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It seems appropriate, if not inevitable, that one of our best critics should be the foremost authority on one of our best novelists. Cleanth Brooks, the author of three seminal studies of William Faulkner, has been a serious student of that master craftsman's fiction for more than four decades. In this new collection, Brooks considers many of the important characteristics of Faulkner's work. He focuses more specifically than he has in the past on certain questions and in some instances offers rebuttals to what he considered unfair assessments of Faulkner. In the first essay, Brooks challenges the notion that Donald Davidson, John Crowe Ransom, Robert Penn Warren, and other members of the Fugitive-Agrarian movement at Vanderbilt University were slow to recognize Faulkner's achievements. Indeed, Brooks provides clear evidence not only that the Fugitives were early supporters of Faulkner but that Faulkner and the Fugitives shared many concerns and ideas about their region. Brooks also writes about Faulkner's personal beliefs and demonstrates how the virtues Faulkner held in highest esteem -- such as courage and honor -- are embodied in his fiction. In two essays, "Faulkner and the Community" and "Faulkner's Two Cities," Brooks analyzes the importance of a closely knit world -- specifically the hill region of north Mississippi and the cities of Memphis and New Orleans -- to Faulkner's works. Brooks considers Faulkner's serious regard for the chivalric tradition, as well as his amusement in Gavin Stevens' exemplification of it in Intruder in the Dust and Requiem for a Nun. Faulkner's treatment of women characters, especially in Light in August and The Hamlet, is discussed, as are his ideas about the American Dream. These essays are vintage Brooks. The prose is, as always, felicitous, the manner modest and winning, the thought pertinent and rigorous. Despite the thematic diversity of the essays, the emphasis is ultimately the same: reading and rereading the novels of William Faulkner is a continuing pleasure and an enduring challenge.
This history of Lafayette County, Mississippi, uses William Faulkner's rich fictional portrait of a place and its people to illuminate the past. From the arrival of Europeans in Chickasaw Indian territory in 1540 to Faulkner's death in 1962, Doyle chronicles more than four centuries of local history. 27 illustrations. 3 maps.
The overview of William Faulkner‟s scholarship shows certain obvious limitations in concern to his treatment to his fictional female characters. Critics have concentrated on the male characters the outmost. The first limitation is that the critics have not paid the needed attention to his treatment of the female characters in their totality. Critics have taken up Faulkner‟s characterization but their concentration is more on the male figures only. If at all they discuss women characters, they are seen as figure only. If at all they discuss women characters, they are seen as subordinate figures to their male counterparts. The second limitation is that the bulk of Faulkner scholarship treats Faulkner‟s individual works, in these studies also the concentration is mainly on the themes and techniques, and the discussion on female characters is again scanty. Quite a few studies concentrate deeply on his individual works and explain Faulkner‟s larger themes but they, too, are specifically male oriented. The next limitation is that a large number of articles, appearing in various decades, also, cover individual aspects of Faulkner‟s themes and characters, and give only partial treatment to his women characters. The fourth limitation is that even while discussing Faulkner as moralist the concentration is more on the male figure than the female figures. The last limitation of Faulkner scholarship is that mostly it concentrates on his craftsmanship; a large number of studies on Faulkner assess his stylistics and technique. Tracing technical aspects, thematic patterns, and stylistic devices used by him critics establish Faulkner scholarship, but are oblivion to the central thrust of women characters. Thus Faulkner scholarship treats women characters, either as secondary characters, or, at the most, in relation to their male counterparts only. They have been treated less as individuals than as common commodities; the critics have been casual in their approach towards women characters and taken them for granted. This nonchalant view may lead us to conclude that women in Faulkner are „a silent sex‟. For that a complete survey has been done as mentioned in “Introduction” of the study to trace scope on full length study in context to Faulkner‟s women characters. At times, the survey let to conclude that Faulkner himself is not projecting as pleasant pictures of women in his novels as he does in the case of male figures. In fact, Faulkner was accused of being hostile to women. At times, Faulkner may strike us as a misogynist. These points led to give a kind of impulse to start working on the women characters in Faulkner. His imaginary fictional world – Yoknapatawpha- explains the intertexuality, so sometimes the same women character in different types of roles in his novels, or shows amelioration and redemption in his other text. Keeping all these points in consideration as his indispensable women characters fascinate to study in-depth and I could got the form under the heading Faulkner’s Treatment of Women. It is a humble attempt; I do not claim it to the last word on the issue. -Dr. Vibha Manoj sharma
This bibliography brings up through 1989 the comprehensive listing of scholarship and criticism on William Faulkner begun by Bassett in two earlier books, William Faulkner: An Annotated Checklist of Criticism (1972) and Faulkner: An Annotated Checklist of Recent Criticism (1983). Since the latter, over a hundred books on Faulkner have been completed, along with hundreds of articles and dissertations. This work lists all new items, often with extensive annotations, and provides separate entries for chapters of books that cover individual novels and stories. Bassett's introductory essay provides an overview of the last decade of Faulkner studies, the first in which post-structuralist and other newer forms of criticism had a major impact on Faulkner studies.
Sometimes called the American Shakespeare, William Faulkner is known for providing poignant and accurate renderings of the human condition, creating a world of colorful characters in his fictional Yoknapatawpha County, and writing in a style that is both distinct and demanding. Though he is known as a Southern writer, his appeal transcends regional and even national boundaries. Since winning the Nobel Prize for Literature in 1950, he has been the subject of more than 5,000 scholarly books and articles. Academic interest in his career has been matched by popular acclaim, with some of his works adapted for the cinema. This reference is an authoritative guide to Faulkner's life, literature, and legacy. The encyclopedia includes nearly 500 alphabetically arranged entries for topics related to Faulkner and his world. Included are entries for his works and major characters and themes, as well as the literary and cultural contexts in which his texts were conceived, written, and published. There are also entries for relatives, friends, and other persons important to Faulkner's biography; historical events, persons, and places; social and cultural developments; and literary and philosophical terms and movements. The entries are written by expert contributors who bring a broad range of perspectives and experience to their analysis of his work. Entries typically conclude with suggestions for further reading, and the volume closes with a bibliography and detailed index.
This new edition of Southern Writers assumes its distinguished predecessor's place as the essential reference on literary artists of the American South. Broadly expanded and thoroughly revised, it boasts 604 entries-nearly double the earlier edition's-written by 264 scholars. For every figure major and minor, from the venerable and canonical to the fresh and innovative, a biographical sketch and chronological list of published works provide comprehensive, concise, up-to-date information. Here in one convenient source are the South's novelists and short story writers, poets and dramatists, memoirists and essayists, journalists, scholars, and biographers from the colonial period to the twenty-first century. What constitutes a "southern writer" is always a matter for debate. Editors Joseph M. Flora and Amber Vogel have used a generous definition that turns on having a significant connection to the region, in either a personal or literary sense. New to this volume are younger writers who have emerged in the quarter century since the dictionary's original publication, as well as older talents previously unknown or unacknowledged. For almost every writer found in the previous edition, a new biography has been commissioned. Drawn from the very best minds on southern literature and covering the full spectrum of its practitioners, Southern Writers is an indispensable reference book for anyone intrigued by the subject.
As I Lay Dying; Light in August; The Sound and the Fury; Absalom, Absalom!; "The Bear"; and many others.
In Superfluous Southerners, John J. Langdale III tells the story of traditionalist conservatism and its boundaries in twentieth-century America. Because this time period encompasses both the rise of the modern conservative movement and the demise of southern regional distinctiveness, it affords an ideal setting both for observing the potentiality of American conservatism and for understanding the fate of the traditionalist “man of letters.” Langdale uses the intellectual and literary histories of John Crowe Ransom, Donald Davidson, and Allen Tate—the three principal contributors to the Agrarian manifesto I’ll Take My Stand—and of their three most remarkable intellectual descendants—Cleanth Brooks, Richard Weaver, and Melvin Bradford—to explore these issues. Langdale begins his study with some observations on the nature of American exceptionalism and the intrinsic barriers which it presents to the traditionalist conservative imagination. While works like Louis Menand’s The Metaphysical Club have traced the origins of modern pragmatic liberalism during the late nineteenth century, the nature of conservative thought in postbellum America remains less completely understood. Accordingly, Langdale considers the origins of the New Humanism movement at the turn of the twentieth century, then turning to the manner in which midwesterners Irving Babbitt and Paul Elmer Moore stirred the imagination of the southern Agrarians during the 1920s. After the publication of I’ll Take My Stand in 1930, Agrarianism splintered into three distinct modes of traditionalist conservatism: John Crowe Ransom sought refuge in literary criticism, Donald Davidson in sectionalism, and Allen Tate in an image of the religious-wayfarer as a custodian of language. Langdale traces the expansion of these modes of traditionalism by succeeding generations of southerners. Following World War II, Cleanth Brooks further refined the tradition of literary criticism, while Richard Weaver elaborated the tradition of sectionalism. However, both Brooks and Weaver distinctively furthered Tate’s notion that the integrity of language remained the fundamental concern of traditionalist conservatism. Langdale concludes his study with a consideration of neoconservative opposition to M.E. Bradford’s proposed 1980 nomination as head of the National Endowment for the Humanities and its significance for the southern man of letters in what was becoming postmodern and postsouthern America. Though the post–World War II ascendance of neoconservatism drastically altered American intellectual history, the descendants of traditionalism remained largely superfluous to this purportedly conservative revival which had far more in common with pragmatic liberalism than with normative conservatism.
William Faulkner and Mortality is the first full-length study of mortality in William Faulkner’s fiction. The book challenges earlier, influential scholarly considerations of death in Faulkner’s work that claimed that writing was his authorial method of ‘saying No to death’. Through close-readings of six key works – The Sound and the Fury, As I Lay Dying, "A Rose for Emily", Light in August, Absalom, Absalom!, and Go Down, Moses – this book examines how Faulkner’s characters confront various experiences of human mortality, including grief, bereavement, mourning, and violence. The trauma and ambivalence caused by these experiences ultimately compel these characters to ‘say Yes to death’. The book makes a clear distinction between Faulkner’s quest for literary immortality through writing and the desire for death exhibited by the principal characters in the works analysed. William Faulkner and Mortality: A Fine Dead Sound offers a new paradigm for reading Faulkner’s oeuvre, and adds an alternative voice to a debate within Faulkner scholarship long thought to have ended.
In William Faulkner, William James, and the American Pragmatic Tradition, David H. Evans pairs the writings of America's most intellectually challenging modern novelist, William Faulkner, and the ideas of America's most revolutionary modern philosopher, William James. Though Faulkner was dubbed an idealist after World War II, Evans demonstrates that Faulkner's writing is deeply connected to the emergence of pragmatism as an intellectual doctrine and cultural force in the early twentieth century. Tracing pragmatism to its very roots, Evans examines the nineteenth-century confidence man of antebellum literature as the original practitioner of the pragmatic principle that a belief can give rise to its own objects. He casts this figure as the missing link between Faulkner and James, giving him new prominence in the prehistory of pragmatism. Moving on to Jamesian pragmatism, Evans contends that James's central innovation was his ability to define truth in narrative terms -- just as the confidence man did -- as something subjective and personal that continually shapes reality, rather than a set of static, unchanging facts. In subsequent chapters Evans offers detailed interpretations of three of Faulkner's most important novels, Absalom, Absalom!, Go Down, Moses, and The Hamlet, revealing that Faulkner, too, saw truth as fluid. By avoiding conclusion and finality, these three novels embody the pragmatic belief that life and the world are unstable and constantly evolving. Absalom, Absalom! stages a conflict of historical discourses that -- much like the pragmatic concept of truth -- can never be ultimately resolved. Evans shows us how Faulkner explores the conventional and arbitrary status of racial identity in Go Down, Moses, in a way that is strikingly similar to James's criticism of the concept of identity in general. Finally, Evans reads The Hamlet, a work that is often used to support the idea that Faulkner is opposed to modernity, as a depiction of a distinctly pragmatic and modern world. With its creative coupling of James's philosophy and Faulkner's art, Evans's lively, engaging book makes a bold contribution to Faulkner studies and studies of southern literature.