Passage quoted from Shreve, a northern character in William Faulkner's novel, "Absalom, Absalom!"

Jun 12, 2011

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In the multimedia presentation, our group chooses American southern literature, especially for Southern Renaissance, as the research topic to discuss. The southern literature not only describes the southern history but also shows how family play roles in southern life, a sense of community, and the way southerners live. This reminds me of some southern literature in Taiwan. For instance, a famous masterpiece原鄉人,written by鍾理和,authentically depicts the Hakka culture in Mei Lun and the life at that time. No high-flown rhetoric can be found in his works; rather, 鍾理和adopts lots of use of local color in each of his works so that readers can easily sense what kind of people the characters are and what kind of life they live.


Compared the American southern literature and Taiwan southern literature, although they stress different kind of cultures and social background, there are still some similarities in between. To begin with, both kind of literature present writers’ persistence and bravery toward society and life. Those southern writers are concerned with their life and the surroundings; therefore, they record how the ordinary people encounter the change because of the social transformation, as well as the difficulties they are confronted with. Due to the enthusiasm for the place they live, those writers face the problems, look for the core, and try to seek the answers through their writings. They live, so they write.
Written by Monica


 
 

Our project on southern literature enables me to have a better understanding of the historical background in the south. The civil war is well known, but the impact it had on the south is often drawn out in describing modern US. Learning about southern literature, either from reading works or the context of it, gets my attention to the society I am in. Literary works bring me closer to the struggles and different ideas from groups of people than simply reading the history. The belief in what is right, the clash between different social classes, and the tension in the relationship among family members that are often seen in southern literature can be referred to people outside the south and in different times, and they are facts even today. Take ourselves as an example, we have smaller families, we do not know our neighbors well, and we no longer see the land as a promise like it once was—the life seems so different. However, the advance of time is just something else fitting in for the old ideas: we still have to settle between personal needs and family duty, still care about the community and take a part of it, and go after goals that seem to make life better. The difficulties and mentality remain similar for human across time and space; to know about a culture, others’ or our own, is to know ourselves. As a result, tracing southern literature is a pleasant experience.

Written by Victoria


 
 

The first Southern literary work I read is Faulkner’s short story, A Rose for Emily, which depicts the conflicts between the old and the new, the aristocracy and the working-class and the traditional Southern family and the modern society. This story, even with just few pages long, is a start suitable for beginners to grasp a brief image of the South after World War I and American Civil War—the corruption of Southern families, heritage and sense of identity, the slavery and the racial tension, clashes between different generations and class-distinction—all well presented with Faulkner’s delicate diction and detailed background-setting, therefore arouses my passion to do the project, to further understand the Southern cultures and its literary texts.


As more as I read, the clearer the Southern society I imagine and build in my mind is. In As I Lay Dying, a rural countryside in South is vividly presented in Faulkner’s description of rustic scene and peoples’ dialects. In A Rose for Emily, we can see the tension among various races, especially between the white and the black. Thus, the racialism is a main theme in most of Faulkner’s works. In addition, the class distinction—the upper class and the lower one, collides with each other in a same community. But then in the end of the Civil War, come the gradual decay of aristocratic families and the renewal of young generations. The traditions are unvalued and ignored. Old families’ legacy fades as the past glory. The heritage, which once makes the aristocracy proud of themselves, now vanishes, along with the fortunes and the privilege. Their religious belief is also gone with the time passage. And the fluid time, once passing, never comes back and never stops, with all becoming the history.


Faulkner creates a glooming atmosphere in his writings with Gothic element and grotesque and creepy depiction, sometime the black humor to illustrate peoples’ struggles and difficulties of conquering the swift change of time. We, the audience, no matter viewing the texts with sympathy or ignorance, do witness a great adventure in the history of American literature. We do not forget those stories from the contemporary literary master—William Faulkner.

Written by Holly


 
 

After reading “A Rose for Emily,” our group chooses “American Southern Literature” as the topic of our final project. Through the focus on As I Lay Dying from William Faulkner and A Streetcar Named Desire from Tennessee Williams, we gradually understand more about the kind of literature. Honestly, in the works of southern literature, it is not easy to discover the symbols which indict its relationship with South. Most of time, authors imply the elements of South with daily, ordinary objects and with the depiction of Southern scenes. Besides, the characters of the story also play a critical role in the Southern Literature because their personality, family background, and relationship with other people usually symbolize the most significant ideas that the authors wish to present. That is, when reading a work related to Sothern literature, people should pay attention to not only the plot of the story but also minor points, such as the background of characters and of the story, or the attitude from the community toward the protagonists.


As for the theme of Southern literature, the decay of the old South, and the conflict between the old and the new south are the major parts. For example, Faulkner’s two works: A Rose for Emily and As I Lay Dying, demonstrate the death of old, traditional Southern society through the description of characters, horrible elements and so on. The author in these works also shows readers the concept about the importance of family and the power of community toward one person. Another Southern writer, Tennessee Williams, in A Streetcar Named Desire, expresses that New South replaces Old South after industrialization with a scene that a working class man rape a used southern-belle woman.


In conclusion, I think that southern writers did not feel comfortable when experiencing the historical change in the Southern America. After all, most of their works give me a sense of sorrow for the Old South.

Written by Tiffany


picture from:
http://rworg075.wordpress.com/2011/05/17/back-to-basics/



Jun 11, 2011

William Faulkner: Writing Style and Techniques

William Faulkner: Writing Style and Techniques


“Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.”

 William Faulkner, an interview of The Paris Review, in 1956.



As an innovative writer, Faulkner is known for his experimental writing style with meticulous evaluation of the utterance, diction and cadence and scrupulous attention to the details of characters’ utterance and state of minds. He experimented intelligently with switching different perspectives and voices, including those of children, the outcast, the insane and the illiterate. Moreover, he is talented at the arrangement of narrative chronology, sometimes by breaking the time frame and re-combining it with whole new aspect. His rich and brilliant baroque writing style is developed in the extremely long sentences embedding with complex subordinate parts.

Faulkner’s stories were often written with a highly emotional, delicate, cerebral, complicated style with Gothic or grotesque elements. The characters in the novel had great range of variety; they might be former or runaway slaves, the descendant of slaves, the poor white, agrarians, working-class Southerners and the aristocracy from old and traditional Southern families. What’s more, he re-illustrated the history of the land and paid lot of attention on the racialism—Indian, African-American, Euro-American, centering on the social tensions between the old and new generation, the traditional and modern South and the aristocracy and the lower-class.




“The presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down.”

Flannery O’Connor



 
Yoknapatawpha County


    William Faulkner created a plenary imaginative scene, Yoknapatawpha County, which became story settings in numerous novels and the landscape in which those depicted families live and have great interconnection with each other, extending for generations. The capital of Yoknapatawpha County, Jefferson, is designed based on Faulkner’s hometown, Oxford, Mississippi and its surroundings.

Novels and short stories set in Yoknapatawpha County:
Sartoris/Flags in the Dust (1929) 

The Sound and the Fury (1929) 
As I Lay Dying (1930)
A Rose for Emily (1930)
Spotted Horses pub. in Scribner's Magazine (1930)
Dry September (1931) 
That Evening Sun (1931)
Sanctuary (1931)
Light in August (1932)
Absalom, Absalom! (1936)
The Unvanquished (1938)
Barn Burning (1939)
The Hamlet (1940)
Two Soldiers (1942)
Go Down, Moses (1942)
Shingles for the Lord (1943)
Intruder in the Dust (1948)
Knight's Gambit (1949)
Requiem for a Nun (1951) 
The Town (1957)
The Mansion (1959)
The Reivers (1962)


Stream of consciousness

Faulkner used the technique, “stream of consciousness,” in his writings frequently. In literary criticism, stream of consciousness is a narrative mode which seeks to picture one individual’s point of view with the written equivalence of following the process of characters’ thoughts either in a hazy interior monologue on in connection with character’s reactions. It is a peculiar form of an inner monologue, and is often delineated by the connection with leaping syntax, punctuation and story plots that make the text hard to be understood or followed by readers. The stream-of-conscious enables writers to address audiences into the scene with the speech and the dramatic monologue of the third person.



pictures from:
Wikipedia.
“William Faulkner. ” Wikipedia. 10 Jun 2011.



Sources from:
“William Faulkner. ” Wikipedia. 10 Jun 2011.
“William Faulkner and the Southern Writers—The Sound and the
Fury.” C-Span American Writers—A Journey through History. 8 Jun
2011.


William Faulkner: Writings

Chronology of William Faulkner’s Works

Year
Works
Contexts & Synopses
1924

 
The Marble Faun
*   The first book of poetry.
*   The cycle of pastoral poems.
1926


 Soldier’s Pay
*   Faulkner’s first novel
*   A fatally wounded aviator’s return to a small town in Georgia in the end of World War I.
*   The aviator’s return is revolved around several conflicts (e.g. the state of his engagement with his fiancee, the widow’s intense desire to marry the soldier and the romantic scheme surrounding the fiancee, unfaithful to the aviator during his absence).
1927


Mosquitoes
*   The novel describes the misadventure of passengers on a cruise ship.
*   The story is told hour by hour and day by day.
1929

Sartoris
*   The first tale set in Yoknapatawpha Country.
*   The edition of an encapsulated version of Faulkner’s original work, the complete text was then published in 1973, as Flags in the Dust.
*   Representing the decline of the Mississippi aristocracy following the social turmoil of the American Civil War after the conclusion of WWI.
*   Literary critic Cleanth Brooks has acclaimed this novel as “well-written,” dealing with literary allusions and exploring the predicament of a lost generation.
*   However, some reviewers, though admiring Faulkner’s writing techniques, emphasized on its seemingly loose plots and inconsistency.

The Sound And The Fury
*   Faulkner’s first masterpiece.
*   The distortion of time through the use of the inner monologue is fused successfully.
*   The downfalls of the Compson family are seen through the minds of several characters.
*   A southern family under great pressure of losing their family member.
*   Themes:
(1)             The decay of Southern aristocratic values: the corruption of southern traditions—men to be chivalry gentlemen displaying courage and defending the honor of family name, while women as the symbol of grace and virginity, bringing the family legacy of heritage to their children, which grounds the faith to God in their beliefs—affects the South enormously on their finance, social values and psychological status.
(2)             Resurrection and renewal: the placement of the story’s climax lies on the weekend, the association with Christ’s crucifixion on God Friday and resurrection on Easter Sunday; numerous events in the novel could be links with the death of Christ.
(3)             The failure of language and narrative: Faulkner’s inclination to convey the story with various voices instead of single narrative angle or unitary perspective, which makes each narrator vivified with different utterance and speeches but also cast great doubts for reader to convey the truth or obtain the full conception through the language completely.
*  Motifs:
(1)              Time: Faulkner’s revolutionary treatment and representation of time with the inconsistency, subjectivity and difficulties for understanding.
(2)              Order and chaos: characters’ different comprehensions toward the orders and chaos—the one with great sense of order, tolerance, and stronger belief in one’s own values remain the only character unbroken.
(3)              Shadows: symbol of the past glory.
*  Symbols
(1)              Water: representing the cleansing and purity.
(2)              Quentin’s watch: a gift from the father which symbolizes the family’s glorious heritage, the consistent ticking as the reminder of the passage of time and Quentin’s preoccupation with time and his intention to escape it by breaking the watch remain an action in vein, as the ticking continues, haunted.
1930
 

As I Lay Dying
<see more analyses in our blog>
1931

Sanctuary
*   Carrying a highly controversial issue—the theme of rape, the novel was Faulkner’s commercial and critical breakthrough, building his literary reputation.
*   The degeneration of Temple Drake, a young girl from a distinguished southern family.
*   Adopted for the film, The Story of Temple Drake, in 1933 and renamed, Trigger, for copyright reasons.
*   Faulkner asserted that this novel is a “potboiler,” written simply for personal profits, which then triggered an argument among scholars, critics and Faulkner’s intimate friends.

 

These 13
 
*   Faulkner’s first release collection of short stories, dedicated to Faulkner’s first daughter Alabama, who died nine days after her birth and his wife Estelle.
*   The story collection includes many of Faulkner’s highly acclaimed and most frequently anthologized stories (e.g. embodying A Rose for Emily,” “Red Leaves,” “That Evening Sun,” and “Dry September").
1932

Light In August
*   Prejudice is demonstrated to be the most destructive when it is internalized, as in Joe Christmas, who believes, even without any proof of it, that one of his parents was a Negro.
*   Complicated and violent relationships between a white woman and a black man.
*   Themes:
(1)             Gender and race
(2)             Burdens of the past: personal history emerges gruesomely.
(3)             The struggle for a coherent identification: the sense of identity influenced by nature, society, history and personal lives.
(4)             The alienation of each individual: depiction of lonely, fringed and isolated characters, choosing or being forced to live the margin of the society.
*   Motifs
(1)             Compound words: to explore the boundaries of human articulation and to meet Faulkner’s artistic needs; in addition, to reserve the existence of English words by combining and embedding them traditionally.
(2)             Fluid time: a dynamic clash of flashbacks and told in present tense.
(3)             Names: characters’ names served as a resonance to represent and interact with each individual’s life.
*   Symbols
(1)             The dead sheep: religious imagery, hints of crucifixion; a double figure of the character, the sacrificed lamb willingly to go in the slaughter.
(2)             The smoking from Burden’s house: ill omen, ill will.
(3)             The street: a potent metaphor of a way of searching for general self-acceptance.
1933


 A Green Bough
*   The second book of Poetry
1935


Pylon
 
*   Set in Valois, a fictionalized version of New Orleans.
*   A group of barnstormers who can only maintain a subsistence level, always near to destitution, and whose lifestyles and personal relationships are unconventional, shocking by the social standards, meets an exhausted and emotional newspaperman, who is deeply indulged in them and who is ended with tragic consequences.
1936


Absalom, Absalom! 
*   Racial prejudice.
*   The rise of a self-made manor owner and his disastrous fall out of the racial prejudice and the failure of love.
*   A young man is rejected by his father and brother because of his mixed blood.

1938

The Unvanquished
*  The story of Sartoris Family, who first appeared in Sartoris (1929), is told in seven episodes.
*  Themes:
(1) Morality and moral development, by describing the character’s growing maturity and innocence of honor and moral concepts, the old South moral code and exploring its positive and negative aspects
(2) Racial tension motivated after Civil War with vivid depiction of the black characters—those contented with slavery in contrast with those whose desire for freedom are considered ungrateful and unjustified—leaving the readers disappointed and distressing.
*  Motifs:
(1)              Civil war, shown not only the setting but the dominant presence that affects characters’ social values, action and the story plots, and  though without description of the battlefield, the devastation in towns, characters’ vanishing fortunes and economic difficulties and civilians’ rebellion are well illustrated in the story.
(2)              Humor, with comic passages to create the idyllic atmosphere, humorous humorless characters and the knowing and ironic humor effects.
1939
 

The Wild Palms
[If I Forget Thee, Jerusalem]
*  Originally published under the title The Wild Palms.
*  A translated version into Spanish by Jorge Luis Borges influences a large number of Latin American readers.
*  A blend of two stories, a love story, “The Wild Palms” and a river story “Old Man,” but both of them centers on the relationship between a men and a woman.
1940

 
The Hamlet

*  First of the “Snopes” trilogy, completed by The Town(1957) and The Mansion(1959).
*  Depicting the exploits of the Snopes Family.
*  The usage of eccentricities to achieve the comic effects of the Snopes. (e.g. Ike Snope’s carnal inclination to the domestic cattle)
1942

Go Down, Moses
*   A collection of seven related pieces of short fiction.
*   Spiritual title: to focus on a comparison between the slavery of the blacks in America and the Jews in Egypt.
*   The connection of the nature and the land in three of the stories.
*   Themes: 
(1) Enslavement and race
(2) relationship between man and  
     nature
(3) vanishing wilderness
(4) management vs. ownership of the 
     land
(5) property and inheritance.
1944


To Have and Have Not

*   Film scripts.
*   Faulkner co-wrote the screenplay with Leigh bracket and Jules Furthman.
1946


The Big Sleep 

*   Film scripts.
*   Faulkner co-wrote the screenplay with Leigh bracket and Jules Furthman.
*   The U.S. Library of Congress regarded this film “culturally, historically, or aesthetically significant” in 1997 and added it to the National Film Registry.
1948

Intruder in the Dust
*   Faulkner’s most outspoken moral evaluation of the relationship and the problems between Negroes and whites.
*   The major character, Lucas Beauchamp, a black farmer sued for murdering a white man, is exonerated through the testimony and the help of black and white teenagers and a spinster from a old Southern family.
*   Faulkner’s personal response to the racial problems the South was facing.
*   A stream of consciousness writing style and prolix passages on Southern memories of the Civil War.
1949


Knight’s Gambit
*   A collection of crime-fiction short stories.
1950
Collected Stories
*   The National Book Award
1951


Requiem for a Nun
*   A play/novel sequel to Sanctuary(1931).
*   Written in the form of a three-act play with a narrative prologue to each act.
*   A drama focuses on the courtroom trial of a Negro woman who had once been a party to Temple Drake’s debauchery.
*   Experiments with narrative techniques.
*   One Faulkner’s most well-known lines, often being paraphrased, even quoted in Obama’s speech: “The past is never dead. It’s not even past.”
1954


 A Fable

* Pulitzer Prize and The National Book 
  Award
*   Faulkner’s longest novel, receiving mixed critic reviews without further development of his literary reputation, however, claimed by the author himself that it would be a masterpiece when completed.
*   Set in France during World War I
*   A story of “Corporal Stephan,” representative of Jesus.
1957


The Town
*  The second of the Snopes trilogy, about the fictional Snope family in Mississippi.
1959


The Mansion
*  The last of the Snopes trilogy.
*  The novel vividly portrays the Southern economic landscape afterwards the Civil War, the rural populism, racial and social tensions.
1962


The Reivers
*   Faulkner completed his Yoknapatawpha story as this final novel was finished.
*   Pulitzer Prize for fiction.
*   A picaresque novel, untypically lighthearted, often neglected and dismissed as Faulkner’s lesser work by scholars.
1973


Flags in the Dust
*   Heavily edited, the original manuscript was removed 40,000 words in the process, as the abridged version Satoris in 1929.
*   Complete text and original draft of Satoris.


pictures from:
http://www.lib.umich.edu/
http://www.1eab.com/servlet/the-4506/A-Green-Bough-~/Detail
Wikipedia
http://en.wikipedia.org/ 
http://www.tower.com/knights-gambit-william-faulkner-paperback/wapi/101805708 
Sources from:
SparkNotes Editors. “SparkNote on The Sound and the Fury.” SparkNotes.com. SparkNotes LLC. n.d.. Web. 11 Jun 2011.
SparkNotes Editors. “SparkNote on Light in August.” SparkNotes.com.
SparkNotes LLC. n.d.. Web. 11 Jun 2011.
SparkNotes Editors. “SparkNote on The Unvanquished.” SparkNotes.com. SparkNotes LLC. n.d.. Web. 2 Jun. 2011.
“William Faulkner—Biography.” Nobelprize.org. 10 Jun 2011  
http://nobelprize.org/nobel_prizes/literature/laureates/1949/faulkner-bio.htm
“William Faulkner. ” Wikipedia. 10 Jun 2011.
American Writers—A Journey through History. 8 Jun 2011.