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Minter shows that Faulkner's talent lay in his exploration of a historical landscape and that his genius lay in his creation of an imaginative one. According to Minter, anyone who has ever been moved by William Faulkner's fiction, who has ever tarried in Yoknopatawpha County, will find here a sensitive and readable account of the novelist's struggle in art and life.
Faulkner's final novel, The Reivers, has been gently dismissed by scholars and critics as no more than its subtitle claims, A Reminiscence. Although the new millennium has seen a new appreciation for Faulkner's later novels, The Reivers is still perceived as a slightly fictionalized comic memoir romanticizing the early life of the author in the pre-civil rights American South. This volume takes this dismissal of The Reivers to task for failing to appreciate its employment of the Apuleian narrative of life-altering metamorphosis to offer, as his literary farewell, hope for humanity's self-redemption. Vernon L. Provencal studies the reception of The Golden Ass in The Reivers as comic novels of moral katabasis (wilful descent into the lawless underworld) and providential anabasis (societal and spiritual redemption). As the independent basis of the reception study, The Reivers receives its first ever detailed reading, while The Golden Ass is read anew from the teleological perspective offered by the (undervalued) prophecy that in the end the comic hero would become the book itself.
Praise for the earlier edition: "Students of modern American literature have for some years turned to Fifteen Modern American Authors (1969) as an indispensable guide to significant scholarship and criticism about twentieth-century American writers. In its new form--Sixteenth Modern American Authors--it will continue to be indispensable. If it is not a desk-book for all Americanists, it is a book to be kept in the forefront of the bibliographical compartment of their brains."--American Studies
Presents critical essays reflecting a variety of schools of criticism for The sound and the fury.
The years 1969 and 1979 bookend a volatile decade in American history. As an articulate witness to the era of the Vietnam War, Watergate, Jimmy Carter, and the national "malaise," Robert Penn Warren produced a phenomenal body of work, securing his place in the canon of American poetry. Volume five of Selected Letters of Robert Penn Warren: Backward Glances and New Visions, 1969--1979 includes Warren's letters to friends, family, peers, editors, inquiring scholars, and critics -- recording the details of his personal and professional life and illustrating his pivotal role in twentieth-century American literature. In these turbulent but fruitful years, Warren produced both Audubon: A Vision (1969) and the revised version of Brother to Dragons (1979). In between lay some of Warren's most searching work as poet, novelist, literary critic, and social commentator. During this era Warren's achievements included his highly experimental and complex Or Else -- Poem/Poems (1974) and the Pulitzer Prize--winning Now and Then (1978). Before the end of the 1970s three more novels appeared concluding with his final book of fiction, A Place to Come To. This volume provides insight into Warren's inspiration during a remarkably productive era and will prove an essential resource on his life and work.
The environmental imagination does not stop short at the edge of the woods. Nor should our understanding of it, as Lawrence Buell makes powerfully clear in his new book that aims to reshape the field of literature and environmental studies. Emphasizing the influence of the physical environment on individual and collective perception, his book thus provides the theoretical underpinnings for an ecocriticism now reaching full power, and does so in remarkably clear and concrete ways. Writing for an Endangered World offers a conception of the physical environment--whether built or natural--as simultaneously found and constructed, and treats imaginative representations of it as acts of both discovery and invention. A number of the chapters develop this idea through parallel studies of figures identified with either "natural" or urban settings: John Muir and Jane Addams; Aldo Leopold and William Faulkner; Robinson Jeffers and Theodore Dreiser; Wendell Berry and Gwendolyn Brooks. Focusing on nineteenth- and twentieth-century writers, but ranging freely across national borders, his book reimagines city and country as a single complex landscape.
The first comprehensive collection of contemporary published reactions to the writing of William Faulkner from 1926 to 1962, these articles document the response of reviewers to specific works, and chronicle the development of Faulkner's reputation among the nation's book reviewers. It has often been assumed that a poor reception in the popular review publications contributed to Faulkner's lack of commercial success. The material presented here tends to refute that assumption, clarifying the development of Faulkner's literary career and providing a fuller understanding of the part played by book reviewing in the sales, promotion, and success of American literature.
Kauffman looks at a neglected genre--the love letter written by literary heroines. Tracing the development of the genre from Ovid to the twentieth-century novel, she explores the important implications of these amatory discourses for an understanding of fictive representation in general.
In Faulkner's Imperialism, Taylor Hagood explores two staples of Faulkner's world: myth and place. Using an interdisciplinary approach to examine the economic, sociological, and political factors in Faulkner's writing, he applies postcolonial theory, cultural materialism, and the work of the New Southernists to analyze the ways myth and place come together to encode narratives of imperialism -- and anti-imperialism -- in the worlds in which Faulkner lived and the one that he created. The resulting discussion highlights the deeply embedded imperial impulses underpinning not just Yoknapatawpha and Mississippi, but the Midwest, the Caribbean, France, and a host of often-overlooked corners of the Faulknerian map. Faulkner defines space in his fiction by creating places through culturally compelling narratives. Although these narrative spaces often have imperial roots, Hagood reveals how the oppressed can subvert these "mythic places" by turning the myths against their oppressors. The Greco-Roman myths long recognized as part of Faulkner's fictional world, for example, define racially hybrid spaces ostensibly designed to articulate white patriarchal narratives of imperial control but which actually carry within their very dreams of Arcady an anti-imperial narrative. In Faulkner's Mississippi Delta, which he modeled after the Nile Delta, plantation owners evoke the imperial power of ancient Egypt to confirm their own cultural ascendancy even while African Americans use biblical narratives of the Israelites enslaved in Egypt to speak against the power that controls them. Faulkner also used places he personally experienced -- such as New Orleans, a city that he recognized as containing multiple layers of imperial design -- to dramatize the constant struggle between the oppressor and the oppressed. Rather than reading the roles of myth and place according to conventional myth criticism or typical place models used by other Faulkner scholars, Hagood examines the intertextuality within Faulkner's writing, as well as the relationship of his writing to others' work, in an attempt to understand how the texts fit together and speak to one another. One of the few books that examine Faulkner's work as a whole, Faulkner's Imperialism moves beyond South-versus-North paradigms to encompass all the spaces within Faulkner's created cosmos, considering their interrelationships in a precise, holistic way.