Placing '(im' at the

Finally, '(im' on the last line should bring the reader's eyes back to

Friedman, Norman. E. E. Cummings: A Collection of Critical

preceding the last letter. This shows that even though the poem is

the end of the poem is showing that after the poet has finally named

utters his first word, he must describe the object, and that it is

might be called and emphatic (=very)." This poem is also concerns the

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