The N Imagination Critical Essays On N Writing In English

The N Imagination Critical Essays On N Writing In English-30
We miss immediately the achievement upon which the success of the poem depends, its rendering time transparent and negligible, its dismissing the supposed corridors and perspectives down which the historian invites us to look.Pound cancelled in his own mind the disassociations that had been isolating fact from fact for centuries.

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It’s packed with those vivid, meaning-making connections apparent to and privately gathered by common readers, but often excluded from the dossiers handed down to us in school and in most journalistic book review columns. Connell and James Salter, two other American Prose Wizards once published by the lamented North Point Press—but I think it’ll be back down soon.

Davenport’s essay on Eudora Welty, I mean his fantasia on a theme of Eudora Welty, deserves a second look—or a third, or a fourth.

The great modernist archaic, our Montaigne by way of Emerson, whose thoughts elide easily such disparates as Ancient Greece and the Old Testament and Kafka's Prague or Joyce's nightworld, to show us there are no disparities, no true separation, that the human culture which creates the great works of Art is the flame which needs to be kindled, to be carried in a horn through the night as embers for generation unto generation, who makes in these essays a prose-place like eddies out of the River of The great modernist archaic, our Montaigne by way of Emerson, whose thoughts elide easily such disparates as Ancient Greece and the Old Testament and Kafka's Prague or Joyce's nightworld, to show us there are no disparities, no true separation, that the human culture which creates the great works of Art is the flame which needs to be kindled, to be carried in a horn through the night as embers for generation unto generation, who makes in these essays a prose-place like eddies out of the River of Time, where the first thought and the last thought commingle and speak with each other and their voices attend to every force that has evolved a form, and every noble creative impulse is resolved into a concept, a graspable infinite, a gift for humanity.

Our liveliest literary tradition, as usual, is an unknown, even an unsuspected one.

In the 40 essays that constitute this collection, Guy Davenport, one of America's major literary critics, elucidates a range of literary history, encompassing literature, art, philosophy and music, from the ancients to the grand old men of modernism.

Within a few miles of each other in the 1880s, Whitman was putting the last touches to his great book, Eadweard Muybridge was photographing movements milliseconds apart of animals, naked athletes, and women, and Thomas Eakins was painting surgeons, boxers, musicians, wrestlers, and Philadelphians.To have closed the gap between mythology and botany is but one movement of the process; one way to read The Cantos is to go through noting the restorations of relationships now thought to be discrete—the ideogrammatic method was invented for just this purpose.In Pound’s spatial sense of time the past is here, now; its invisibility is our blindness, not its absence.There are no dates in the myths; from when did Heracles stride the earth?In a century obsessed with time, with archeological dating, with the psychological recovery of time (Proust, Freud), Pound has written as if time were unreal, has in fact, treated it as if it were space.A pleasure of reading Davenport is his compression of any given matrix of affinities—the whole lit-crit trainspotting of influences on and influences of—into striking little scenes like that of Degas staying up all night with the Zoopraxia.(When you see Degas’ dancers or his racehorses, see also his colleague in nineteenth century motion study, Muybridge, the London-born San Francisco bookseller who took up photography after a serious brain injury—he was thrown from a stagecoach whose operator had taken to using teams of half-wild mustangs in a bid to increase speed.) It seems that a way with the suggestive fragment, the connective anecdote—“let the song lie in the thing! Davenport and Hugh Kenner (to whom The Geography of the Imagination is dedicated) would say that that is how Pound taught them to write—“ideogrammatically”; but Pound’s poetics are also useful for partisans.The nineteenth century had put everything against the scale of time and discovered that all behavior within time’s monolinear progress was evolutionary. It was Pound’s determination to obliterate such a configuration of time and history, to treat what had become a world of ghosts as a world eternally present.Kenner’s The Pound Era is the best defense/explication any modern writer has had, a spicy masterpiece that can claim an admirer in Vladimir Nabokov—who despised Pound.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. While Davenport confesses to subsisting often on fried bologna, canned soup and candy bars, his reclusive career is one to be celebrated.

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    Herman Northrop Frye CC FRSC July 14, 1912 – January 23, 1991 was a Canadian literary. Frye's contributions to cultural and social criticism spanned a long career. discourse the notion of the role of the imagination in creating meaning. mentality" as the attitude from which Canadian literature has been written.…

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    Be the first to ask a question about The Geography of the Imagination. Whitman a stellar essay, written with verve & feeling. "As a critic, Davenport shines as an intrepid appreciator, an ideal teacher. I wish every English teacher read this book and shared the insights with their. Case 'n point Another Odyssey.…

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