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Faulkner, Aviation, and Modern War frames William Faulkner's airplane narratives against major scenes of the early 20th century: the Great War, the rise of European fascism in the 1920s and 30s, the Second World War, and the aviation arms race extending from the Wright Flyer in 1903 into the Cold War era. Placing biographical accounts of Faulkner's time in the Royal Air Force Canada against analysis of such works as Soldiers' Pay (1926), "All the Dead Pilots" (1931), Pylon (1935), and A Fable (1954), this book situates Faulkner's aviation writing within transatlantic historical contexts that have not been sufficiently appreciated in Faulkner's work. Michael Zeitlin unpacks a broad selection of Faulkner's novels, stories, film treatments, essays, book reviews, and letters to outline Faulkner's complex and ambivalent relationship to the ideologies of masculine performance and martial heroism in an age dominated by industrialism and military technology.
Tracing the influence of Faulkner’s screenwriting on his literary craft and depictions of women William Faulkner’s time as a Hollywood screenwriter has often been dismissed as little more than an intriguing interlude in the career of one of America’s greatest novelists. Consequently, it has not received the wide-ranging critical examination it deserves. In Faulkner’s Hollywood Novels, Ben Robbins provides an overdue thematic analysis by systematically tracing a dialogue of influence between Faulkner’s literary fiction and screenwriting over a period of two decades. Among numerous insights, Robbins’s work sheds valuable new light on Faulkner’s treatment of female characters, both in his novels and in the films to which he contributed. Drawing on extensive archival research, Robbins finds that Hollywood genre conventions and archetypes significantly influenced and reshaped Faulkner’s craft after his involvement in the studio system. His work in the film industry also produced a deep exploration of the gendered dynamics of collaborative labor, genre formulae, and cultural hierarchies that materialized in both his Hollywood screenplays and his experimental fiction.
This volume situates Faulkner within a range of current and emerging critical fields, such as African American studies, visual culture studies, world literatures, modernist studies, gender studies, and the energy humanities. The essays are written with the Faulkner expert and general reader in mind, and covers the full range of Faulkner's opus.
The first book-length study of clothing and dress across William Faulkner's novels and short stories. Clothing is one of the most important and pervasive material items throughout William Faulkner's fiction. Faulkner's Fashion analyzes the writer's use of clothing from a variety of critical approaches, considering how clothing and dress intersect with race, class, and gender across Faulkner's works. It also considers clothes as material objects, using Thing Theory and Object Oriented Ontology to illuminate the role clothing plays as an object in conjunction with its multiple layers of symbolic meaning to both the wearer and the observer. Faulkner's Fashion reveals how much attention Faulkner pays to garments and fashion in his own life and in his fiction, arguing that dress is often a means of characterization for Faulkner, while it also connects his narrative representations of gender, sexuality, class, poverty, race, and modernity.
William Faulkner was an aviation cadet in Canada in the closing days of WW I. He later owned his own airplane, and even put on a few air shows. When he wrote of flying, as he often did, it was with a great deal of expertise but little concern for the edification of his readers. The result is that many of the five hundred or so passages dealing with aviation in his works are all but incomprehensible to the non-pilot. This work elucidates all the aeronautical references in Faulkner s fiction and verse which might prove troublesome to the general reader. This monograph contains three main sections: An introduction to flight, designed especially for the non-technical reader and intended to provide enough background in aerodynamics and aircraft design to enable one to follow Faulkner s argument intelligently; a brief biography of Faulkner as a pilot and aviation enthusiast; and a reader s guide through the individual works in which aviation plays a part.
William Faulkner has enjoyed a secure reputation as American modernism's foremost fiction writer, and as a landmark figure in international literary modernism, for well over half a century. Less secure, however, has been any scholarly consensus about what those modernist credentials actually entail. Over recent decades, there have been lively debates in modernist studies over the who, what, where, when, and how of the surprisingly elusive phenomena of modernism and modernity. This book broadens and deepens an understanding of Faulkner's oeuvre by following some of the guiding questions and insights of new modernism studies scholarship into understudied aspects of Faulkner's literary modernism and his cultural modernity. William Faulkner and the Faces of Modernity explores Faulkner's rural Mississippians as modernizing subjects in their own right rather than mere objects of modernization; traces the new speed gradients, media formations, and intensifications of sensory and affective experience that the twentieth century brought to the cities and countryside of the US South; maps the fault lines in whiteness as a racial modernity under construction and contestation during the Jim Crow period; resituates Faulkner's fictional Yoknapatawpha County within the transnational counter-modernities of the Black Atlantic; and follows the author's imaginative engagement with modern biopolitics through his late work A Fable, a novel Faulkner hoped to make his 'magnum o.' By returning to the utterly uncontroversial fact of Faulkner's modernism with a critical sensibility sharpened by new modernism studies, William Faulkner and the Faces of Modernity aims to spark further reappraisal of a distinguished and quite dazzling body of fiction. Perhaps even make it new.
This book treats William Faulkner's major fiction--from Flags in the Dust through to Absalom, Absalom!--to a searching reappraisal under the spotlight of a media-historical inquiry. It proposes that Faulkner's inveterate attraction to the paradigms of romance was disciplined and masked by the recurrent use of metaphorical figures borrowed from the new media ecology. Faulkner dressed up his romance materials in the technological garb of radio, gramophony, photography, and cinema, along with the transportational networks of road and air that were being installed in the 1920s. His modernism emerges from a fraght but productive interplay between his anachronistic predilection for chivalric chichés and his extraordinarily knowledgeable interest in the most up-to-date media institutions and forms. Rather than see Faulkner as a divided author, who worked for money in the magazines and studios while producing his serious fiction in despite of their symbolic economies, this study demonstrates how profoundly his mature art was shot through with the figures and dynamics of the materials he publicly repudiated. The result is a richer and more nuanced understanding of the dialectics of his art.
In the first half of the twentieth century, modernist works appeared not only in obscure little magazines and books published by tiny exclusive presses but also in literary reprint magazines of the 1920s, tawdry pulp magazines of the 1930s, and lurid paperbacks of the 1940s. In his nuanced exploration of the publishing and marketing of modernist works, David M. Earle questions how and why modernist literature came to be viewed as the exclusive purview of a cultural elite given its availability in such popular forums. As he examines sensational and popular manifestations of modernism, as well as their reception by critics and readers, Earle provides a methodology for reconciling formerly separate or contradictory materialist, cultural, visual, and modernist approaches to avant-garde literature. Central to Earle's innovative approach is his consideration of the physical aspects of the books and magazines - covers, dust wrappers, illustrations, cost - which become texts in their own right. Richly illustrated and accessibly written, Earle's study shows that modernism emerged in a publishing ecosystem that was both richer and more complex than has been previously documented.
Three years after American raceplanes failed dismally in the most important air race of 1920, a French magazine lamented that American "pilots have broken the records which we, here in France, considered as our own for so long." The Pulitzer Trophy Air Races (1920 through 1925), endowed by the sons of publisher Joseph Pulitzer in his memory, brought about this remarkable turnaround. Pulitzer winning speeds increased from 157 to 249 mph, and Pulitzer racers, mounted on floats, twice won the most prestigious international air race--the Schneider Trophy Race for seaplanes. Airplanes, engines, propellers, and other equipment developed for the Pulitzers were sold domestically and internationally. More than a million spectators saw the Pulitzers; millions more read about them and watched them in newsreels. This, the first book about the Pulitzers, tells the story of businessmen, generals and admirals who saw racing as a way to drive aviation progress, designers and manufacturers who produced record-breaking racers, and dashing pilots who gave the races their public face. It emphasizes the roles played by the communities that hosted the races--Garden City (Long Island), Omaha, Detroit and Mt. Clemens, Michigan, St. Louis, and Dayton. The book concludes with an analysis of the Pulitzers' importance and why they have languished in obscurity for so long.
The first century of airpower has ended, yet few critics have addressed the literature that chronicles its human toll. Airpower in Literature: Interrogating the Clean War, 1915-2015 offers fresh insight into this airpower century by placing literature of five major wars in conversation with the clean war discourse. Kimberly Dougherty examines the paradoxical representation of aerial warfare that has allowed extensive airstrikes on cities and civilians while promising a “cleaner” method of waging war. First suggested by early military theorists, the notion of a clean air war—one that would save lives through its speed and precision— proved seductive in the twentieth century and continues to shape the rhetoric of airpower today. The air war is perceived as clean, the author argues, when we see neither the aviator nor the targeted populations in the bombing dynamic. Through analysis of fiction, poetry, drama, and journalism, from the ruins of World War I to the technologies of post-modern war, the author identifies counternarratives that make visible both aviators and bombed societies, and present aerial warfare that is not clean, but messy, prolonged, and imprecise. This exploration encourages readers, and writers, to approach the next century of airpower with greater wisdom and empathy.