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Ann Arbor, MI 48106 WILLIAM FAULKNER AND THE SPANISH POST-CIVIL WAR NOVEL; LUIS MARTIN SANTOS DISSERTATION presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of the Ohio State University By June H. Townsend, B.A., M.Ed., M.A. ***** The Ohio State University 1993 Dissertation Committee: Approved by Samuel Amell Jaime Giordano riser Department' of Spanish and Donald R. Larson Portuguese Copyright by June H. Townsend 1993 ACKNOWLEDGMENTS I express sincere appreciation to Dr. Samuel Amell for his guidance and insight throughout the research. Thanks go to the other members of my advisory committee, Drs. Jaime Giordano and Donald R. Larson, for their suggestions and comments. Gratitude is expressed to Drs James F. Cool and Laura Scarano for their support and encouragement. To my husband, H. R ., and children, Ray, Timi, Tom, Chris, and your families, I offer sincere thanks for your faith, patience, encouragement, and understanding. ii VITA 1962............................. B.A., Wilmington College, Wilmington, Ohio 1973.................... .. M.Ed., Xavier University, Cincinnati, Ohio 1985............................. Adjunct Professor, Wilmington College, Wilmington, Ohio 1986-1989 ....................... Teaching Associate, The Ohio State University, Columbus, Ohio 1988............................. M.A., The Ohio State University, Columbus, Ohio 1989-Present.................... Assistant Professor of Spanish, Wilmington College, Wilmington, Ohio FIELDS OF STUDY Major Field; Spanish and Portuguese Studies in Nineteenth and Twentieth Century Spanish Literature with Dr. Samuel Amell iii TABLE OF CONTENTS ACKNOWLEDGMENTS.............................................. ii VITA ........................................................ iii ABBREVIATIONS............. vi PREFACE.................................................... 1 CHAPTER I. INTRODUCTION..................................... 5 The Spanish Novel In the1930's and 1940's. 8 The Spanish Novel in the1950' s ................. 11 The Spanish Novel in the19 6 0 ' s ................. 14 C o n c l u s i o n ....................................... 18 Works C i t e d ....................................... 21 II. WILLIAM FAULKNER ................................ 22 The Formative Y e a r s .............................. 23 A. Faulkner and P o e t r y ....................... 23 B. Faulkner and Art............................28 C. Faulkner and Drama......................... 29 D. Faulkner, the Eclectic Reader ......... 32 Faulkner's Novels; Pre-1940 and Post-1940 . 35 A. Yoknapatawpha and Its H i s t o r y ............38 B. Faulkner and Religion ..................... 51 Faulkner, Modernism, and Joyce...................54 Faulkner’s Discourse.............................. 60 Faulkner and the Critics......................... 68 Faulkner and Postmodernism....................... 78 The Sound and the Fury............................85 Light in A u g u s t .................................. 94 Works C i t e d ...................................... 101 III. LUIS MARTIN SANTOS ............................... 105 Faulkner, Martin Santos, and Joyce............. 107 History as Theory ............................... 112 A. History, Martin Santos, and Faulkner. 114 B. Millennialism........... 121 Myth............................................... 127 Mythic External Structure .................... 142 iv Sartre, Freud and Martin Santos, Faulkner . 150 Existential psychoanalysis...................... 158 Freud, Instinct and Sexuality . .......... 163 The Oedipus C o m p l e x .............................164 A. The Oedipal Medusa........................ 176 B. The Oedipal Stairway...................... 188 The Scapegoat....................................201 Puberty and the Rites of Initiation...........204 The Role of the W o m a n ...........................208 Works C i t e d ........... ......................... 223 CONCLUSION................................................. 227 Work Cited . ................................. 233 BIBLIOGRAPHY ............................................. 234 William Faulkner................................. 234 Luis Martin Santos............................... 241 Works C o nsulted................................. 249 ABBREVIATIONS AILD As I Lav Dvinq. LIA Liqht in Auqust SF The Sound and the Fury TS Tiemno de silencio TD Tiemoo de destrucciôn vi PREFACE Both William Faulkner and Luis Martin Santos created innovative works which changed the direction of narrative technique in the language, style, and structure of the novel. Faulkner's production, written over a period of thirty-five years, is quite extensive, whereas that of Martin Santos is very small because of his untimely death as the result of an automobile accident when he was forty years old. Between the novels of these two writers there are several points of contact or affinities which lead to the conclusion that Martin Santos, producing his novels thirty years after Faulkner's first publications, had read and was influenced by Faulkner's work. Although both men had read the novels of Joyce, whose influence can be seen in their novels, each has produced works whose artistry and purpose cannot be attributed to mere imitation. Rather than attempt an exhaustive examination of all the works of both writers, this study limits itself to the attempt to answer the fundamental question: What did Martin Santos find in Faulkner's work that interested and influenced him? 2 Faulkner often discussed, sometimes paradoxically, his theory of literature, his ideas about his techniques, and his purposes in writing, at many symposia and interviews, as well as in his many letters in which he also stated his literary ideas. In his short life Martin Santos (who was a surgeon and psychiatrist as well as a writer) had not yet explicitly expressed his theory of literature except in the prologue of Tiempo de destrucciôn (dotas, ed. 141), in the "Reflexidn del narrador" of Tiempo de destrucciôn, and in an interview with Janet W. Diaz. The reader must discover Martin Santos' theories in the texts of the novels as the characters talk or meditate. Not only is Faulkner's production quite large but so also is the body of literary criticism devoted to him. In the years since his first publications, criticism of his works has changed rapidly, producing a plethora of visions of Faulkner's works in monographs, articles, national, and international symposia, and in doctoral theses. The bibliography on Martin Santos is not nearly so extensive, especially on Tiemoo de destrucciôn. the novel which will be a central focus of this thesis. Therefore, any discussion of points of contact between the works of Martin Santos and those of Faulkner must be carefully controlled and limited. 3 The first chapter, the Introduction, will give an overview of Faulkner’s literary influence in Spain since the 1930's, concentrating mainly on the novel after the civil war and on the trajectory of the points of contact between him and Martin Santos. A general view of the development of the Spanish novel of the 1940’s, 1950's, and 1960's will be given so that the reader will discover the role Martin Santos' innovations played in the post- civil war novel. In the second chapter the focus will be on Faulkner— his life and his novels in general— concentrating on the areas which have to do with Martin Santos and the post- civil war novel. To reveal an overall, although of necessity limited, view of Faulkner's novels, I will rely on his statements about his work, as well as on an eclectic choice from traditional, modern, and postmodern critics, whose views are most applicable to the Faulkner/Martin Santos affinity. There will be a discussion of the social, historical, political affairs of the South