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1 Introduction Notes 1Introduction 1. Northrop Frye articulates and develops this idea in Fables of Identity (New York: Harcourt Brace and World, 1963), p. 222. 2. Selected Letters of William Faulkner, ed. Joseph Blotner (New York: Random House, 1977), p. 185. 3. Faulkner in the University, eds. Frederick L. Gwynn and Joseph Blotner (Charlottesville: University Press of Virginia, 1977), p. 53. 4. Letters, p. 166. 5. ‘In Memory of W.B. Yeats’, Collected Shorter Poems: 1927–1957 (London: Faber and Faber, 1966), p. 141. 6. See Lawrence Schwartz, Creating Faulkner’s Reputation: The Politics of Modern Literary Criticism (Knoxville: University of Tennessee Press, 1988). 7. Letters, p. 285. 8. Lion in the Garden: Interviews with William Faulkner 1926–1962, eds. James B. Meriwether and Michael Millgate (New York: Random House, 1968), p. 238. 9. At the height of his fame in 1955, when he agreed to visit Japan at the request of the State Department to attend a seminar on English and American litera- ture, he hoped that any reference to his being a writer would be avoided and that he could go as simply a ‘private individual’. See Joseph Blotner, Faulkner: A Biography (New York: Random House, 1984), p. 600. This book is still an indispensable guide for those interested in Faulkner’s life and I have drawn extensively on it. 10. Letters, pp. 382, 185; Faulkner in the University, p. 39. See Frederick Crews, ‘The Strange Fate of William Faulkner’, The New York Review of Books, 38, 5 (7 March 1991), pp. 47–52 for a detailed summary of various issues at stake in Faulkner criticism. 11. Vladimir Nabokov, Strong Opinions (New York: McGraw-Hill, 1973), p. 155. 12. Lion in the Garden, p. 250. 13. Letters, pp. 215–6. 14. Love and Death in the American Novel (New York: Criterion Books, 1960), p. 309. 15. ‘Where was that Bird? Thinking America Through Faulkner’, Faulkner in America (Jackson: University Press of Mississippi), pp. 98–115, p. 104. 16. The Ink of Melancholy: Faulkner’s Novels from ‘The Sound and the Fury’ to ‘Light in August’ (Bloomington and Indianapolis: Indiana University Press, 1990), p. 355. I am greatly indebted to this book. 17. Faulkner in the University, p. 117. 18. Lion in the Garden, p. 255. 19. Mythologies (New York: Macmillan, 1959), p. 336. 20. Unless otherwise noted, all references are to the Library of America edition of Faulkner’s novels and included parenthetically in the text. 21. ‘The Soul of Man Under Socialism’, Complete Works of Oscar Wilde (London and Glasgow: Collins, 1948), p. 1049. 177 178 Notes 2 Early Faulkner 1. ‘Books and Things: Joseph Hergesheimer’, William Faulkner: Early Prose and Poetry, ed. Carvel Collins (Boston and Toronto: Little, Brown, 1962), p. 102. 2. I Canti, ed. Luigi Rosso (Florence: G.C. Sansoni, 1974), p. 335. There is a slight misquotation in Faulkner’s version: the last noun needs no definite article. 3. Linda Condon (Toronto: S.B. Gundy, 1919), pp. 31–4. 4. Faulkner in the University, p. 207. 5. The Marble Faun and A Green Bough (New York: Random House, 1960). 6. Vladimir Nabokov, Pale Fire (New York: Vintage, 1989), p. 202. 7. William Faulkner: His Life and Work (Baltimore: Johns Hopkins University Press, 1980), p. 36. 8. Judith Sensibar, ‘Introduction’ to Vision in Spring (Austin: University of Texas Press, 1984), ix. 9. Charles Dickens (New York: Schocken Books, 1965), p. 68. 10. The Origins of Faulkner’s Art (Austin: University of Texas Press, 1984), p. 166. Sensibar is arguing against Cleanth Brooks’s dismissive description of the poem, William Faulkner: Toward Yoknapatawpha and Beyond (New Haven and London: Yale University Press, 1978), p. 13. 11. Early Prose and Poetry, pp. 90–2. 12. ‘Matthew Arnold’s New Poems’, Vol. 5 (Prose Works), p. 117, and ‘An Autumn Vision’, Vol. 6 (Poetical Works), p. 96, The Complete Works of Algernon Charles Swinburne, eds. Edmund Gosse and Thomas James Wise (New York: Russell and Russell, 1925), pp. 115, 96. 13. Uncollected Stories, ed. Joseph Blotner (New York: Random House, 1979). 14. The Achievement of William Faulkner (New York: Random House, 1966), p. 65. This book is still one of the most useful ever published on Faulkner. 15. Origins of Faulkner’s Art, p. 36. 16. Duane J. MacMillan, ‘“Carry on, Cadet”: Mores and Morality in Soldiers’ Pay’, in ed. Glenn O. Carey, Faulkner: The Unappeased Imagination (Troy, NY: Whitston Publishing, 1980), pp. 39–58, p. 48, and Daniel Singal, William Faulkner: The Making of a Modernist (Chapel Hill: University of North Carolina Press, 1997), p. 65. 17. Ralph Waldo Emerson, ‘Nature’, Essays and Lectures (New York: Library of America, 1983), p. 10. 18. One Matchless Time: A Life of William Faulkner (New York: HarperCollins, 2004), p. 100. 19. ‘A Portrait of the Artist’, eds. Richard M. Kain and Robert E. Scholes, Yale Review, 49 (Spring 1960), pp. 360–6, p. 360. 20. A Portrait of the Artist as a Young Man (New York: Viking, 1965), p. 214. 21. John S. Duvall, ‘Faulkner’s Crying Game: Male Homosexual Panic’, Faulkner and Gender, eds. Donald M. Kartiganer and Ann J. Abadie (Jackson: University Press of Mississippi, 1996), pp. 48–72, p. 55, sees the aerial battle in psycho- sexual terms: ‘Each time a German dives on the decoy plane, Bayard responds. To do what? To meet the German in a much mythologized but seldom enacted face-to-face dogfight? No, to penetrate him from the rear.’ 22. ‘A Valediction: Forbidding Mourning’, John Donne’s Poetry, ed. Arthur L. Clements (New York and London: W.W. Norton, 1997), p. 31. Notes 179 23. Just before Bayard dies, there is a scene in which blacks congregate ‘in shadowy beds among the dry whispering cane-stalks’ where ‘youths and girls murmured and giggled’ (781). For a comprehensive discussion of Faulkner’s stereotypical depiction of blacks, see the exchange in successive issues of Connotations: Arthur F. Kinney, ‘Faulkner and Racism’, Connotations, 3.3 (1993–4), pp. 265–78; Pamela Knights, ‘Faulkner’s Racism: A Response to Arthur F. Kinney’, Connotations, 4.3 (1994–5), pp. 283–99; John Cooley, ‘Faulkner, Race, Fidelity’, Connotations, 4.3 (1994–5), pp. 300–12; Philip Cohen, ‘Faulkner and Racism: A Commentary on Arthur F. Kinney’s “Faulkner and Racism”’, Connotations, 5.1 (1995–6), pp. 108–18; Arthur F. Kinney, ‘Author’s Commentary’, Connotations, 5.1 (1995–6), pp. 119–24; Arthur F. Kinney, ‘Faulkner and Racial Mythology’, Connotations, 5.2–3 (1995–6), pp. 259–75. 24. John Keats, ed. Elizabeth Cook (New York: Oxford University Press, 1990), p. 288. 25. Lion in the Garden, p. 255. 3 Major Achievement I 1. See, for example, David Lodge, ‘The Language of Modernist Fiction: Metaphor and Metonymy’, Modernism 1890–1930, eds. Malcolm Bradbury and James McFarlane (Harmondsworth: Penguin, 1976), pp. 481–98. 2. Contingency, Irony, and Solidarity (Cambridge: Cambridge University Press, 1989), p. 36. Freud’s idea that civilizations develop like individuals and can become neurotic, that the links between unreason and waking rationality are important, and that with a lot of therapeutic work we can trade recurrent plunges into extreme human misery for ordinary, everyday unhappiness all suggest useful ways of engaging with Faulkner’s novels. 3. The Complete Poems and Plays, 1909–1950 (New York: Harcourt, Brace, 1952), p. 58. 4. Bergson claims that tragedians avoid references to their hero’s body so as not to lose the tragic effect. He adds that Napoleon saw that ‘the transition from tragedy to comedy is effected simply by sitting down’, Laughter: An Essay on the Meaning of the Comic, trans. Cloudesley Brereton and Fred Rothwell (New York: Macmillan, 1937), pp. 51–2. 5. Dostoevsky’s ‘Crime and Punishment’: Murder as Philosophic Experiment (Edinburgh: Scottish Academic Press for Sussex University Press, 1978), p. 120. 6. In revising the ms., Faulkner added in a number of places ‘Father said’ to make the exchange clearer for the reader. 7. For a fascinating account of the links between Quentin’s idea of incest and American nativist culture in the 1920s, see Walter Benn Michaels, Our America: Nativism, Modernism, and Pluralism (Durham and London: Duke University Press, 1995), pp. 1–16. Michaels argues that nativism and mod- ernism are both ‘efforts to work out the meaning of the commitment to identity – linguistic, national, cultural, racial’ (p. 3). 8. The Bodley Head G.K. Chesterton, ed. P. J. Kavanagh (London: The Bodley Head, 1985), p. 275. 180 Notes 9. ‘Experience’, Essays, p. 473. 10. If one chooses to read these conversations as in part imaginary, then Quentin himself becomes responsible for masochistically torturing himself here. Faulkner said that Quentin and his father never discussed incest, but that still leaves a number of questions about this exchange unanswered. For a closely argued, much harsher view of Quentin, see Bleikasten, Ink of Melancholy, pp. 71ff. He concludes by dismissing Quentin as a ‘moral moron’ (p. 123). 11. ‘An Introduction to The Sound and the Fury’, Mississippi Quarterly, 26 (1973), pp. 410–5, p. 414, and quoted in James B. Meriwether, ‘The Textual History of The Sound and the Fury’, Merrill Studies in ‘The Sound and the Fury’ (Columbus, Ohio: Charles E. Merrill, 1970), p. 5. 12. Macbeth 5.5.21, in The Riverside Shakespeare (Boston: Houghton Mifflin, 1974), p. 1337. 13. For a different view of Dilsey see Deborah Clarke, Robbing the Mother: Women in Faulkner (Jackson: University Press of Mississippi, 994), pp. 34–5: ‘Dilsey’s idealized status as a madonna/mammy denies her both subjectivity and sex- uality, and thus robs her of the mother’s pervasive power, her control over being and language.’ 14.
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