'A draughtsman of words': The Modernist Crafting of Prosodic Intermediality in E. E. Cummings' Fauvist and Cubist Palettes.

In the context of intermedial modernism, this article delves into the Fauvist and Cubist influences of Continental avant-gardes and their painterly crafts on E. E. Cummings' early poems from the 1920s. During this 'Francophile' period in Paris encountering Henri Matisse and Pablo Picasso, Cummings has cultivated a distinct modernist vision that transcends the national, cultural and medium-specific boundaries. His artistic experimentation entails the bold use of wild colours, abstract lines, analytic forms and typographical language. The core of this composite artistry resides in the prosodic intermediality as eccentric craftsmanship exhibited in his 'poempictures.' The poet-painter dedicated himself to a creative transfiguration of linguistic structures and graphic patterns, melding them into alternative modes of expression that reshape our perceptions, affections and multisensual experiences. In doing so, Cummings' intermedial prosody envisions an idiosyncratically avant-garde palette to celebrate the vitality, dynamism and self-transcendence intrinsic to the pluralistic ethos of modernist aesthetics. [ABSTRACT FROM AUTHOR]