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This week, I’ve posted around the uncontroversial contention that literary criticism is nothing if it isn’t reading closely, quoting abundantly, and parsing carefully. In the course of commenting on such concerns, one reader wrote to say he thought I was suggesting that Guy Davenport wasn’t a good literary critic. Although I still find myself unconvinced that I made any such suggestion, if even one reader could suppose such a thing, I feel I’m duty bound to make the following statement: Find me a better literary critic than Davenport in the past 50 years and I’ll buy you a pony.
The confusion, I suppose, comes from Davenport’s multiple capacities. He was a painter, an illustrator, a draftsman, a carpenter; a poet, a translator, a fiction writer, an essayist; and, too, he was a literary critic. But the fortune-cookie wisdom of “jack of all trades, master of none,” surely does not apply in Davenport’s case. He was simply deeply able at most of the activities to which his attention turned. He was capacious, capable de tout.
One piece of criticism (of many) of Davenport’s to which I return every year is “Another Odyssey,” a 1967 review of Richard Lattimore’s translation of The Odyssey that first appeared in Arion and was later collected in Davenport’s The Geography of the Imagination: 40 Essays on Literature and Art. As much as the essay is a showcase for Davenport’s gifts as a reader and a writer, it’s also an object lesson in active reading and clear writing thereabout.
In Davenport, you get an eye and ear tuned this sharp and fine:
More from Wyatt Mason:
Conversation — October 2, 2015, 8:26 am
“By committing to the great emotional extremes demanded by Greek tragedy,” says Bryan Doerries, author of The Theater of War, “the actors are in effect saying to the audience: ‘If you want to match our emotional intensity, that would be fine.’”
Chances that a body of water in Mexico is too contaminated to swim in:
Sensory analysts created the perfect cheese sandwich.
Trump issued an executive memorandum expediting the construction of the Dakota Access Pipeline, and the U.S. Army Corps of Engineers issued the permits required to complete the project to Energy Transfer Partners, a company in which Trump once had a stake of as much as $1 million.
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"It is an interesting and somewhat macabre parlor game to play at a large gathering of one’s acquaintances: to speculate who in a showdown would go Nazi. By now, I think I know. I have gone through the experience many times—in Germany, in Austria, and in France. I have come to know the types: the born Nazis, the Nazis whom democracy itself has created, the certain-to-be fellow-travelers. And I also know those who never, under any conceivable circumstances, would become Nazis."