This volume is a major, ground-breaking study of the modernist E. E. Cummings' engagement with the classics. With his experimental form and syntax, his irreverence, and his rejection of the highbrow, there are probably few current readers who would name Cummings if asked to identify 20th-century Anglophone poets in the Classical tradition. But for most of his life, and even for ten or twenty years after his death, this is how many readers and critics did seeCummings. He specialised in the study of classical literature as an undergraduate at Harvard, and his contemporaries saw him as a 'pagan' poet or a 'Juvenalian' satirist, with an Aristophanic sense of humour. In E.E. Cummings' Modernism and the Classics, Alison Rosenblitt aims to recover for the contemporaryreader this lost understanding of Cummings as a classicizing poet. The book also includes an edition of previously unpublished work by Cummings himself, unearthed from archival research. For the first time, the reader has access to the full scope of Cummings' translations from Horace, Homer, and Greek drama, as well as two short pieces of classically-related prose, a short 'Alcaics' and a previously unknown and classicizing parody of T. S. Eliot's The Waste Land. This new work isexciting in its own right and essential to understanding Cummings' development as a poet.