Garrick Davis is the founding editor of the Contemporary Poetry Review, the largest online archive of poetry criticism in the world (cprw.com). His poetry and criticism have appeared in the New Criterion, Verse, the Weekly Standard, McSweeney’s, and the New York Sun. He also edited Child of the Ocmulgee: the Selected Poems of Freda Quenneville. He is the literature specialist of the National Endowment for the Arts in Washington, DC.
Garrick Davis’s Terminal Diagrams may have been inspired by the illustrated maps in airport lounges, or perhaps they are the blueprints of the Apocalypse, with their subjects and objects representing the bitter fruits of either some future nightmare or the present world. Regardless, their vision is so bleak and unsparing, only a few will be able to savor them. Here, the art of poetry has been mechanized just as the world has been mechanized.
Marked by a rigorously close textual reading, detached frombiographical or other extratextual material, New Criticism was thedominant literary theory of the mid-twentieth century. Since thattime, schools of literary criticism have arisen in support of or in opposition tothe approach advocated by the New Critics. Nonetheless, the theory remainsone of the most important sources for groundbreaking criticism and continuesto be a controversial approach to reading literature.Praising