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However, the lack of punctuation at the end of the stanza, the running on of the sentence from this stanza to the next, means that the reader will no doubt carry on without stopping. P o e t r y f o r S t u d e n t s , V o l u m e 3 0 In stanza 3, the speaker reveals that there were no real horses; she was not the child of wealthy horse owners; her stable was actually a grove of willow trees down near an old canal. Paul Crumbley, writing in Body My House, notes that this was the actual canal near where Swenson lived as a child.

Swenson is nontraditional in the sense that she is highly original (as noted by Alicia Ostriker, for one, in Writing Like a Woman) and, in the view of John Hollander, writing in The Work of Poetry, hard to categorize. Hollander writes that Swenson’s poems are ‘‘systematically ad hoc,’’ adding that there is ‘‘no classifying term for [the] organizing principle’’ of her poetry; she puts her poems together, he states, according to personal principles. McElveen also compares Swenson to the English romantic poet William Blake, in the sense that both of them composed poetry that works on several levels.

Cummings has written, just as they often adopt the superficial attitudes of Swinburne and Keats. The curious thing about Mr. Cummings’ influence is that his imitators have been able to emulate as well as ape him; which is not so frequently the case with the influence of Swinburne and Keats. . There is one attitude towards Mr. Cummings’ language which has deceived those who hold it. The typographical peculiarities of his verse have caught and irritated public attention. Excessive hyphenation of single words, the use of lower case ‘‘i,’’ the breaking of lines, the insertion of punctuation between the letters of a word, and so on, will have a possible critical importance to the textual scholarship of the future; but extensive consideration of these peculiarities to-day has very little importance, carries almost no reference to the meaning of the poems.

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