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Every Force Evolves a Form: Twenty Essays
Author: Guy Davenport
File Type: epub
Guy Davenport demonstrates his unparalleled critical vision as he interprets art, literature, and culture In this collection of 20 essays, Guy Davenport applies his insightful gaze and critical wisdom to topics including modern art and the effects of the automobile on contemporary society. His work ranges from What Are Those Monkeys Doing? in which he links the paintings of Rousseau to the writings of Rimbaud and Flaubert, to Imaginary Americas, a survey of the different roles America has filled in the imagination of Europeans. Davenport, 1 of the foremost American critics and intellectuals of the 20th century, brings his piercing intellect, encyclopedic references, and careful eye for detail to each piece inEvery Force Evolves a Form. Whether writing on the philosophy behind modernism or a study of table manners, the paintings of Henri Rousseau or the design of Shaker handicrafts, Davenport always devotes his full attention and multi-angled analysis to the subject at hand. To read this thought-provoking collection is to see the inner-workings of Davenports brilliant mind, with its varied fascinations and unparalleled insights. **From Publishers Weekly Davenport boldly speculates that W. H. Auden chose to live in New York to insure that he was among humanity at its worst in this century. He compares the essayist Montaigne to a modern tourist he praises E. E. Cummings as a transcendental satyr and the purest American poet since Emily Dickinson. This collection of 20 essays by the author of The Geography of the Imagination is a pleasure to read. Whether he is teaching us how to enter Henri Rousseaus imaginary worlds or grappling with Noah Webster (patriot, cultural hero . . . crank), Davenport approaches each subject from many different angles, peering in, around and through it. His concerns range from the impact of Shaker handicrafts on modern design to how the automobile and real estate interests have obliterated the city as community. He is original even when he is scanning familiar texts by Joyce, Beckett, Nabokov and Pound. 1986 Reed Business Information, Inc. From Library Journal The title is of Shaker origin. Its sense in these 20 essays is that social and cultural force takes its most expressive form in works of art. And because works of art have become too dense and complex, the critic must collaborate with scholar and artist, become in effect a subcreator who helps us to interpret, understand, and appreciate. Davenport doesnt write for lazy readers. But those willing to share his bold, imaginative forays into literature and art, history, anthropology, architecture, and popular culture will find him engaging and enlightening. Whether salvaging work too often neglected (poetry by Charles Olson and Louis Zukofsky), spearing reputations (Noah Webster and the New York Review of Books ), or risking extraordinary comparisons (O. Henry and Conrad), Davenport is always an ideal subcreator. Arthur Waldhorn, English Dept., City Coll., CUNY 1987 Reed Business Information, Inc.
File Type: epub
Guy Davenport demonstrates his unparalleled critical vision as he interprets art, literature, and culture In this collection of 20 essays, Guy Davenport applies his insightful gaze and critical wisdom to topics including modern art and the effects of the automobile on contemporary society. His work ranges from What Are Those Monkeys Doing? in which he links the paintings of Rousseau to the writings of Rimbaud and Flaubert, to Imaginary Americas, a survey of the different roles America has filled in the imagination of Europeans. Davenport, 1 of the foremost American critics and intellectuals of the 20th century, brings his piercing intellect, encyclopedic references, and careful eye for detail to each piece inEvery Force Evolves a Form. Whether writing on the philosophy behind modernism or a study of table manners, the paintings of Henri Rousseau or the design of Shaker handicrafts, Davenport always devotes his full attention and multi-angled analysis to the subject at hand. To read this thought-provoking collection is to see the inner-workings of Davenports brilliant mind, with its varied fascinations and unparalleled insights. **From Publishers Weekly Davenport boldly speculates that W. H. Auden chose to live in New York to insure that he was among humanity at its worst in this century. He compares the essayist Montaigne to a modern tourist he praises E. E. Cummings as a transcendental satyr and the purest American poet since Emily Dickinson. This collection of 20 essays by the author of The Geography of the Imagination is a pleasure to read. Whether he is teaching us how to enter Henri Rousseaus imaginary worlds or grappling with Noah Webster (patriot, cultural hero . . . crank), Davenport approaches each subject from many different angles, peering in, around and through it. His concerns range from the impact of Shaker handicrafts on modern design to how the automobile and real estate interests have obliterated the city as community. He is original even when he is scanning familiar texts by Joyce, Beckett, Nabokov and Pound. 1986 Reed Business Information, Inc. From Library Journal The title is of Shaker origin. Its sense in these 20 essays is that social and cultural force takes its most expressive form in works of art. And because works of art have become too dense and complex, the critic must collaborate with scholar and artist, become in effect a subcreator who helps us to interpret, understand, and appreciate. Davenport doesnt write for lazy readers. But those willing to share his bold, imaginative forays into literature and art, history, anthropology, architecture, and popular culture will find him engaging and enlightening. Whether salvaging work too often neglected (poetry by Charles Olson and Louis Zukofsky), spearing reputations (Noah Webster and the New York Review of Books ), or risking extraordinary comparisons (O. Henry and Conrad), Davenport is always an ideal subcreator. Arthur Waldhorn, English Dept., City Coll., CUNY 1987 Reed Business Information, Inc.
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