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A New York Times Notable Book of 2020 How do we read William Faulkner in the twenty-first century? asks Michael Gorra, in this reconsideration of Faulkner's life and legacy. William Faulkner, one of America’s most iconic writers, is an author who defies easy interpretation. Born in 1897 in Mississippi, Faulkner wrote such classic novels as Absolom, Absolom! and The Sound and The Fury, creating in Yoknapatawpha county one of the most memorable gallery of characters ever assembled in American literature. Yet, as acclaimed literary critic Michael Gorra explains, Faulkner has sustained justified criticism for his failures of racial nuance—his ventriloquism of black characters and his rendering of race relations in a largely unreconstructed South—demanding that we reevaluate the Nobel laureate’s life and legacy in the twenty-first century, as we reexamine the junctures of race and literature in works that once rested firmly in the American canon. Interweaving biography, literary criticism, and rich travelogue, The Saddest Words argues that even despite these contradictions—and perhaps because of them—William Faulkner still needs to be read, and even more, remains central to understanding the contradictions inherent in the American experience itself. Evoking Faulkner’s biography and his literary characters, Gorra illuminates what Faulkner maintained was “the South’s curse and its separate destiny,” a class and racial system built on slavery that was devastated during the Civil War and was reimagined thereafter through the South’s revanchism. Driven by currents of violence, a “Lost Cause” romanticism not only defined Faulkner’s twentieth century but now even our own age. Through Gorra’s critical lens, Faulkner’s mythic Yoknapatawpha County comes alive as his imagined land finds itself entwined in America’s history, the characters wrestling with the ghosts of a past that refuses to stay buried, stuck in an unending cycle between those two saddest words, “was” and “again.” Upending previous critical traditions, The Saddest Words returns Faulkner to his sociopolitical context, revealing the civil war within him and proving that “the real war lies not only in the physical combat, but also in the war after the war, the war over its memory and meaning.” Filled with vignettes of Civil War battles and generals, vivid scenes from Gorra’s travels through the South—including Faulkner’s Oxford, Mississippi—and commentaries on Faulkner’s fiction, The Saddest Words is a mesmerizing work of literary thought that recontextualizes Faulkner in light of the most plangent cultural issues facing America today.
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.
Drawn from the pages of Modern Fiction Studies—with its distinguished tradition of publishing scholarship on William Faulkner—this landmark volume collects nineteen seminal essays that focus on Faulkner’s most popular fiction, reflecting the enduring relevance of his canon. The essays are grouped thematically into four categories—Myth and Religion; Temporality, History, and Trauma; Gender and Race: Affect, the Body, and Identity; and Modernity and Modernist Technique. For ease of use in the classroom, MFS editor John N. Duvall has also included two appendixes. The first is an alternative table of contents that arranges the critiques by major novels. The second appendix lists all of the essays chronologically, and provides a full list of all seventy-three Faulkner essays published by MFSover the years. Duvall’s introduction explains the critical role of MFS in the evolution of Faulkner studies. His organization of the works and his supplementary material provide both students and scholars with a concise overview of Faulkner studies from its New Critical beginnings through its current engagements with theory and history.
That Faulkner was a “liar” not just in his writing but also in his life has troubled many critics. They have explained his numerous “false stories,” particularly those about military honors he actually never earned and war wounds he never sustained, with psychopathological imposture-theories. The drawback of this approach is that it reduces and oversimplifies the complex psychological and aesthetic phenomenon of Faulkner's role-playing. Instead, this critical study by one of the most acclaimed international Faulkner scholars takes its cue from Nietzsche's concept of “truth as a mobile army of metaphors” and from Ricoeur's dynamic view of metaphor and treats the wearing of masks not as an ontological issue but as a matter of discourse. Hönnighausen examines Faulkner's interviews and photographs for the fictions they perpetuate. Such Faulknerian role-playing he interprets as a mode of organizing experience and relates it to the crafting of the artist's various personae in his works. Mining metaphor as well as modern theories on social role-playing, Hönnighausen examines unexplored aspects of image creation and image reception in such major Faulkner novels as The Sound and the Fury, Light in August, A Fable, and Absalom, Absalom!
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.
Faulknerista collects more than twenty years of critically influential scholarship by Catherine Gunther Kodat on the writings of one of the most important American authors of the twentieth century, William Faulkner. Initially composed as freestanding essays and now updated and revised, the book’s nine chapters place Faulkner’s work in the context of current debates concerning the politics of white authors who write about race, queer sexualities, and the use of the N-word in literature and popular culture. The Faulknerista of the title is a critic who tackles these debates without fear or favor, balancing admiration with skepticism in a manner that establishes a new model for single-author scholarship that is both historically grounded (for women have been writing about Faulkner, and talking back to him, since the beginning of his career) and urgently contemporary. Beginning with an introduction that argues for the critical importance of women’s engagement with Faulkner’s fiction, through comparative discussions pairing it with works by Toni Morrison, Jean-Luc Godard, Quentin Tarantino, and David Simon, Faulknerista offers a valuable resource for students, scholars, and general readers, written in an accessible style and aimed at stimulating discussions of Faulkner’s work and the rich interpretive challenges it continues to present.
Essays in centennial celebration of William Faulkner and his achievement With essays and commentaries by André Bleikasten, Joseph Blotner, Larry Brown, Thadious M. Davis, Susan V. Donaldson, Doreen Fowler, The Reverend Duncan M. Gray, Jr., Minrose C. Gwin, Robert W. Hamblin, W. Kenneth Holditch, Lothar Hönnighausen, Richard Howorth, John T. Irwin, Donald M. Kartiganer, Robert C. Khayat, Arthur F. Kinney, Thomas L. McHaney, John T. Matthews, Michael Millgate, David Minter, Richard C. Moreland, Gail Mortimer, Albert Murray, Noel Polk, Carolyn Porter, Hans H. Skei, Judith L. Sensibar, Warwick Wadlington, Philip M. Weinstein, Judith Bryant Wittenberg, and Karl F. Zender William Faulkner was born September 25, 1897. In honor of his centenary the Faulkner and Yoknapatawpha Conference of 1997 brought together twenty-five of the most important Faulkner scholars to examine the achievement of this writer generally regarded as the finest American novelist of the twentieth century. The panel discussions and essays that make up Faulkner at 100: Retrospect and Prospect provide a comprehensive account of the man and his work, including discussions of his life, the shape of his career, and his place in American literature, as well as fresh readings of such novels as The Sound and the Fury, Sanctuary, Absalom, Absalom!, If I Forget Thee, Jerusalem, and Go Down, Moses. Spanning the full range of critical approaches, the essays address such issues as Faulkner's use of African American dialect as a form of both appropriation and repudiation, his frequent emphasis on the strength of heterosexual desire over actual possession, the significance of his incessant role-playing, and the surprising scope of his reading. Of special interest are the views of Albert Murray, the African American novelist and cultural critic. He tells of reading Faulkner in the 1930s while a student at the Tuskegee Institute in Alabama. What emerges from this commemorative volume is a plural Faulkner, a writer of different value and meaning to different readers, a writer still challenging readers to accommodate their highly varied approaches to what André Bleikasten calls Faulkner's abiding "singularity." At the University of Mississippi Donald M. Kartiganer fills the William Howry Chair in Faulkner Studies in the department of English and Ann J. Abadie is associate director of the Center for the Study of Southern Culture.
A handbook for interpreting William Faulkner's most violent and shocking novel
For readers and critics, a guide to the Nobel Laureate's short stories