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Poems and Melodramas
RRP: GBP 7.95
You Save: GBP 0.79
Price: GBP 7.16
Out of Print
ISBN: 978 1 857542 90 5
Imprint: Carcanet Poetry
Published: September 1996
215 x 135 x 8 mm
Publisher: Carcanet Press
Tragedian of an Italy unborn,
He cudgelled himself for having prostituted
The buskin to the tiara; that's to say,
His play to the scrutiny of the Holy Father.
Later he learned how much more tolerant an
Unpolished pontiff was, than a godless State
That asked a theatre for Everyman,
The man first dulled, then frivolously diverted.
Later again (we look beyond him now)
The buskin throve by dirtying -- the tiara
And then the Cross; which lives by seeing how
Unwearyingly the Father's sons revile him.
'Alfieri', from 'Our Father'
Shortly before his death in 1995, Donald Davie sent his publisher the poem 'Our Father'. This ten-part meditation broke a poetic silence which had stretched from 1988, when with To Scorch or Freeze, the writer declared his work as a poet finished. He continued to write essays and to add from time to time to his verse 'Melodramas', with their roots in Landor and Leopardi.
It is clear that the Muse had not finished with Davie at all; a body of poems gathered sufficient for a remarkable book, extending the concerns of his late years -- concerns with 'the sacred', with England, and with our vexed age. In Poems and Melodramas his voice sounds with a humane insistence on clarity and definition, and the uneasy certainties of a faith hard-won.
Praise for Donald Davie 'He has drawn a map of modernism, starting with Hardy and Pound, that remains one of the definitive outlines of twentieth-century experiment in form and language. The mapmaker, in this case,is a notable locus on the map.'
Helen Vendler `These poems thrive on the restless energy that drives their author on from form to form and place to place. Few poets are more likely than Davie to persuade new readers that poetry can still be a matter of concern and pleasure.'
Martin Dodsworth, The Guardian 'In his criticism, he has drawn a map of modernism, starting with Hardy and Pound, that remains one of the definitive outlines of twentieth-century experiment in form and language.'
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