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Faulkner As a Storyteller

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Faulkner As a Storyteller MÁRCIA LAPPE ALVES EXPERIENCE / EXPERIMENTATION: FAULKNER AS A STORYTELLER PORTO ALEGRE 2010 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS ÁREA: ESTUDOS DE LITERATURA ESPECIALIDADE: LITERATURAS ESTRANGEIRAS MODERNAS ÊNFASE: LITERATURAS DE LÍNGUA INGLESA LINHA DE PESQUISA: ESTUDOS LITERÁRIOS E CULTURAIS DE GÊNERO EXPERIENCE / EXPERIMENTATION: FAULKNER AS A STORYTELLER MESTRANDA: PROFª. MÁRCIA LAPPE ALVES ORIENTADORA: PROFª. DRª. RITA TEREZINHA SCHMIDT Dissertação de Mestrado em Literaturas Estrangeiras Modernas, com ênfase em Literaturas de Língua Inglesa, apresentada como requisito parcial para a obtenção do título de Mestre pelo Programa de Pós-Graduação em Letras da Universidade Federal do Rio Grande do Sul. PORTO ALEGRE 2010 Para o meu pai, com amor e saudade. AGRADECIMENTOS Aos meus familiares, em especial meu marido e minha querida filha de cinco anos, que entenderam minhas ausências durante a escrita desta dissertação. À Professora Dra. Valéria Brisolara, pelo incentivo para que eu continuasse meus estudos e fizesse este Mestrado. Aos professores do Programa de Pós-Graduação da Universidade Federal do Rio Grande do Sul, por todo conhecimento compartilhado. Aos colegas e professores que, de várias formas, sempre me ajudaram com seu intercâmbio de idéias e seu apoio. À Professora Dra. Marta Ramos, pela oportunidade de realizar meu estágio de docência em uma de suas turmas de graduação nesta instituição. À Professora Dra. Rita Schmidt, minha orientadora, com quem tive o prazer e o orgulho de trabalhar nesta dissertação, pelo carinho e inestimável apoio nestes dois anos de jornada. À CAPES, pelo apoio em forma de uma bolsa de estudos. ―Yesterday today and tomorrow are Is: Indivisible: One‖. William Faulkner RESUMO Esta dissertação focaliza dois textos do escritor William Faulkner, considerado pela crítica como um dos expoentes das experimentações modernistas. O primeiro a ser estudado aqui é A Rose for Emily, uma short story publicada em 1930; o segundo é Absalom, Absalom!, um romance de 1936. O objetivo é investigar se no trabalho de Faulkner pode ser encontrado um narrador por excelência, partindo do conceito apresentado por Walter Benjamin em seu estudo The storyteller: reflections on the works of Nikolai Leskov. Minha proposta é levantar a questão do fim da comunicabilidade da experiência do narrador para então sugerir que, ao contrário do que Benjamin afirma, a arte de narrar não chegou ao fim. Meu argumento é de que as narrativas de Faulkner evidenciam sua arte de narrar imbricada com seu uso de ponto de vista. A experiência e a experimentação de Faulkner enquanto escritor são investigadas neste trabalho, principalmente sua manipulação do uso de ponto de vista, e são analisadas à luz de conceitos desenvolvidos por Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, entre outros. Os resultados desta pesquisa destacam que o trabalho de Faulkner com ponto de vista pode ser considerado muito mais que um mero experimento modernista, pois sua experiência como escritor proveniente do Sul dos Estados Unidos tem impacto nessa experimentação. A memória individual e coletiva, a transmissão de experiência, o contar e o recontar de histórias dos narradores, são fatores importantes para a construção de significado nas narrativas estudadas. Além disso, ao discutir a significação de sua obra, tanto no aspecto formal quanto no aspecto relativo ao contexto geográfico e literário de seu tempo e lugar, espero contribuir com mais um olhar sobre as estratégias narrativas de Faulkner, escritor que, ainda hoje, fomenta investigação e produção acadêmica significativa, justamente por conseguir construir círculos narrativos que apresentam narradores por excelência. Palavras-chave: William Faulkner; A Rose for Emily; Absalom, Absalom!; narrador; ponto de vista; modernismo sulista. ABSTRACT This thesis brings into focus two texts by William Faulkner, a writer who has been praised as one of the exponents at modernist experimentations. The first one to be studied here is A Rose for Emily, a short story published in 1930; the second is Absalom, Absalom!, a novel from 1936. The objective is to investigate whether a genuine storyteller can be found in Faulkner‘s work, supported by the concept presented by Walter Benjamin in his essay The storyteller: reflections on the works of Nikolai Leskov. My aim is to raise the question of the end of communicability of experience in order to suggest that, contrary to what Benjamin affirms, the art of storytelling has not reached its end. My argument is that Faulkner‘s narratives evidence his storytelling art as being imbricated with his use of point of view. Faulkner‘s experience and experimentation as a writer are investigated here, principally his manipulation with the use of point of view, and they are analyzed in the light of the concepts developed by Walter Benjamin, Wayne Booth, Gérard Genette, Mieke Bal, and others. The results of this research highlight that Faulkner‘s work with point of view is to be considered much more than merely a modernist experimentation, because his experience as a writer from the South of the United States has impact on this experimentation. Individual and collective memory, transmission of experience, narrators telling and retelling stories, are important factors for the construction of meaning in the narratives studied here. Moreover, by discussing the meaningfulness of his work, whether in its formal aspect or in the aspect related to the geographic and literary context of its time and place, I expect to contribute with yet another look into the narrative strategies employed by Faulkner, a writer that, still today, fosters academic investigation and production, exactly for being able to construct telling circles that present genuine storytellers. Palavras-chave: William Faulkner; A Rose for Emily; Absalom, Absalom!; storyteller; point of view; Southern modernism. CONTENTS INTRODUCTION .................................................................................................................... 9 1. THE STORYTELLER ....................................................................................................... 17 1.1. BENJAMIN‘S STORYTELLER ..................................................................................... 19 2. A STORYTELLER FROM THE SOUTH ....................................................................... 27 2.1. FAULKNER AND MODERNISM ............................................................................... 34 3. ENGENDERING A FICTIONAL WORLD .................................................................... 42 3.1. A ROSE FOR EMILY ..................................................................................................... 46 3.2. ABSALOM, ABSALOM! ................................................................................................. 58 3.2.1. Absalom, Absalom! and its critics ..................................................................... 58 3.2.2. Point of view and the problematic of narration ................................................. 61 3.2.3. Quentin as a storyteller ...................................................................................... 73 FINAL CONSIDERATIONS ................................................................................................ 89 REFERENCES ....................................................................................................................... 97 APPENDIX............................................................................................................................ 102 9 INTRODUCTION My study of William Faulkner began in my undergraduate years1 with a puzzling but exhilarating reading of A Rose for Emily. I was introduced to Faulkner‘s short story at a time when I was also learning about other great American writers, such as Edgar Allan Poe and Ernest Hemingway. Here is one of the passages that intrigued me, and left me wondering about the importance of the angle of vision, Now and then we would see her in one of the downstairs windows – she had evidently shut up the top floor of the house – like the carven torso of an idol in a niche, looking or not looking at us, we could never tell which. (FAULKNER, 1995, p. 128) By then, I did not have the slightest idea of what focalization was. Furthermore, I considered point of view simply as an opinion about something; even so, the direction of that ―carven torso of an idol in a niche‖ look puzzled me somehow. That is an excerpt from the very first work that I read by William Faulkner, which I consider to have been a turning point in my career. I know it is going to sound nostalgic, but here it goes: I was an undergraduate student then, majoring in English, Portuguese, and related Literatures. Due to my experience as an ESL teacher, I had almost decided that I would do my final paper at the university on ESL teaching, maybe in reading research. Still indecisive, I turned to my professors for advice. One of them, who later became my advisor, reminded me to choose a topic that intrigued me, something that would really trigger my curiosity and enhance my research. Then I realized I should write about Literature, and Literature in English. During that 1 My undergraduate studies were conducted at Centro Universitário La Salle (Unilasalle) in Canoas from 2002 to 2007. 10 semester, I signed up for an American Literature class. That was when I came across A Rose for Emily, a short story by William Faulkner that made an indelible
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