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The Geography of the Imagination: Forty…
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The Geography of the Imagination: Forty Essays (original 1981; udgave 1997)

af Guy Davenport (Forfatter)

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488850,772 (4.31)11
In the 40 essays that constitute this collection, Guy Davenport, provides links between art and literature, music and sculpture, modernist poets and classic philosophers, the past and present. And pretty much everything in between. Not only has he seemingly read (and often translated from the original languages) everything in print, he also has the ability, expressed with unalloyed enthusiasm, to make the connections, to see how cultural synapses make, define, and reflect our civilization. He serves as our guide through history and literature, pointing out the values and avenues of thought that have shaped our ideas and our thinking.… (mere)
Medlem:13th.sign
Titel:The Geography of the Imagination: Forty Essays
Forfattere:Guy Davenport (Forfatter)
Info:David R. Godine, Publisher (1997), Edition: n Reprint, 384 pages
Samlinger:Dit bibliotek
Vurdering:
Nøgleord:to-read

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The Geography of the Imagination af Guy Davenport (1981)

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I continue to enjoy essay collections from the '50s, '60s, and '70s (this one a current re-issue). Most of the essays here are very dense. It sometimes felt like Davenport was simply 'erudition dumping' - so many references. But the central argument(s) and idea(s) of each piece always came through. In one of the latter essays, it became apparent that many of the writers he discusses were good friends or, at least, acquaintances. This made me wonder if they are the vital artists he makes them out to be. Still, an enlightening read. One minor complaint with this edition but I hate when the publication date (or year) of each piece isn't provided in any easily identifiable way. Perhaps it is OCD on my part. Recommend. ( )
  heggiep | Mar 29, 2024 |
I do not pretend the ability to read Guy Davenport properly. I have neither the background or education in the classics and/or poetry to intelligently discuss his erudite, esoteric works, but I do continually try to "find a mode of perception other than one's own."
Mr. Davenport has pointed me in the direction of many, many perceptions/ world views. I am grateful. I look forward to following his leads, and reading more of his words. ( )
1 stem mortalfool | Jul 10, 2021 |
Our liveliest literary tradition, as usual, is an unknown, even an unsuspected one.


Being fair, I likely rounded up as I think this would've been pristine were it 31 or 32 essays rather than 40. Many reviewers have noted that this is a master class of sorts; well, it is of a certain reading/poetic ideology. Yeah, I used that word. While Davenport confesses to subsisting often on fried bologna, canned soup and candy bars, his reclusive career is one to be celebrated. There may be cost to such a choice. Davenport is a follower of Ezra Pound. This extends to the authors elected to his poetic canon in the [b:ABC of Reading|145108|ABC of Reading|Ezra Pound|https://images.gr-assets.com/books/1347568729s/145108.jpg|140013] and [b:Literary Essays of Ezra Pound|145107|Literary Essays of Ezra Pound|Ezra Pound|https://images.gr-assets.com/books/1347579025s/145107.jpg|140012]. This is sort of accepted without question. No need for everyone to learn Provencal but maybe someone should consider the merits of Auden or Gruppe 47?


It was wonderful learning about some new poets: Ronald Johnson features on my immediate horizon and I may now have sufficient impetus to purse Hugh Kenner's magnum opus. Yet questions remain, even-hound. Why exactly Eudora Weltry? I appreciate the situating of her plotlines into a Persephone tradition but still?


Despite the objections, there is much to marvel. I remain unsure of what my immediate course will be. Olsen and Duncan still intimidate but the essay on Whitman is one for the ages. ( )
  jonfaith | Feb 22, 2019 |
The essays collected hear will point you to writers, poets, and artists that you must have a relationship with. Many are introductions to, or critiques of, the works of others; some are brief biographies; others seem to be simply exceptionally lucid and attentive forays into whatever Davenport was thinking about at the time.

It's difficult to describe this wide-ranging adn erudite collection, but I will say that, after reading all of it, I am left with the nagging desire to spend the rest of my life studying at Davenport's feet. Unfortunately, he's no longer with us, except in collections such as this.

I expect to read these essays over and over, as I try to extract what I can from my reading of the best of literature 9archaic and modern), because Davenport touches on so much, and ties so much of the best works together.

Os. ( )
1 stem Osbaldistone | May 21, 2009 |
I go back to this book when I am feeling too tired to read anything new, or feeling dull or complacent. Most of these essays involve making connections among writers and books and ideas, getting to the heart of a book I've never read in a way that gets me excited to pick it up. ( )
1 stem emilymcmc | May 21, 2007 |
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The difference between the Parthenon and the World Trade Centre, 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 a difference of imagination.
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In the 40 essays that constitute this collection, Guy Davenport, provides links between art and literature, music and sculpture, modernist poets and classic philosophers, the past and present. And pretty much everything in between. Not only has he seemingly read (and often translated from the original languages) everything in print, he also has the ability, expressed with unalloyed enthusiasm, to make the connections, to see how cultural synapses make, define, and reflect our civilization. He serves as our guide through history and literature, pointing out the values and avenues of thought that have shaped our ideas and our thinking.

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