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The Guy Davenport Reader, by Guy Davenport
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“The difference between the Parthenon and the World Trade Center, between a French wine glass and a German beer mug, between Bach and John Philip Sousa, between Sophocles and Shakespeare, between a bicycle and a horse, though explicable by historical moment, necessity, and destiny, is before all else a difference of imagination.
The imagination is like the drunk man who has lost his watch, and must get drunk again to find it. It is as intimate as speech and custom, and to trace its ways we need to re-educate our eyes.”—Guy Davenport
Modernism spawned the greatest explosion of art, architecture, literature, painting, music, and dance of any era since the Renaissance. In its long unfolding, from Yeats, Pound and Eliot to Picasso and Matisse, from Diaghilev and Balanchine to Cunningham and Stravinsky and Cage, the work of Modernism has provided the cultural vocabulary of our time.
One of the last pure Modernists, Guy Davenport was perhaps the finest stylist and most protean craftsman of his generation. Publishing more than two dozen books of fiction, essays, poetry and translations over a career of more than forty years, he was awarded a MacArthur Fellowship in 1990. In poetry and prose, Davenport drew upon the most archaic and the most modern of influences to create what he called “assemblages”—lush experiments that often defy classification. Woven throughout is a radical and coherent philosophy of desire, design and human happiness. But never before has Davenport’s fiction, nonfiction, poetry and translations been collected together in one compendium. Eight years after his death, The Guy Davenport Reader offers the first true introduction to the far-ranging work of this neglected genius.
- Sales Rank: #782015 in eBooks
- Published on: 2013-07-01
- Released on: 2013-07-01
- Format: Kindle eBook
From Bookforum
Reece, a former student and longtime friend of Davenport’s, has edited the first posthumous survey of his achievement. Davenport was an exceedingly private man, unlikely to be the subject of a biography, so one of the reasons we should welcome The Guy Davenport Reader is for its glimpses into a personality that was mostly subsumed in his work. Reece’s own contribution, a postscript reminiscence, gives a sense of Davenport’s humor and charisma without papering over his flaws: a prickly temperament that could seem chilly and aloof, and a tendency to expect so much from friendship that he suffered frequent bouts of loneliness, the flip side of his productive habits of solitude. —James Gibbons
Review
"Guy Davenport seems comfortable in any genre... For whatever else he is, Davenport is an entertainer ... to the point of being able to take literary dullards like Kafka and Poe and turn them, too, into charming entertainers."RALPH
About the Author
Guy Davenport was born in South Carolina and lived for more than forty years in Lexington, Kentucky, where he died in 2005. The author of more than twenty books, including Geography Of The Imagination, Eclogues and The Death Of Picasso, he was also a distinguished professor at the University of Kentucky and a MacArthur Fellow in 1990.
Erik Reece, himself a student of Davenport and now his literary executor, is also the author of Lost Mountain, An American Gospel and Field Work.
Most helpful customer reviews
21 of 21 people found the following review helpful.
Good Introduction to the Astonishing Prof. Davenport
By SocJan
Today I had a phone call from an 83-year-old stranger who turned out to be another enthusiastic reader of Guy Davenport. She told me she has a rule: "Read anything by Guy Davenport, and in less than 48 hours something unfamiliar that he has mentioned will pop up in another book or article or in conversation." I add: And you will pay attention to it in a way you would not have without Davenport.
Guy Davenport can change your life, enriching it immediately via essays and stories whose subjects and language bring smiles to your face -- and in the long run by sending you forth on expeditions into fields you never thought you would want to explore.
I've been at it for thirty years and there is no end in sight.
THE GUY DAVENPORT READER is not for those of us who are already familiar with his wide ranging work, however.
Except for the brief introduction and thoughtful afterword by Erik Reece, Davenport's literary executor, nothing here is new.
But for those just discovering Davenport this book collects in a single volume highly accessible samplings of his essays (not at all stuffy) and his short stories (unlike anyone else's). Sometimes you can't tell which is which: Is "The Concord Sonata" a "necessary fiction" or is it an essay? Also here are samples of his lively translations of the earliest Greek poets and of his own poetry.
Guy Davenport's "radical innocence", as Reece terms it, means he was not afraid of sex. No one captures adolescent sexuality more frankly, wittily, and calmly than Davenport. His stories reflecting ideas of Charles Fourier are explorations of a world we don't live in, where sex is not fraught. That world may be unrealistically utopian, but we visit it with profit, contrasting our "real" world with Davenport's imaginary one of mutual respect and kind thoughtfulness. "Gunnar and Nicolai" is reprinted here, one of my favorites.
The many pleasures of reading Davenport begin with his highly idiosyncratic diction. THE OXTER ENGLISH DICTIONARY, thin but not as thin as its punning title suggests, is limited to words that Davenport and a handful of other modern masters rediscovered and restored to English. Their enhanced vocabulary allowed them to write with great precision, and allow us the pleasure of discovering words that capture ideas and distinctions known to our ancestors but now all but lost.
And then there are Davenport's inventive approaches to creating "fictional" texts, including textual collage. In the middle of a Davenport paragraph you may detect sentences by another author, tucked seamlessly in so that you do not always notice them. (DeFoe, for example: fragments of ROBINSON CRUSOE hidden in "A Field of Snow on a Slope of the Rosenberg".)
And who else would create a story whose first and last "sentences" are beautifully-executed crow quill pen and ink images that he drew himself? (Davenport was an accomplished draughtsman and painter.)
For most readers, Davenport's is a voice unlike any we have heard before. He astonishes and delights. He inspires us to start paying the sort of attention that he did.
The more Davenport you read, the more you understand the Davenport you have already read; but also -- and this is the wonder of it, the more you understand the physical world and the world of ideas.
Give this book to any intelligent young person who might like to see what a (self-, in Davenport's case) educated mind is capable of. He richly exemplifies the adage "Don't let school get in the way of your education".
Hell, why should the young have all the fun? Give THE GUY DAVENPORT READER to any jaded older person still up to a pleasant and rewarding challenge.
If that's you, buy yourself a copy.
2 of 2 people found the following review helpful.
davenport" you can get a free copy of some of davenport's beautiful translation work
By Jim
If you Google "PDF, Diogenes, davenport" you can get a free copy of some of davenport's beautiful translation work, but he's such a not famous writer (a really almost, like the band that wouldn't sign to a major label) that you really have to grab a book to read his essays, which are a bit heady, but rewarding. I think he turned me on to new ideas and artists that I'd never really get to thinking about otherwise. His fiction is a bit odd (the short piece "And" is stunning) in that it riffs on real life figures (artists, at least half the time) which is fun if you're into moderns, and the afterword that the editor wrote really helped me get a sense of Davenport that made me want to read more. If yr skeptical, buy a used copy. A nice introduction or return to The author.
4 of 4 people found the following review helpful.
The geographer of the imagination
By david rollison
Guy Davenport was one of the great cultural, literary and historical critics of the twentieth century. This collection introduced me to his fiction and poetry, and, not least, to his translations of classical aphorisms.
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