Guy Davenport's A Table of Green Fields: Ten Stories PDF

By Guy Davenport

ISBN-10: 0811212513

ISBN-13: 9780811212519

From Library Journal:

"Connoisseurs of paintings, historical past, faith, and literature will experience this fantastic choice of ten tales via considered one of America's so much erudite writers. even though the tone is frequently playful, Davenport layers each one tale with numerous allusions and particularly vague meanings that maybe in simple terms the main scholarly readers will absolutely savour. a superb instance is "Meleager,'' within 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 fulfilling are the longer stories, in particular "O Gadjo Niglo,'' a touching love tale instructed via Eros, and "Gunner and Nikolai,'' with its shock finishing. Male sexuality is the principal topic, one the writer provides with mild yet truly severe rationale. The title--a tale in itself--is taken from Falstaff's loss of life imaginative and prescient, encouraged via the twenty third Psalm. It makes a such a lot becoming image for this most original and ingenious assortment. hugely recommended."

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Additional resources for A Table of Green Fields: Ten Stories

Sample text

Placed in a modernist aesthetic trajectory that might include works such as Kasimir Malevich’s “White on White” paintings or John Cage’s Silence recordings, Gerz’s work might seem to mark the logical extreme at which the elevation of form over real experience becomes both absurd and self-defeating: precisely at the moment of art’s engagement with the plane of the real (here, the history of German Jews), it promptly erases itself. In this context, , Stones appears to justify by its own negative example the gradual but wholesale condemnation of structuralism and formalism that has accompanied the recent ascendancy of history in critical discourse.

Friedrich Nietzsche “On the Uses and Disadvantages of History for Life” In the dark, early morning hours of a spring night in , a group of unlikely urban guerrillas entered the public square that fronts the Saarbr¨ucker Schloss, a historic castle in the city of Saarbr¨ucken, Germany. There they began digging up and removing a small number of the cobblestones with which the square is paved, concealing their work from the daytime gaze of palace guards and police by placing false, “dummy” stones in each of the resulting holes.

Would think her son, did she but see that shape With sixty or more winters on its head, A compensation for the pang of his birth, Or the uncertainty of his setting forth? (Yeats, “Among School Children,” –) – and casts a baleful eye on Yeats’s own status as a monumentally authoritative subject-of-knowledge. At a time when the poet had reached pinnacles of both local and international stature (he was an Irish Senator and a Nobel laureate), his bitter descriptions of himself as “a sixty-year-old smiling public man” () and as “a comfortable kind of old scarecrow” () expose the lethal consequences of historical knowing at the level of the individual subject.

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A Table of Green Fields: Ten Stories by Guy Davenport

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