First published in 1978, this study considers the impact of dissenting voices upon literature, religion and politics in order to reassess the nonconformist contribution to English culture from the eighteenth century through to the twentieth. This historical survey takes into the account the contribution of a wealth of seminal literary figures such as the poets Isaac Watts, Charles Wesley and William Blake; and the novelists Elizabeth Gaskell, George Elliot, Mark Rutherford and D. H. Lawrence. However, far from consigning his study merely to literature, Davie also includes important orators like Robert Hall; scientists like Michael Farraday and Philip Gosse; political activists like Joseph Priestly, and soldiers like Orde Wingate. Unitarians, Sandemanians, Wesleyan Methodists and the Plymouth Brethren are considered, as well as the older denominations.

First published in 1961, this book examines a number of works popular in the Romantic period, during the heyday of Sir Walter Scott in the early part of the nineteenth century. Encompassing works by the likes of Alexander Pushkin, Sir Walter Scott, Adam Mickiewicz and James Fenimore Cooper, this is also a meditation on the nature of Romanticism and its enduring value, as expressed in the novel form. Donald Davie also considers the meaning and importance of 'plot' and of 'realism'.

First published in 1961, this book examines a number of works popular in the Romantic period, during the heyday of Sir Walter Scott in the early part of the nineteenth century. Encompassing works by the likes of Alexander Pushkin, Sir Walter Scott, Adam Mickiewicz and James Fenimore Cooper, this is also a meditation on the nature of Romanticism and its enduring value, as expressed in the novel form. Donald Davie also considers the meaning and importance of 'plot' and of 'realism'.

First published in 1978, this study considers the impact of dissenting voices upon literature, religion and politics in order to reassess the nonconformist contribution to English culture from the eighteenth century through to the twentieth. This historical survey takes into the account the contribution of a wealth of seminal literary figures such as the poets Isaac Watts, Charles Wesley and William Blake; and the novelists Elizabeth Gaskell, George Elliot, Mark Rutherford and D. H. Lawrence. However, far from consigning his study merely to literature, Davie also includes important orators like Robert Hall; scientists like Michael Farraday and Philip Gosse; political activists like Joseph Priestly, and soldiers like Orde Wingate. Unitarians, Sandemanians, Wesleyan Methodists and the Plymouth Brethren are considered, as well as the older denominations.

Donald Davie is the foremost literary critics of his generation and one of its leading poets. His career has been marked by a series of challenging critical interventions. The eighteenth century is the great age of the English hymn though these powerful and popular texts have been marginalized in the formation of the conventional literary canon. These are poems which have been put to the text of experience by a wider public than that generally envisaged by literary criticism, and have been kept alive by congregations in every generation. Davie's study of the eighteenth-century hymn and metrical psalm brings to light a body of literature forgotten as poetry: work by Charles Wesley and Christopher Smart, Isaac Watts and William Cowper, together with several poets unjustly neglected, such as the mysterious John Byron.

Political and protesting, these poems explore concepts of modernity, English identity, and historicity. Influenced by the Russians and Ezra Pound, Davie reinterprets Modernism for a 1940s world. Obsessed with the tonalities and vernacular of language, Davie works in the mediums of essay-poem, love lyric, satire, translation, epistle, eclogue, and other forms.

Donald Davie's first two prose books (1952, 1955), available now in one volume with a new foreword, set the agenda for 'The Movement' and shaped the critical approach of two generations of readers and teachers of poetry. They have also proven of value to poets finding their way. Intended as 'two stages in one investigation', they provide a brilliantly detailed analysis of the workings of English poetry and remain, with books such as I.A. Richards's "Practical Criticism" and William Empson's "Seven Types of Ambiguity", primary critical texts, reviving attention to poetry at a technical level and, in the process, stirring awake for many readers major (and minor) writers of the late eighteenth century who require special qualities of attention. Davie remains a particularist, proving in insight after insight the deep rewards of close attention. For him poetry is a responsible art; it is not an end in itself but must always 'reek of the human'.

This new selection of Donald Davie's poems spans six decades. It traces his protean trajectory from austere beginnings to riskier dislocations of shape and syntax, through to his extended late-meditations on form, content, and spirit. To apply his own critical definition of syntax, his is a poetic of articulate energy, the restless redistribution of force – an abiding resource and inspiration.

What is meant by `Christian' verse? What must there be in a passage of verse that gives us the right to call it `Christian'? These are the questions discussed in Professor Davie's illuminating introduction and answered implicitly on every page of his collection of over 260 poems.

This well-loved anthology embraces everything from the Anglo-Saxon `The Dream of the Rood' to the works of modern poets such as T. S. Eliot, Sir John Betjeman, W. H. Auden, and John Berryman. Australian and American poetry appears alongside English, Anglo-Irish, Scottish, and Anglo-Welsh verse, and the book also includes a selection of congregational hymns.

Donald Davis returns to his fictitious Sulpher Springs, North Carolina through the wide eyes of an innocent, forthright narrator: Years later I came to realize that when you come from a long-dammed-up Scots-Irish Gene pool, it is an OK thing to wish for something, but it is not an OK thing to get it.

A collection of thirteen Jack tales from the southern Appalachian Mountains, including "The Time Jack Told a Big Tale," "The Time Jack Cured the Doctor," and "The Time Jack Stole the Cows.

The poems gathered here were composed by Donald Davie for his wife Doreen, to whom he was married and devoted for fifty years. The earliest of them were copied out by hand and presented to Doreen as a tribute on the occasion of her 54th birthday, and this agarlanda was then added to over the years. Of the 43 poems, ten are published here for the first time, two others in new versions. They span the five decades of the coupleas marriage, and because of this portray an enduring but complex relationship as it changes over time.
To some readers the poems will seem unusual as love poems because they do not idealize love and marriage. Their strength lies in their honesty and intimacy and in the openness to the pain and self-understanding that both ardor and conflict (aWe, we throve on frictiona) can produce. This is a relationship in which each knows the other too well to be assuaged by a sentimental lyricism.
For this special edition, twelve of Doreenas photographs from their travels together have been included, so that her sensibility may be present, too, as an artist in her own right. Donaldas handwritten poems are reproduced both in facsimile and in type.

Donald Davie's poems are here arranged chronologically from the 1950s to the beginning of the 1990s. Taken together, the poems display that reverence for the distinctive qualities of the English language which has earned him a name as one of Britain's finest living poets.
"Davie's voice--judgemental, ironic, epigrammatic, humorous, self-lacerating--speaks always with reference to an unhuman perpendicular standard that itself goes unquestioned. It is not a standard of Beauty or Truth; Davie is a poet of the third member of the Platonic triad, Justice."--Helen Vendler, "The New Yorker"
"[Davie's poems] are on the quiet side, often casual and musing in mood and tone; determined to resist large gestures of assent or denial. . .Donald Davie may just be the best English poet-critic of our time."--William Pritchard, "The New Republic"
"Donald Davie's "Collected Poems" does more than mark the culmination of one of the most distinguished careers in post-war British poetry; it is the autobiographical journey of a living poet at the height of his creative powers and the mastery of his craft. Davie is considered the most important and valuable contemporary link between poetry in England and America."--Sarah E. McNeil, "Little Rock Free Press"

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