By Guy Davenport
From Library Journal:
"Connoisseurs of paintings, heritage, faith, and literature will enjoy this tremendous choice of ten tales via one among America's such a lot erudite writers. even supposing the tone is frequently playful, Davenport layers each one tale with a number of allusions and fairly imprecise meanings that maybe in simple terms the main scholarly readers will totally delight in. a superb 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 during which Jesus scatters seeds on a river. extra gratifying are the longer stories, specifically "O Gadjo Niglo,'' a touching love tale advised through Eros, and "Gunner and Nikolai,'' with its shock finishing. Male sexuality is the essential subject matter, one the writer offers with mild yet in actual fact critical reason. The title--a tale in itself--is taken from Falstaff's death imaginative and prescient, encouraged by means of the twenty third Psalm. It makes a so much becoming image for this most original and ingenious assortment. hugely recommended."
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Extra info for A Table of Green Fields: Ten Stories
Schande den Schwachen, die zaghaft erwachen. Rilke, Modernism and Poetic Tradition Schmach! Langsam erlangt der Drachen das Dach, es schwankt: Krachen. Und im Hof erschrockene Ho¨rner stammeln: Sammeln, sammeln, sammeln . . (: ) Does morning come this way? Suddenly all is light: walls and weapons, voices and visions, helmets and horns, camp and countryside. Still the castle turns the red thought over in its mind, the monstrous idea that ripens late, grasps hold of the gate, till everyone cries out: Fire!
Slowly the fire-trace reaches the roof of the place, it staggers: crashing. And in the courtyard terrified horns tremble: assemble, assemble, assemble . . The form of this section is remarkably close to that of Arnim’s prosepoem from Countess Dolores. As if to cover the traces of Arnim, Rilke completely rewrites the section about the burning castle in the final version of the Cornet, eliminating almost entirely the internal rhymes, assonance and alliterations of the original. He shortens sentences, increases disjunctures and gives the passage a more impressionistic quality.
And in the courtyard terrified horns tremble: assemble, assemble, assemble . . The form of this section is remarkably close to that of Arnim’s prosepoem from Countess Dolores. As if to cover the traces of Arnim, Rilke completely rewrites the section about the burning castle in the final version of the Cornet, eliminating almost entirely the internal rhymes, assonance and alliterations of the original. He shortens sentences, increases disjunctures and gives the passage a more impressionistic quality.