The Death of Picasso: New & Selected Writing, by Guy Davenport
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The Death of Picasso: New & Selected Writing, by Guy Davenport
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A collection of essays and stories showcasing one of America’s most insightful thinkers at his best Featuring both short stories and critical pieces, The Death of Picasso exhibits the versatility and innovative thinking that drives all of Guy Davenport’s work. As a critic, he takes on topics such as Ruskin’s life and influences and Benson Bobrick’s history of English versions of the Bible, through which Davenport explores how translation has affected the text’s interpretation for centuries. Both his fiction and essays contribute to the eternal conversation on how the arts reflect, inform, and influence the human experience. In his short stories, Davenport vividly evokes entire worlds—such as that of a regatta on the Thames or an air show in Northern Italy—with an eye for telling details that typically go unnoticed. Fact and fiction combine and shift forms throughout the collection, for instance, in “The Concord Sonata” when the author manipulates time and space to put thinkers like Thoreau, Wittgenstein, and W. E. B. Du Bois in conversation. Davenport’s uninhibited imagination and singular gaze reveal both the commonplace and the sublime in a new light.
The Death of Picasso: New & Selected Writing, by Guy Davenport- Amazon Sales Rank: #580196 in eBooks
- Published on: 2015-09-01
- Released on: 2015-09-01
- Format: Kindle eBook
From Publishers Weekly Davenport (Da Vinci's Bicycle), author, poet, critic and artist, has gathered 27 essays and stories (some never before published in book form) that span his career, and this collection shows him to be, above all, a masterful stylist. Like Ezra Pound and the Imagists, he uses precise, rhythmic and visual language. His writing is akin to a drawing or haiku, carefully composed and firmly structured, but the language is steeped in intertextuality. Historical, literary and classical allusions abound; in a single paragraph of the title piece, Davenport refers to Goya, Freud, Marcel Jousse, Daumier, van Gogh, Moliere, Alfred Jarry, Ionesco, Klee and Mozart, among others. His essays range from the history of birds in English and American literature ("Every Force Evolves a Form") to an anthropology of table manners, while his short stories tend to focus on historical figures, usually artists or philosophers, often with homoerotic or otherwise sexually charged undertones. Nearly all of his short stories and essays employ discrete paragraphs, either titled or numbered, forcing the reader to slow down and examine each sentence as if it were a poem unto itself. Davenport might fairly be compared to Donald Barthelme, another American author who fuses the high modernist tradition with postmodern collage. The author's fragmented, prismatic, allusive style and overpowering erudition shine through in this collection and that ought to please his fans, but the average reader is well advised to keep a set of encyclopedias on hand in order to digest this volume. Copyright 2003 Reed Business Information, Inc.
From Booklist Who knows where you'll end up once you venture into Davenport territory?^B A stellar stylist with a tantalizingly light touch, rarefied yet relaxed sense of humor, and deep insights into the literary and artistic greats he transforms into fictional characters or boon imaginary companions, Davenport writes with equal imagination and verve about the tanginess of an orange, the mystery of love, quantum physics, music, and a lashing rainstorm. And leave it to this prolific writer, artist, translator, and scholar to select 27 pieces from his rich and complex oeuvre, many never collected before, and assemble them into a dazzling collage neither introduced nor organized into categories. Readers are on their own as they enter scenes of erotic passion between young men or touchstone moments real or concocted in the lives of Kafka, Van Gogh, Thoreau, and other Davenport heroes. This endlessly intriguing gathering of stories and essays is a perfect introduction to this cosmopolitan yet earthy writer even as it offers fresh revelations to those already initiated into Davenport's alchemy. Donna SeamanCopyright © American Library Association. All rights reserved
Review "Davenport is among the very few truly original, truly autonomous voices now audible in American letters."
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21 of 22 people found the following review helpful. A Perfect Introduction to the Only Author I Re-Read By A Customer The title story of this generous new collection is one of my all-time favorites. I read voraciously, and have several favorite authors, but Davenport is the only one I habitually return to and re-read. DEATH OF PICASSO will introduce you properly to the MacArthur genius award recipient who remains largely unknown despite being arguably the nation's finest stylist. Guy Davenport's fictions are multi-layered delights. You can root around in them again and again, each time finding new nuggets and making new connections and cross-connections to his other work and to the larger world of fact and literature. D of P includes not just fictions but also criticism, which in Davenport's case mean not dull stuff for insiders but richly detailed and entertaining adventures. If you are looking for enormous talent and knowledge, displayed in writing that always delights, Davenport deserves your attention. The only thing lacking in D of P is his excellent drawings, which he has from time to time employed to add still another layer to his unique confections. Take a chance, buy this book. You may find that you have stumbled across the author you should have been reading all along.
3 of 3 people found the following review helpful. Dinner at the Bank of England By Geoff Puterbaugh "The Death of Picasso" is a fairly typical production by Guy Davenport: surprising on almost every page, and nothing more surprising than the lovely sketch, "Dinner at the Bank of England," which describes the eminent philosopher George Santayana arriving to have dinner with the young British soldier in charge of guarding the bank.This is an absolutely lovely piece of writing, which brings out the virile beauty of the young British soldier just as clearly as it emphasizes the extraordinary clarity and beauty of Santayana's thought. Santayana, typically, enjoys what is there for the taking (the soldier's beauty and young spirit), enjoys his dinner, and then shuffles off, back to his hotel, well content. The handsome young soldier was happy as well: he had just invited the world's most eminent philosopher to dine, and somehow that invitation worked.---Updated review------Santayana's account of this evening is in his autobiography, "Persons & Places," volume II, "The Middle Span." Davenport obviously mined this source to produce his story's framework, but the dialogue is all original with Davenport.However, there is more to the story. As Santayana tells it, he was on board another ship when he got a message asking for him --- from the head of the table. And there was the handsome young guard from thirteen years ago. By now, of course, 25 had turned into 38, and the beauty was pretty much gone. Rather chillingly, Santayana tells us how he discouraged the renewal of the friendship --- in fact, how he gave the soldier (now married, with a family) the social "cut" of the scholar.Many people have called George Santayana a cold fish, and right here is one of the reasons why. I wonder why Davenport's imagination couldn't carry him into this encounter.
3 of 4 people found the following review helpful. The Polymath's Guide to the Universe By mingdom A remarkable collection by a writer who should be read by anyone who is interested is everything. Here is one of many such paragraphs which just leaves you a little breathless"Now I Yosef was walking and I walked not. And I looked up into the air and saw the air in amazement, for the clouds were standing still, a hawk was fixed in its flight, neither going forward nor falling, and the earth had stopped turning on its axle. And I looked about me and saw workmen at their dish, some with their spoons halfway to their mouths, motionless. And I saw sheep being driven but they were not and stood still, and their shepherd had raised his staff and it came not down. And at the river where his kids had gone to drink, their mouths were upon the water and they drank not. And the smoke from a fire under a pot in a yard rose not and was like a picture on the wall of a house of the Romans. A waft of dust that the wind had lifted hung in the air. Then of a sudden all things moved forward in their courses"
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