taken from: cumming's poem 'pity the monster'original text:

'pity this busy monster,manunkind,
not. Progress is a comfortable disease:
your victim(death and life safely beyond)plays with the bigness of his littleness
-electrons deify one razorblade
into a mountainrange; lenses extendunwish through curving wherewhen till unwish
returns on its unself.
A world of made
is not a world of born-pity poor fleshand trees,poor stars and stones,but never this
fine specimen of hypermagical
ultraomnipotence. We doctors know
a hopeless case if-listen:there's a hell
of a good universe next door;let's go'

about the quoted person:american poet. Edward Estlin Cummings was born in Cambridge, Massachusetts, in 1894. During the First World War, Cummings worked as an ambulance driver in France, but was interned in a prison camp by the French authorities (an experience recounted in his novel, The Enormous Room) for his outspoken anti-war convictions. After the war, he settled into a life divided between houses in rural Connecticut and Greenwich Village, with frequent visits to Paris.

In his work, Cummings experimented radically with form, punctuation, spelling and syntax, abandoning traditional techniques and structures to create a new, highly idiosyncratic means of poetic expression. Later in his career, he was often criticized for settling into his signature style and not pressing his work towards further evolution. Nevertheless, he attained great popularity, especially among young readers, for the simplicity of his language, his playful mode and his attention to subjects such as war and sex.

Cummings's critical reputation has never matched his popularity. The left-wing critics of the 1930s were only the first to dismiss his work as sentimental and politically naïve. His supporters, however, find value not only in its verbal and visual inventiveness but also in its mystical and anarchistic beliefs.