DOCSLIB.ORG

Gay Faulkner: Uncovering a Homosexual Presence in Yoknapatawpha and Beyond

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Gay Faulkner: Uncovering a Homosexual Presence in Yoknapatawpha and Beyond University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 1-1-2013 Gay Faulkner: Uncovering a Homosexual Presence in Yoknapatawpha and Beyond Phillip Andrew Gordon University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Literature Commons Recommended Citation Gordon, Phillip Andrew, "Gay Faulkner: Uncovering a Homosexual Presence in Yoknapatawpha and Beyond" (2013). Electronic Theses and Dissertations. 1391. https://egrove.olemiss.edu/etd/1391 This Dissertation is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. GAY FAULKNER: UNCOVERING A HOMOSEXUAL PRESENCE IN YOKNAPATAWPHA AND BEYOND A dissertation presented in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English The University of Mississippi by PHILLIP ANDREW GORDON June 2013 Copyright Phillip Andrew Gordon 2013 ALL RIGHTS RESERVED ABSTRACT This dissertation is a biographical study of William Faulkner (1897-1962) as his life coincided with a particular moment in LGBT history when the words homosexual and queer were undergoing profound changes and when our contemporary understanding of gay identity was becoming a widespread and recognizable epistemology. The connections forged in this study--based on archival research from Joseph Blotner’s extensive biographical notes--reveal a version of Faulkner distinctly not anxious about homosexuality and, in fact, often quite comfortable with gay men and living in gay environments (New Orleans, New York). From these connections, I reassess Faulkner’s pre-marriage writings (1918-1929) for their prolific reference to homosexual themes. I culiminate these early years with a new reading of Darl Bundren from As I Lay Dying (1930)--the first novel Faulkner completed after his marriage--for the way Darl’s community constructs him as queer and the way he defines his own gay identity as a “wounded” soldier who was exposed to homosexuality during his time at the war in France. Then I turn towards the changes Faulkner’s perspective underwent after his marriage, in the 1930s, as he wrote his major novels. Finally, I turn towards the final years of his career and assess Faulkner’s depiction of V. K. Ratliff in the latter novels as a Cold War homosexual of the Snopes trilogy, whose presence throughout Faulkner’s career crystalizes in the closing scenes in The Mansion (1959) as the final verdict on the great saga of Yoknapatawpha County. This study is a developmental narrative of Faulkner’s queer identity throughout his life and of his mastery of gay representation through its many emanations in the first half of the twentieth century. ii DEDICATION For Mom, Dad, and Steve and for Meghan, Marty, and Jim iii ACKNOWLEDGMENT No scholar is an island. This dissertation would not have been possible without the generous financial, archival, academic, and moral support of more people than I could ever list here. The majority of this dissertation was written under the generous support of the Francis Bell McCool Dissertation Fellowship for Faulkner Studies, sponsored by Campbell and Leighton McCool, in honor of Campbell’s mother. Other generous funding came from a research grant sponsored by the Graduate Student Council at the University of Mississippi and a semester long fellowship sponsored by the Graduate School at the University of Mississippi. The research in this study comes primarily from four archives. Thanks to the Howard Gottlieb Archival Research Center at Boston University. Also, thanks to the Harry Ransom Center at the University of Texas-Austin, and particularly to Jennifer Shapland, a public service intern who happened to be assigned to my initial inquiry and went out of her way to help me track down and obtain materials for this project. Thanks as well to Jennifer Ford and her wonderful staff in Special Collections at the University of Mississippi for their help with documents relating to Hubert Creekmore. It is a blessing to have such excellent resources so close to home and have such an excellent team to care for them. Thanks, thanks, and thanks again to Drs. Bob Hamblin, Chris Reiger, and Lisa Speer at Southeast Missouri State University for their patience and hospitality in the Center for Faulkner Studies and their Special Collections. The backbone of this study is the material contained in the Brodsky/Faulkner Collection housed iv at the library in Cape Girardeau. I cannot thank them enough for being such generous custodians. Special thanks to Lisa Speer, who always had her door open when, after hours of staring at old letters, I just needed to talk with a receptive audience about all the cool stuff I was finding. Numerous mentors have guided me not only through the dissertation but to it in the first place as well. As a hapless undergraduate who transferred to the University of Tennessee at Martin, I stumbled into an English department that would forever change my life. Thanks to the late Dr. Carl Buchanan, whose small but poetic advice on a cold February evening would eventually turn into the central metaphor of the first two chapters of this study. To Dr. Lynn Alexander, with whom I travelled to Oxford for a marathon reading of Absalom, Absalom! and decided that Oxford was were I needed to be. To Dr. Daniel Pigg, whose short essay on Wilfred Owen’s “Disabled” gave me the first significant inroad to making this argument at all. To Dr. Jeff Miller, for whom I first read Absalom and As I Lay Dying and in whose class I first pondered what “gay Faulkner” might mean. And to Dr. Neil Graves, an Ole Miss alum and UTM professor, who has been my friend and confidant for seven years now, and whose haunting and beautiful water color of Rowan Oak will one day grace the cover of this book. Thanks to Dr. Benjamin F. Fisher, ostensibly a formidable Edgar Allen Poe scholar, but whose encouragement and--on a more practical level--extensive revisions and copy-editing made what were some ugly scratches on a few pieces of paper into the legible document below. And thanks, finally, to the friends who have put up with me and inspired me while I have wept over spilled milk and leapt for joy over my greatest accomplishments. To Mel, Chris, Kelli, Sara, v Amy, Ann Marie, and Hillary. See below for evidence of what your friendship helped me see through to its conclusion. What follows would not be there without you. vi TABLE OF CONTENTS ABSTRACT ii DEDICATION iii ACKNOWLEDGEMENT iv INTRODUCTION 1 CHAPTER 1: “QUAIR” FAULKNER 27 CHAPTER 2: QUEER FAULKNER 47 CHAPTER 3: GAY FAULKNER 100 CHAPTER 4: CADET FAULKNER 161 CHAPTER 5: QUEER SOLDIERS 189 CHAPTER 6: GAY DARL 228 CHAPTER 7: LA VITA NUOVA 281 CHAPTER 8: MEDIATED VISION 312 CHAPTER 9: THE FAULKNER WE KNOW AND DO NOT KNOW 350 CHAPTER 10: V. K. RATLIFF, A BIOGRAPHY 397 ENDNOTES 435 WORKS CITED 511 VITA 527 vii INTRODUCTION The study that follows seeks to understand the life and work of William Faulkner in relation to the gay history that ran adjacent to that life and with which Faulkner often engaged in the various performances so vital to his sense of identity. William Faulkner lived from 1897 to 1962, a time of tremendous change in the cultural recognition of homosexuality and in the ways in which gay men performed their identities against the backdrop of that cultural recognition. By the time of Faulkner’s adolescence and coming-of-age, a generation after gay Mississippians such as Stark Young and William Alexander Percy, homosexuality as a particular identity category had entered the mainstream consciousness of Western Europe and the United States, the stage on which Faulkner’s canonical status is measured and the cultural milieu in which he grew up. By the time of Faulkner’s death, a distinct genre of gay literature had developed primarily as a niche market but was well on its way to a general readership thanks to works from the 1940s and 1950s by well-known authors such as Gore Vidal and Truman Capote, among many others. Considered by many to be a great American author so highly esteemed for what Toni Morrison has called his “gaze,” or “his refusal-to-look-away approach” (297), and for his critical explications of history, Faulkner was aware of this tradition, knew gay people, participated in settings distinctly recognizable as gay, and wrote homosexuality into his fiction from his earliest attempts at poetry to the final novels of his prolific career. I argue that from this participation Faulkner forged for himself what I am calling an “apocryphal” gay identity. While we so far do 1 not have information to confirm or deny whether Faulkner engaged in physical sexual acts with other men, the identity he forged for himself--evidence of which has long existed in the biographical record--suggests that he did, in fact, understand what it meant to “be gay.” In his specific cultural moment and geographic location, this understanding greatly influenced his work. To articulate this aspect of Faulkner’s life and work, this study will primarily fuse two fields of scholarly inquiry: Faulkner Studies and Queer Theory. While technically, this study seeks to intervene into both fields, especially in regards to Faulkner Studies, a better model for the goal of this study might be to say that it seeks to participate in a long conversation. Primarily, this study functions as a new addition to the biographical record of Faulkner’s life but also as a turn in the current canon within Faulkner Studies of essays concerning Faulkner and queer sexuality.
Load more

Recommended publications
  • A Rose for Emily Table of Contents
    A Rose for Emily By William Faulkner Copyright Notice Some or all of these eNotes are an offprint from Gale's For Students Series: Presenting Analysis, Context, and Criticism on Commonly Studied Works. ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. ©2004 eNotes.com LLC ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. For complete copyright information on these eNotes please visit: http://www.enotes.com/rose−emily/credits Table of Contents 1. Introduction 2. Author Biography 3. Summary 4. Characters 5. Themes 6. Style 7. Historical Context 8. Critical Overview 9. Essays and Criticism 10. Compare and Contrast 11. Topics for Further Study 12. Media Adaptations 13. What Do I Read Next? Table of Contents 1 14. Bibliography and Further Reading Introduction William Faulkner's ''A Rose for Emily'' was originally published in the April 30, 1930, issue of Forum. It was his first short story published in a major magazine. A slightly revised version was published in two collections of his short fiction, These 13 (1931) and Collected Stories (1950). It has been published in dozens of anthologies as well. ''A Rose for Emily'' is the story of an eccentric spinster, Emily Grierson. An unnamed narrator details the strange circumstances of Emily's life and her odd relationships with her father, her lover, and the town of Jefferson, and the horrible secret she hides.
    [Show full text]
  • Faulkner's Stylistic Difficulty: a Formal Analysis of Absalom, Absalom!
    Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English 12-14-2017 Faulkner's Stylistic Difficulty: Aormal F Analysis of Absalom, Absalom! Eric Sandarg Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Sandarg, Eric, "Faulkner's Stylistic Difficulty: Aormal F Analysis of Absalom, Absalom!." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/english_diss/189 This Dissertation is brought to you for free and open access by the Department of English at ScholarWorks @ Georgia State University. It has been accepted for inclusion in English Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. FAULKNER’S STYLISTIC DIFFICULTY: A FORMAL ANALYSIS OF ABSALOM, ABSALOM! by ERIC SANDARG Under the Direction of Pearl McHaney, Ph.D. ABSTRACT The complex prose of Faulkner’s Absalom, Absalom!, marked by lengthy sentences and confusing punctuation, resonates on both a rhetorical and an aesthetic level that earlier critics failed to recognize. INDEX WORDS: William Faulkner; Absalom, Absalom!; punctuation; syntax; diction; prose poetry; parentheses; sentences; repetition; Faulknerese. i ii FAULKNER’S STYLISTIC DIFFICULTY: A FORMAL ANALYSIS OF ABSALOM, ABSALOM! by ERIC SANDARG A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of Arts and Sciences Georgia State University 2017 iii Copyright by Eric Sandarg 2017 iv FAULKNER’S STYLISTIC DIFFICULTY: A FORMAL ANALYSIS OF ABSALOM, ABSALOM! by ERIC SANDARG Committee Chair: Pearl McHaney Committee: Malinda Snow Randy Malamud Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University December 2017 v iv DEDICATION I invoked no muse for inspiration while composing this work; my two principal sources of motivation were decidedly sublunary but nonetheless helpful beyond description: Dr.
    [Show full text]
  • Affirmative Action for Lesbians and Gay Men: a Proposal for True Equality of Opportunity and Workforce Diversity
    Affirmative Action for Lesbians and Gay Men: A Proposal for True Equality of Opportunity and Workforce Diversity Jeffrey S. Byrnet The status quo that privileges certain groups over others cannot be changed, except self-consciously.... We cannot ensure that our institu- tions reflect the ideals of equality, fairness, and equal opportunity which are part of our culture without affirmative action.' [Gay and lesbian people] don't need affirmative2 action-we're already here. We need the freedom to be visible. Despite the prominence of both "affirmative action" and "gay and lesbian rights"' at the center of the civil rights debate in the United States, remarkably little thought has been given to affirmative action for lesbians and gay men.4 When the issue of affirmative action for gay and lesbian people is raised at all, it is almost always mentioned as a feared result of enacting antidiscrimination laws ,5 is occasionally cited briefly in a footnote, 6 or is simply presented t Law Clerk to Chief Justice Joseph P. Warner, Massachusetts Appeals Court. J.D., Harvard Law School, 1992; A.B., Boston College, 1989. The views expressed in this article are my own. My thanks to Bill Rubenstein for his guidance on this article and to David Chamy for helpful comments on an earlier draft. I also thank Peter M. Cicchino, Elizabeth F. Mason, Brian N. Eisen, and Trenton H. Norris for their challenging questions and insightful suggestions. Bryan Tramont has been a remarkably talented and sensitive editor. Most of all, I am grateful to Bruce Deming for his encouragement, sagacity, and spirit.
    [Show full text]
  • The Blind Man, the Idiot, and the Prig: Faulkner's Disdain for the Reader
    THE BLIND MAN, THE IDIOT,AND THE PRIG: FAULKNER’S DISDAIN FOR THE READER1 GENE C. FANT, JR. William Faulkner’s disdain for the reader surfaces in his narrative approach in three novels: Sanctuary, The Sound and the Fury, and Absalom, Absalom! Frustrated with the failure of contemporary critics and general readers to wrestle with his style, he asserts authorial power over his audience. Three particular characters come to symbolize, in part, the general reader. In Sanctuary, Faulkner undermines the senses, leading the reader to identify with the blind-deaf-mute, Pap Goodwin. In The Sound and the Fury, the reader’s demands for narrative order find a parallel in the idiot Benjy Compson. In Absalom, Absalom!, Faulkner depicts the overactive reader in the priggish Shreve McCannon, who reshapes the story. Each character pro- vides insight into the total dependence of the audience upon the narrator and the overall epistemological ramifications of narrative itself. By 1928, William Faulkner was an experienced novelist, with Soldier’s Pay and Mosquitoes published and a third completed manuscript (which became Sartoris), under his authorial belt. His experiences as a novelist, however, frus- trated him as his sales lagged and his critical reception proved underwhelming. He felt underappreciated and misunderstood, as his own recollections give evidence.2 When Faulkner wrote The Sound and the Fury and Sanctuary, the two major works of 1928–29, he made a step in his approach to writing that ele- vated his prose: he stopped writing for the “ideal” reader, regardless of the con- sequences. Up until that time, Faulkner had taken a fairly traditional approach to relating a story with fairly ordered plots and narrative points of view.
    [Show full text]
  • Download Article
    International Conference on Humanities and Social Science (HSS 2016) Character Analysis of A Rose For Emily Wen-ge CHANG1 and Qian-qian CHE2 1Foreign Languages Department, Jilin Provincial Educational Institute, Changchun, Jilin, China E-mail: [email protected] 2Undergraduate student, Rensselaer Polytechnic Institute, Troy, NY, America Keywords: Characterization, Symbol, Image. Abstract. William Faulkner is among the greatest experimentalists of the 20th century novelists. The 1950 Nobel Prize presentation speech calls Faulkner the “unrivaled master of all living British and American novelists”. A Rose for Emily is one of his best- known short stories and is widely used in English classroom. Some people regard the story as a reflection of the dying Old South and the growing New South, which is practical and bent on industrialization. Some read the story as an allegory. By the characterization of the heroine Miss Emily and with the use of symbols and images, we can understand the relationship between the South and the North, between the past and the present, illusion and reality, permanence and change, and death and life. Introduction William Faulkner (1897-1962) is a giant in the realm of American literature. More than simply a renowned Mississippi writer, the Nobel Prize-winning novelist and short story writer is acclaimed through the world as one of the twentieth century’s greatest writers. During what is generally considered his period of greatest artistic achievement, from The Sound and the Fury in 1929 to Go Down, Moses in 1942, Faulkner accomplished in a little over a decade more artistically than most writers accomplish over a lifetime of writing.
    [Show full text]
  • View of Time?
    I SEE, HE SAYS, PERHAPS, ON TIME: VISION, VOICE, HYPOTHETICAL NARRATION, AND TEMPORALITY IN WILLIAM FAULKNER’S FICTION DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy in the Graduate School of The Ohio State University By David S. FitzSimmons, B.A., M.A. ***** The Ohio State University 2003 Dissertation Committee: Approved by Professor James Phelan, Adviser Professor Jared Gardner ______________________ Adviser Professor Jessica Prinz Department of English Copyright by David S. FitzSimmons 2003 ABSTRACT This study examines four narrative techniques in William Faulkner’s fiction in order to accomplish two things: 1) see what applying contemporary narrative theory to Faulkner can tell us about his narratives; and 2) see how examining Faulkner’s narratives can cause us to revise or extend concepts in narrative theory. In other words, the study establishes a recursive relationship between Faulkner’s fiction and narrative theory, one in which each subject matter can illuminate the other. The four narrative techniques examined include shifts in focalization, shifts in voice, hypothetical narration, and representations of time. Each chapter examines background theory, gives examples of the technique, offers explication of the technique, and analyzes the technique’s effects. The first chapter takes “Barn Burning” as its main example and looks at how to identify shifts in focalization (vision), develops a model of layers of focalization, and investigates their effects. Chapter two focuses on As I Lay Dying and “Old Man” and examines narrative voice, works at defining voice, distinguishes conventional markers of narrative voice from voice features, and explores the effect of narrative voice.
    [Show full text]
  • A Modern Tragedy
    “WONDER. GO ON AND WONDER”: QUENTIN’S TRAGEDY FROM THE SOCIOLOGICAL PERSPECTIVE by Huang Min 黄 敏 A Dissertation Presented to The Graduate School of Language, Communication, and Culture Kwansei Gakuin University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy March 2013 Doctor of Philosophy Dissertation “Wonder. Go on and wonder”: Quentin’s Tragedy from the Sociological Perspective by Huang Min Members of Evaluation Committee Major Advisor: Associate Advisor: Associate Advisor: Associate Advisor: i ABSTRACT “Wonder. Go on and wonder”: Quentin’s Tragedy from the Sociological Perspective by Huang Min A major hero in the works of William Faulkner, Quentin Compson used to be one of the most frequently commented characters. Regarding his death, there are a variety of critical opinions. Yet very few critical works have devoted to a thorough study of Quentin’s tragedy. The result is that voices on this issue are presented within the different concerns of critics and tend to overstress one aspect of the problem. The diversified opinions contribute much to the unsettled argument and the complexity of Quentin’s death itself. For want of a better argument, the critical world has paid considerably less attention to Quentin’s suicide over the last 30 years. My dissertation has tried to approach Quentin’s tragedy in a more systematic and consistent way by the adaptation of a sociological perspective, which has seen the accumulation of well-defined studies on ii the problem of suicide since Sociologist Durkheim’s monumental book Suicides published well over a century ago. It is from this discipline of social science that the present paper gains a theoretical framework for laying down the fundamental questions regarding Quentin’s death, in an attempt to objectively define and examine the development of his character and suicidal mentality.
    [Show full text]
  • A Rose for Emily”1
    English Language & Literature Teaching, Vol. 17, No. 4 Winter 2011 Narrator as Collective ‘We’: The Narrative Structure of “A Rose for Emily”1 Ji-won Kim (Sejong University) Kim, Ji-won. (2011). Narrator as collective ‘we’: The narrative structure of “A Rose for Emily.” English Language & Literature Teaching, 17(4), 141-156. This study purposes to explore the narrative of fictional events complicated by a specific narrator, taking notice of his/her role as an internal focalizer as well as an external participant. In William Faulkner's "A Rose for Emily," the story of an eccentric spinster, Emily Grierson, is focalized and narrated by a townsperson, apparently an individual, but one who always speaks as 'we.' This tale-teller, as a first-hand witness of the events in the story, details the strange circumstances of Emily’s life and her odd relationships with her father, her lover, the community, and even the horrible secret hidden to the climactic moment at the end. The narrative 'we' has surely watched Emily for many years with a considerable interest but also with a respectful distance. Being left unidentified on purpose, this narrative agent, in spite of his/her vagueness, definitely knows more than others do and acts undoubtedly as a pivotal role in this tale of grotesque love. Seamlessly juxtaposing the present and the past, the collective ‘we’ suggests an important subject that the distinction between the past and the present is blurred out for Emily, for whom the indiscernibleness of time flow proves to be her hamartia. The focalizer-narrator describes Miss Emily in the same manner as he/she describes the South whose old ways have passed on by time.
    [Show full text]
  • William Faulkner and George Washington Harris: Frontier Humor in the Snopes Trilogy
    WILLIAM FAULKNER AND GEORGE WASHINGTON HARRIS: FRONTIER HUMOR IN THE SNOPES TRILOGY by Hugh M. Stilley B.A., University of Southern California, 196l A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Engli sh We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October, I964 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that per• mission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives,, It is understood that copying or publi• cation of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia Vancouver 8, Canada Date September 3. 1965. ABSTRACT The influence of the pre-Civil War Southwestern humorists on the work of William Faulkner has long been hypothesized. But it has received scant critical attention, much of it erroneous or so general as to be almost meaningless. While Faulkner's total vision is more than merely humorous, humor is a significant part of that vision. And the importance of frontier humor to Faulkner's art is further substantiated by the fact that many of his grotesque passages derive from ele• ments of this humor. Frontier humor flourished from I83O to I860, and while a large group of men then flooded American newspapers with contributions, it now survives in anthologies and the book- length collections of its most prominent writers — Augustus Baldwin Longstreet, Joseph Glover Baldwin, Johnson Jones Hooper, William Tappan Thompson, Thomas Bangs Thorpe, and George Washington Harris.
    [Show full text]
  • An Annotated Bibliography of William Faulkner, 1967-1970
    Studies in English Volume 12 Article 3 1971 An Annotated Bibliography of William Faulkner, 1967-1970 James Barlow Lloyd University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/ms_studies_eng Part of the American Literature Commons Recommended Citation Lloyd, James Barlow (1971) "An Annotated Bibliography of William Faulkner, 1967-1970," Studies in English: Vol. 12 , Article 3. Available at: https://egrove.olemiss.edu/ms_studies_eng/vol12/iss1/3 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Studies in English by an authorized editor of eGrove. For more information, please contact [email protected]. Lloyd: Faulkner Bibliography An Annotated Bibliography of William Faulkner, 1967—1970 by James Barlow Lloyd This annotated bibliography of books and articles published about William Faulkner and his works between January, 1967, and the summer of 1970 supplements such existing secondary bibliog­ raphies as Maurice Beebe’s checklists in the Autumn 1956 and Spring 1967 issues of Modern Fiction Studies; Linton R. Massey’s William Faulkner: “Man Working” 1919-1962: A Catalogue of the William Faulkner Collection of the University of Virginia (Charlottesville: Bibliographic Society of the University of Virginia, 1968); and O. B. Emerson’s unpublished doctoral dissertation, “William Faulkner’s Literary Reputation in America” (Vanderbilt University, 1962). The present bibliography begins where Beebe’s latest checklist leaves off, but no precise termination date can be established since publica­ tion dates for periodicals vary widely, and it has seemed more useful to cover all possible material than to set an arbitrary cutoff date.
    [Show full text]
  • Faulkner's Ethics
    Faulkner’s Ethics “Michael Wainwright’s reassessment of William Faulkner’s major works in relation to the ethics of Henry Sidgwick and Jacques Derrida—with support from game theory and psychoanalysis—is original, perceptive, and timely. Wainwright pro- vocatively refgures Faulkner’s corpus in the light of these hitherto disparate philo- sophical trajectories, and in doing so acquaints the philosophers with one another in ways which are lucid and suggestive. Faulkner’s Ethics: An Intense Struggle rep- resents a serious challenge to extant Faulkner scholarship.” —Niall Gildea, Author of Jacques Derrida’s Cambridge Affair: Deconstruction, Philosophy and Institutionality (2019) “Early Faulkner criticism often followed the trajectory of Faulkner’s life, some- times simply assuming that life had a moral compass. Later schools, for example historical materialism, sought the ‘substratum’ of material reality that underpinned the narrative, again only assuming that issues, such as the nature and economics of labor, had moral implications. Psychology, anthropology, mythology—all have had their day, often very useful days, often touching on ethical issues—but what has been lacking is ethics itself. Michael Wainwright’s Faulkner’s Ethics: An Intense Struggle will end that neglect and, I believe, spur a new interest in moral struggle, moral direction as it can be found in Faulkner’s life and literature.” —Charles A. Peek, Professor Emeritus, Department of English, University of Nebraska Kearney Michael Wainwright Faulkner’s Ethics An Intense Struggle Michael Wainwright Department of English Royal Holloway University of London Egham, UK ISBN 978-3-030-68871-4 ISBN 978-3-030-68872-1 (eBook) https://doi.org/10.1007/978-3-030-68872-1 © The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature Switzerland AG 2021 This work is subject to copyright.
    [Show full text]
  • Pretty Princess Day
    Pretty Princess Day Rebecca Dietsch __________________Cast of Characters _________CHRISTINA: hopelessly in love with Michael, bridesmaid of Heather ____GREY: head of catering, has a crush on Heather. _______MICHAEL: ex-groom. ______TAYLOR: best friend of Heather. Loyal, steadfast, hates Michael _______HEATHER: bride. 1. SCENE_______ 1 HEATHER'S apartment. HEATHER is putting things in a box for MICHAEL. MICHAEL I can't remember which forks were yours. HEATHER Yeah, they're all kind of just silver. You can take them all. MICHAEL What am I going to do with forty forks? HEATHER I can donate them? MICHAEL You need some forks. HEATHER I still have the blue set from the shower. MICHAEL Heather, you have to return those. HEATHER Um- MICHAEL You have to send back all the gifts. HEATHER I hear you. MICHAEL I can do it, if that's easier. HEATHER No need. MICHAEL Right. I think that's the last of it. Thanks for letting me take the futon. HEATHER I'm going to redecorate anyways. The old furniture didn't really go. Oh wait. She hands him a ring box. Created using Celtx 2. MICHAEL Keep that. HEATHER I don't really want to. MICHAEL You could sell it. HEATHER I don't really want to go to different pawn shops trying to sell an old engagement ring. MICHAEL The internet? HEATHER That's a depressing listing to write. MICHAEL I can sell it and send you a check. HEATHER No thanks. MICHAEL You want to get lunch or something? HEATHER I have to see Grey. MICHAEL The color? HEATHER The caterer.
    [Show full text]