A Table of Green Fields: Ten Stories by Guy Davenport

By Guy Davenport

From Library Journal:

"Connoisseurs of paintings, background, faith, and literature will experience this advantageous choice of ten tales by way of one among America's so much erudite writers. even if the tone is frequently playful, Davenport layers each one tale with various allusions and relatively imprecise meanings that maybe simply the main scholarly readers will totally get pleasure from. an excellent instance is "Meleager,'' during which the sexual play of 2 boys is juxtaposed with descriptions of geometry. one other is "And,'' a snippet (nine paragraphs) of a parable within which Jesus scatters seeds on a river. extra pleasing are the longer stories, particularly "O Gadjo Niglo,'' a touching love tale advised through Eros, and "Gunner and Nikolai,'' with its shock finishing. Male sexuality is the primary topic, one the writer provides with mild yet in actual fact severe purpose. The title--a tale in itself--is taken from Falstaff's loss of life imaginative and prescient, encouraged through the twenty third Psalm. It makes a such a lot becoming image for this most original and innovative assortment. hugely recommended."

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64 ``[P]otential lechery'' and ``chasing skirts'' are consistently linked, in the Diary, with his incessant novel reading, and the combination throws him into a ``Dostoevskian state'' which is alleviated only by reminders of the importance of ``eliminat[ing] elements of worry out of The Celtic muse 23 my work. ''66 But A Diary reveals a more troubling ``element of worry,'' for the sexual longing Malinowski feels for his ®anceÂe and the fantasies he has about native women become inextricably associated with his ethnographic work, a psychic reality that is condensed, like the language of a dream, into the repeated image of mosquito netting, which serves as a metonymy for the ethnographer's isolation in the ®eld.

B. Yeats: A Life, which plainly indicates the depth of Yeats's commitment to Revivalist ideas and strategies and his willingness to modify them, especially after the meteoric success and early death of Synge. 2 It is signi®cant that critics now speak of multiple political identities, for one of the things that new historical criticism has yielded is a more re®ned sense of Yeats's nationalist af®liations and loyalties which were, as I have suggested in the introduction, complicated by his Anglo-Irish background.

Chapter 5 considers the development of Joyce's critique of Revivalism in Dubliners and A Portrait of the Artist as Young Man, focusing on the native intellectual who unwittingly accepts a primitivist discourse and thus unwittingly misrepre- 38 Modernism and the Celtic Revival sents his ``own'' culture. Though Joyce did not have to contend with the charges of elitism or irrelevance that were often lodged against Yeats and Synge, he recognized that his own position as a collegeeducated Catholic Dubliner put him at a considerable distance from rural Ireland.

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