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Creation, Memory, and Time in Faulkner's Mosquitoes

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Creation, Memory, and Time in Faulkner's Mosquitoes Georgia State University ScholarWorks @ Georgia State University English Dissertations Department of English Fall 12-14-2017 Cunningly Sweated: Creation, Memory, and Time in Faulkner's Mosquitoes Joseph C. Morecraft IV Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/english_diss Recommended Citation Morecraft, Joseph C. IV, "Cunningly Sweated: Creation, Memory, and Time in Faulkner's Mosquitoes." Dissertation, Georgia State University, 2017. https://scholarworks.gsu.edu/english_diss/186 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]. CUNNINGLY SWEATED: CREATION, MEMORY, AND TIME IN FAULKNER’S MOSQUITOES by JOSEPH MORECRAFT, IV Under the Direction of Pearl McHaney, PhD ABSTRACT This study focuses on the early fiction of William Faulkner, particularly Mosquitoes. Understood in critical context, this novel suffers from retrospective bias. That is, I believe that the brilliant work that immediately (and continually) succeeded this novel provided a critical comparison that made it impossible to ascribe the appropriate value that this second novel truly deserves. Mosquitoes was not only a necessary portal and stepping stone to his later/greater fiction, but it also stands on its own as a brilliant experiment allowing Faulkner to free himself from bonds of fragmented mimesis by submerging himself in his own social, literary, theological, and psychological influences, both past and present. Faulkner created a balance between the tension he felt of a traditional Christianity that was deeply ingrained into his southern psyche and a modern influence that consisted of Nietzsche, Freud, Bergson, and others. Although Mosquitoes is now often considered Faulkner’s weakest work, I argue that it is a coherent statement about the South, the past, and important human values, human values that find their origins in the rich religious soil of southern Christianity. Mosquitoes is more than a necessary step toward Faulkner’s later success; it is a literary philosophical leap into genius. INDEX WORDS: As I Lay Dying, Bergson, Bible, Christian, Faulkner, Freud, memory, Mosquitoes, Nietzsche, time, The Sound and the Fury CUNNINGLY SWEATED: CREATION, MEMORY, AND TIME IN FAULKNER’S MOSQUITOES by JOSEPH MORECRAFT, IV 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 Copyright by Joseph C. Morecraft, IV 2017 CUNNINGLY SWEATED: CREATION, MEMORY, AND TIME IN FAULKNER’S MOSQUITOES by JOSEPH MORECRAFT, IV Committee Chair: Pearl McHaney Committee: LeeAnne Richardson Thomas McHaney Electronic Version Approved: Office of Graduate Studies College of Arts and Sciences Georgia State University December 2017 iv DEDICATION Flannery O’Connor is said to have commented that “All literature is Christian literature,” and that “while the South is hardly Christ-centered, it is most certainly Christ-Haunted.” This dissertation is no exception. The same Christ that haunted those southern fiction writers has both haunted and guided me through this dissertation process, and I thank Him. Without the support and love of my beautiful and intelligent wife, Jennifer, this dissertation would not only have never finished, it most likely would never have even begun. Thank you for always pushing me and holding me to this giant task. Thank you also for all the mornings, evenings, and afternoons that you sacrificed what you wanted to do for me to complete this endeavor. You are the love of my life! v ACKNOWLEDGEMENTS I would never have been able to complete this dissertation had it not been for the sustaining encouragement of Dr. Pearl McHaney. From the very first meeting about this project until the final hours of each deadline, Dr. McHaney had a way of talking me off of the ledge and getting my head back into the text. Thank you, Dr. McHaney, for always having the right words at the right times. I would also like to thank Dr. Tom McHaney who opened my eyes to the complexity and brilliance of William Faulkner and for directing me off of some paths and onto others in this process. His kind and mostly gentle pushes and his enthusiastic example inspired me to even write about Faulkner and his world. Dr. LeAnne Richardson helped me discover another love: literature of the British fin de siècle ... particularly that of the Jago. Dr. Richardson also allowed me to realize that levity exists in academia and that this process can involve some of the same irreverence for which so many of these authors have become renowned, and I thank her. Two more people inspire me every day to live life and get this paper done: my two sons and heroes, Charlie and Myles. I cannot image life without them. They bring joy to me every day. I also want to thank my parents, Joe and Becky Morecraft, for showing me that loving God and his stories with all of my mind is not empty rhetoric but a vivid reality. And I want to thank Grandmamma (Great mamma these days) for all the stories in the blue room and the woods. She instilled in me a love of the kind of story that rarely gets made into movies but that compels life. I want to thank my mother-in-law, Judy Pabsch, for her prayers and tireless assistance to our family over the years. I also want to thank Dr. Kathy Teston who has encouraged me vi ceaselessly and allowed and protected time for me to research and write. I could not have finished without her support. vii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................ V 1 INTRODUCTION ...................................................................................................... 1 2 CRITICAL PERSPECTIVES OF MOSQUITOES ................................................. 7 2.1 CONTEMPORARY PERSPECTIVES ............................................................. 9 2.1.1 1927 ................................................................................................................. 9 2.1.2 1939 ............................................................................................................... 11 2.2 PRE-1980 PERSPECTIVES ............................................................................. 12 2.2.1 1946 ............................................................................................................... 12 2.2.2 1957 ............................................................................................................... 12 2.2.3 1959 ............................................................................................................... 13 2.2.4 1962-3 ............................................................................................................ 14 2.2.5 1964 ............................................................................................................... 15 2.2.6 1966 ............................................................................................................... 15 2.2.7 1968 ............................................................................................................... 16 2.2.8 1974 ............................................................................................................... 18 2.2.9 1975 ............................................................................................................... 18 2.2.10 1978 ............................................................................................................. 19 2.3 POST-1980 PERSPECTIVES ........................................................................... 20 2.3.1 1980 ............................................................................................................... 20 viii 2.3.2 1982 ............................................................................................................... 21 2.3.3 1983 ............................................................................................................... 21 2.3.4 1984 ............................................................................................................... 23 2.3.5 1985 ............................................................................................................... 24 2.3.6 1987 ............................................................................................................... 25 2.3.7 1989 ............................................................................................................... 27 2.3.8 1991 ............................................................................................................... 29 2.3.9 1997 ............................................................................................................... 30 2.3.10 1999 ............................................................................................................. 30 2.3.11 2009 ............................................................................................................. 31 2.4 Critical Contrast: Mosquitoes as Overlooked Genius ..................................... 32 3 TENSIONS BETWEEN MODERNITY AND ANTIQUITY IN THE CREATION OF ART ................................................................................................................. 33 3.1 Creating
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