(Guy Davenport drawing, from his book Tatlin!)
Note: This essay is slightly revised from the original version which ran in The Comics Journal #278 (October 2006).
Guy Davenport, cartoonist. Perhaps this is too confident a statement and needs a more tentative punctuation. “Guy Davenport: cartoonist?” After all, Davenport wasn’t mainly known as a cartoonist, and the world of comics has only a peripheral awareness of his existence. Aside from comic book artist Gil Kane’s stated fondness for Davenport’s essay collection The Geography of the Imagination (1981) and a stray allusion that Carter Scholz once made in The Comics Journal, Davenport’s name is rarely bandied about in cartooning circles.
When Davenport died in early 2005, many obituaries and memorial notices paid tribute to him as a man of letters of intimidating range and versatility. Aside from penning many brilliant short stories, Davenport was a premier translator of many ancient writers and sages (Sappho, Herakleitos, Diogenes, Jesus), an immensely erudite literary critic who could expertly explicate difficult modernists like Wallace Stevens and Ezra Pound, and a pioneering iconologist who illuminated the symbolic vocabulary of painters like Grant Wood and Balthus. Lost among all the eulogies for Davenport the writer were his achievements as a visual artist: Tucked away in a busy lifetime was an almost secret career as a painter, illustrator, and, yes, cartoonist.