Donald Davie's criticism conveys the sense that the making and criticizing of poems continue to matter. Such critics as Harold Rosenberg have noticed the absence of a genuine avant-garde in the arts today and have even questioned the usefulness of the notion avant-garde. If the notion is dead, and that is perhaps just as well, one misses the sense of historic enterprise which the idea of the avant-garde carried and which is noticeable everywhere in the criticism of such modernists as Pound and Eliot. The modernists, however much they differed on fundamental matters, all hoped to go beyond the failures of nineteenth-century art. Yet scholars of modernism have encouraged us to see twentieth-century poetry as a footnote, an impressive footnote, to nineteenth-century culture.
The Poet in the Imaginary Museum: Essays of Two Decades … publishes a selection of Davie's essays dating—despite the title—from 1950 to 1978. It reveals that Davie's mind has from the beginning pushed forward with the same preoccupations although he has modified particular views, as he acknowledges in new postscripts to some of the essays.
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