Introduction
This essay explores E.E. Cummings’ poem “next to of course god america i,” first published in 1926, as a significant piece of American literature that challenges conventional notions of patriotism and nationalism. Written in the interwar period, a time of disillusionment following World War I, the poem employs satire, unconventional syntax, and fragmented language to critique blind nationalistic fervor and the dehumanization inherent in war rhetoric. Through a detailed analysis of its form, themes, and historical context, this essay aims to elucidate how Cummings uses linguistic innovation to subvert traditional patriotic discourse. The discussion will be structured into three key sections: the historical and cultural backdrop of the poem, its structural and stylistic elements, and the central themes of nationalism and dehumanization. By examining these aspects, this essay will demonstrate Cummings’ critical engagement with American identity and the dangers of uncritical devotion to national ideals.
Historical and Cultural Context
Understanding the context in which “next to of course god america i” was written is essential to appreciating its satirical bite. The poem emerged in the aftermath of World War I, a conflict that left many Americans disillusioned with the ideals of heroism and national pride that had been propagated through wartime propaganda. As Anderson (2008) notes, the 1920s saw a growing skepticism toward government and military rhetoric, particularly among intellectuals and artists who witnessed the devastating human cost of the war. Cummings himself served as an ambulance driver during the war and was briefly imprisoned for his perceived anti-war sentiments, an experience that likely shaped his critical perspective on authority and nationalism (Kennedy, 1994).
Furthermore, the interwar period in America was marked by a surge in patriotic sentiment alongside isolationist policies, as the nation grappled with its role on the global stage. This duality—celebrating American exceptionalism while withdrawing from international conflicts—created a fertile ground for satire. Cummings’ poem, therefore, can be seen as a response to the hollow jingoism of the era, parodying the speeches of politicians and patriots who invoked God and country without regard for the human lives sacrificed in the name of such ideals. This historical framing allows readers to grasp the poem’s relevance as a critique not only of its time but also of enduring patterns of nationalistic rhetoric.
Form and Style: Linguistic Innovation as Critique
One of the most striking features of “next to of course god america i” is its unconventional form and style, which mirror the fragmented and chaotic nature of the ideas it critiques. Cummings disregards traditional punctuation and capitalization—a hallmark of his poetic style—thereby disrupting the reader’s expectation of coherent, formal discourse. For instance, the poem’s opening line, “next to of course god america i / love you land of the pilgrims’ and so on oh,” mimics the rushed, clichéd language of a patriotic speech, piling platitudes without pause or reflection (Cummings, 1926). This lack of punctuation creates a breathless tone, arguably reflecting the speaker’s uncritical fervor or even the manipulative intent behind such rhetoric.
Moreover, Cummings weaves together fragments of familiar patriotic songs and sayings, such as references to “the land of the pilgrims” and “by gorry / by jingo by gee by gosh by gum,” to expose their emptiness when stripped of context. As Sawyer-Lauçanno (2004) argues, this collage-like structure undermines the sanctity of these phrases, revealing them as mere slogans rather than meaningful expressions of value. The poem’s form, therefore, is not merely experimental for its own sake; rather, it serves a critical function by deconstructing the language of nationalism. Indeed, the deliberate chaos of the text forces readers to question the coherence and sincerity of the speaker’s message, a technique that aligns with Cummings’ broader project of challenging societal norms through art.
Themes: Nationalism and Dehumanization
At its core, “next to of course god america i” interrogates the interplay between nationalism and the dehumanization of individuals, particularly in the context of war. The speaker’s monologue is littered with patriotic clichés, yet it abruptly shifts to the chilling image of soldiers who “did not stop to think they died instead” (Cummings, 1926). This line starkly contrasts the glorified rhetoric of the preceding verses, highlighting the human cost of blind loyalty. As Friedman (1996) suggests, Cummings uses this juxtaposition to expose the disconnect between the grandiose ideals of nationalism and the brutal reality of death in war, a reality often glossed over by those in power.
Additionally, the poem critiques the manipulation of language to sanitize violence. Phrases like “heroic happy dead” are laden with irony, as they transform tragic loss into a cause for celebration (Cummings, 1926). This linguistic distortion, according to Kennedy (1994), reflects how propaganda reduces individuals to mere statistics or symbols of national pride, stripping them of their humanity. By presenting such rhetoric through the voice of a seemingly unreflective speaker, Cummings invites readers to recognize the dangers of accepting such narratives at face value. Indeed, the poem’s closing question—“shall the voice of liberty be mute?”—can be read as a sarcastic jab at the suppression of dissent under the guise of protecting freedom, further underscoring the hypocrisy at the heart of extreme nationalism (Cummings, 1926).
Conclusion
In conclusion, E.E. Cummings’ “next to of course god america i” stands as a powerful critique of patriotism and nationalism, using both form and content to challenge the rhetoric that glorifies war and suppresses individual thought. Through its historical context, the poem reflects the disillusionment of the interwar period, capturing the tension between American exceptionalism and the harsh realities of conflict. Stylistically, Cummings’ innovative use of language and structure deconstructs patriotic clichés, exposing their hollowness, while thematically, the work highlights the dehumanizing effects of nationalistic fervor. This analysis reveals Cummings’ broader critique of societal norms and the dangers of uncritical devotion to authority. The implications of this poem remain relevant today, as debates over national identity and military intervention continue to shape public discourse. Ultimately, Cummings’ work serves as a reminder of the importance of questioning dominant narratives, ensuring that the “voice of liberty” does not become a tool for oppression but a call for genuine reflection and humanity.
References
- Anderson, D. (2008) Modernism and the American Experience. Cambridge University Press.
- Cummings, E.E. (1926) is 5. Liveright Publishing Corporation.
- Friedman, N. (1996) E.E. Cummings: The Art of His Poetry. Johns Hopkins University Press.
- Kennedy, R.C. (1994) Dreams in the Mirror: A Biography of E.E. Cummings. Liveright Publishing Corporation.
- Sawyer-Lauçanno, C. (2004) E.E. Cummings: A Biography. Sourcebooks, Inc.
