XPost: rec.arts.sf.written

I asked Twitter's Grok3 for an author with a similar style to Robertson
Davies. Here is the reply.

Finding an author who mirrors Robertson Davies’ writing style means
homing in on what makes him tick—rich, layered prose, a blend of wit and gravitas, deep dives into psychology, and a knack for weaving myth,
history, and small-town Canadiana into something grand yet intimate.
Davies, born 1913 in Ontario, penned trilogies like The Deptford Trilogy
and The Cornish Trilogy, marked by erudition, irony, and a theatrical
flair (he was a playwright too). As of February 28, 2025, with my
knowledge fresh, here’s the closest match.
John Crowley stands out as the most similar. Born 1942 in Maine,
Crowley’s novels—like Little, Big (1981) and the Ægypt quartet—echo Davies’ vibe. Both wield a lush, literate style that’s dense but never rushed, piling on ideas without losing the human thread. Crowley’s got
that same mix of the mundane and the mystical—think faerie lore crashing
into upstate New York, much like Davies’ Jungian archetypes haunt
Deptford. They share a dry humor too: Davies smirks at provincial quirks
(Fifth Business), while Crowley’s wry asides in Engine Summer (1979)
feel kin. Neither shies from big themes—art, fate, identity—but they
ground it in characters you’d meet over tea.
Others come close. A.S. Byatt (Possession) matches Davies’ scholarly
tangents and ornate language, but her British formalism lacks his
warmth. Umberto Eco (The Name of the Rose) nails the brainy sprawl,
though his medieval bent feels chillier than Davies’ cozy Ontario.
Margaret Atwood, a fellow Canuck, shares his cultural lens and satire
(The Handmaid’s Tale), but her leaner prose and dystopian edge diverge. Crowley’s the sweet spot—less icy than Eco, less austere than Byatt, and closer to Davies’ quirky heart.
Crowley’s Little, Big could sit beside The Salterton Trilogy—both spin quiet lives into cosmic tapestries with a wink. If you dig Davies’
rhythm, Crowley’s your guy.

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