Classic and Contemporary Poetry: Explained

In "No Thanks: 9," E.E. Cummings delivers a satirical and fragmented critique of modernity, progress, and the spectacle of political power, using his characteristic style of wordplay, unconventional syntax, and visual arrangement. The poem's structure mimics the chaotic, often disjointed nature of contemporary media and the hollow spectacle of political pageantry.

The poem begins with the phrase "o pr," which immediately cuts off before completing the word "progress." This truncation is both playful and meaningful, suggesting that the notion of "progress" is itself incomplete, or perhaps that it is something that is continually interrupted or disrupted in the real world. The following lines—"gress verily thou art m / mentous superc / lossal hyperpr / digious etc"—are a mock-heroic invocation of progress, with Cummings layering increasingly grandiose and absurd modifiers to emphasize how progress is often celebrated in exaggerated terms. The "etc" at the end of this sequence serves to underline the superficiality and emptiness of these accolades.

The poem then shifts to a direct address: "i kn / w & if you d / n't why g / to yonder s / called newsreel s / called theatre." Here, Cummings is inviting the reader (or perhaps a more general audience) to witness the spectacle of progress for themselves by going to a "so-called" newsreel or theater. The use of "so-called" questions the legitimacy or authenticity of these media, suggesting that what is presented as news or entertainment is actually a constructed, perhaps misleading, representation of reality.

As the poem continues, Cummings presents a fragmented, repetitive, and increasingly absurd depiction of the President of the United States: "Id The / (The president The / president of The president / of the The)president of." This repetition and fragmentation serves to deconstruct the title of "President," reducing it to a series of empty phrases that lose their meaning through overuse. The effect is to highlight the emptiness of political titles and the way in which they are often paraded around without substance.

The poem then builds to the phrase "the(united The president of the / united states The president of the united / states of The President Of The) United States / Of America," again emphasizing the grandiosity and the repetitive, almost ritualistic nature of political speech and imagery. The use of parentheses and repetition suggests that the title itself has become a kind of performance, detached from the actual person or the office's supposed significance.

Cummings adds a Latin phrase, "unde negant redire quemquam," which roughly translates to "from where they say no one returns." This classical allusion introduces a sense of fatalism or inevitability, suggesting that the political spectacle is something from which there is no escape—once one enters this world of performance and grandiosity, they are trapped in it.

The poem ends with a visual element: "thr / w / i / n / g / a / b / aseball," with the word "throwing a baseball" stretched out vertically across the page. This visual effect mimics the action of throwing a baseball, likely referencing the ceremonial first pitch often thrown by U.S. presidents at the start of a baseball game. This final image serves as a commentary on the trivialization of political office, reducing the role of the president to a performer in a banal, everyday ritual. The act of throwing a baseball, which should be an insignificant gesture, is inflated to become a momentous event simply because of who is performing it.

Overall, "No Thanks: 9" by E.E. Cummings is a sharp critique of the superficiality and spectacle of modern progress and political power. Through his fragmented language, repetition, and playful visual elements, Cummings deconstructs the notion of progress and questions the authenticity of political rituals and titles. The poem invites readers to see through the grandiose language and ceremonial acts, revealing the emptiness that often lies beneath.

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