The Hunter Gracchus and other papers on literature and art
著者
書誌事項
The Hunter Gracchus and other papers on literature and art
Counterpoint, 1997
- : pbk
大学図書館所蔵 全1件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
内容説明・目次
内容説明
Open the pages of The Hunter Gracchus and step into the remarkable mind of Guy Davenport, one of this countrys most provocative writers. Moving effortlessly from snake handling to Wallace Stevens, these essays take delight in an immense range of topics, including art and architecture, religion, and literature. Open the pages of The Hunter Gracchus and step into the remarkable mind of Guy Davenport, one of this countrys most brilliant and provocative writers. Hardly the typical essay collection, The Hunter Gracchus is better described as a collage of ideas, commentary, and criticism from an eclectic stylist whose sentences ring with clarity and originality.Moving effortlessly from snake handling to Wallace Stevens, these essays take delight in an immense range of topics, including art and architecture, religion and literature--all approached from Davenports deeply personal point of view. In one essay, Davenport recalls a lunch with Thomas Merton at the Ramada Inn, where Merton, already the worlds most famous Trappist monk, drank several martinis and held forth on the architecture of Buddhist temples.
In another, Davenport finds in postwar modernism a catalogue of our lost innocence. In the stunning title essay, he maps out the world of a posthumously published story by Franz Kafka.Davenport has the singular and joyous ability to read into human artifacts--Picassos Guernica , a pattern of bricks, a Shaker design for easy-to-clean revolving windows. His kinetic prose unfolds surprising connections of influence, transporting readers from the world of the intellectual to the world of the extraordinary.The way I write about texts and works of art, Davenport says in his introductory note, has been shaped by forty years of explaining them to students in a classroom. I am not writing for scholars or fellow critics, but for people who like to read, to look at pictures, and to know things.
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