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‘Dripping venison memory’: the radical ekphrasis of Max Porter’s The Death of Francis Bacon

Research output: Contribution to Journal/Magazine › Journal article › peer-review

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‘Dripping venison memory’: the radical ekphrasis of Max Porter’s The Death of Francis Bacon. / Lloyd, Declan.
In: Textual Practice, Vol. 39, No. 1, 31.01.2025, p. 34-52.

Research output: Contribution to Journal/Magazine › Journal article › peer-review

Harvard

Lloyd, D 2025, '‘Dripping venison memory’: the radical ekphrasis of Max Porter’s The Death of Francis Bacon', Textual Practice, vol. 39, no. 1, pp. 34-52. https://doi.org/10.1080/0950236X.2023.2281683

APA

Lloyd, D. (2025). ‘Dripping venison memory’: the radical ekphrasis of Max Porter’s The Death of Francis Bacon. Textual Practice, 39(1), 34-52. https://doi.org/10.1080/0950236X.2023.2281683

Vancouver

Lloyd D. ‘Dripping venison memory’: the radical ekphrasis of Max Porter’s The Death of Francis Bacon. Textual Practice. 2025 Jan 31;39(1):34-52. Epub 2023 Nov 13. doi: 10.1080/0950236X.2023.2281683

Author

Lloyd, Declan. / ‘Dripping venison memory’ : the radical ekphrasis of Max Porter’s The Death of Francis Bacon. In: Textual Practice. 2025 ; Vol. 39, No. 1. pp. 34-52.

Bibtex

@article{66b2cb33cd3044deacab4db39189dcaf,
title = "{\textquoteleft}Dripping venison memory{\textquoteright}: the radical ekphrasis of Max Porter{\textquoteright}s The Death of Francis Bacon",
abstract = "This paper explores the radical ekphrasis employed by Max Porter within his 2021 novella, The Death of Francis Bacon. Blurring prose, poetry and quasi-fictional biography, the text greatly elaborates upon more traditional and classical forms of ekphrasis, exploring all new methods of adopting the form. Alongside Porter's linguistic-aesthetic mosaic there is a theoretical acuity to his assimilation which resonates greatly with Gilles Deleuze's 1981 creative-critical study, Francis Bacon: The Logic of Sensation. Porter demonstrates the great potentiality of his innovative expansion of the form as a means to enhance our understanding of an artwork and to give an intimate glimpse into the processes undertaken by the artist, testing the ground for literary methods which evoke Bacon{\textquoteright}s iconic style of painting, as well as pondering how to capture a true sense of his philosophical impetus. Porter seems particularly interested in considering the process of readership itself; the very act of conjuring mental images while reading - particularly through literary metaphor - and how this experience can be manipulated in writing to reflect Bacon{\textquoteright}s visual aesthetics.",
keywords = "Ekphrasis, Francis Bacon, Max Porter, aesthetics, Deleuze",
author = "Declan Lloyd",
year = "2025",
month = jan,
day = "31",
doi = "10.1080/0950236X.2023.2281683",
language = "English",
volume = "39",
pages = "34--52",
journal = "Textual Practice",
issn = "0950-236X",
publisher = "Taylor and Francis Ltd.",
number = "1",

}

RIS

TY - JOUR

T1 - ‘Dripping venison memory’

T2 - the radical ekphrasis of Max Porter’s The Death of Francis Bacon

AU - Lloyd, Declan

PY - 2025/1/31

Y1 - 2025/1/31

N2 - This paper explores the radical ekphrasis employed by Max Porter within his 2021 novella, The Death of Francis Bacon. Blurring prose, poetry and quasi-fictional biography, the text greatly elaborates upon more traditional and classical forms of ekphrasis, exploring all new methods of adopting the form. Alongside Porter's linguistic-aesthetic mosaic there is a theoretical acuity to his assimilation which resonates greatly with Gilles Deleuze's 1981 creative-critical study, Francis Bacon: The Logic of Sensation. Porter demonstrates the great potentiality of his innovative expansion of the form as a means to enhance our understanding of an artwork and to give an intimate glimpse into the processes undertaken by the artist, testing the ground for literary methods which evoke Bacon’s iconic style of painting, as well as pondering how to capture a true sense of his philosophical impetus. Porter seems particularly interested in considering the process of readership itself; the very act of conjuring mental images while reading - particularly through literary metaphor - and how this experience can be manipulated in writing to reflect Bacon’s visual aesthetics.

AB - This paper explores the radical ekphrasis employed by Max Porter within his 2021 novella, The Death of Francis Bacon. Blurring prose, poetry and quasi-fictional biography, the text greatly elaborates upon more traditional and classical forms of ekphrasis, exploring all new methods of adopting the form. Alongside Porter's linguistic-aesthetic mosaic there is a theoretical acuity to his assimilation which resonates greatly with Gilles Deleuze's 1981 creative-critical study, Francis Bacon: The Logic of Sensation. Porter demonstrates the great potentiality of his innovative expansion of the form as a means to enhance our understanding of an artwork and to give an intimate glimpse into the processes undertaken by the artist, testing the ground for literary methods which evoke Bacon’s iconic style of painting, as well as pondering how to capture a true sense of his philosophical impetus. Porter seems particularly interested in considering the process of readership itself; the very act of conjuring mental images while reading - particularly through literary metaphor - and how this experience can be manipulated in writing to reflect Bacon’s visual aesthetics.

KW - Ekphrasis

KW - Francis Bacon

KW - Max Porter

KW - aesthetics

KW - Deleuze

U2 - 10.1080/0950236X.2023.2281683

DO - 10.1080/0950236X.2023.2281683

M3 - Journal article

VL - 39

SP - 34

EP - 52

JO - Textual Practice

JF - Textual Practice

SN - 0950-236X

IS - 1

ER -