Notes CHAPTER 1: INTRODUCTION 1. Yonce, 'Soldiers' Pay: A Critical Study of William Faulkner's First Novel', Diss. University of South Carolina 1970; 'The Composition of Soldiers' Pay', Mississippi Quarterly, 33 (1980) 291-326; and 'Faulk­ 11 ner's II Atthis" and Attis": Some Sources of Myth', Mississippi Quarterly, 23 (1970) 289-98; McHaney, William Faulkner's 'The Wild Palms': A Study Gackson: University Press of Mississippi, 1975); Butterworth, A Critical and Textual Study of Faulkner's 'A Fable' (Ann Arbor: UMI, 1983). 2. Brooks, William Faulkner: Toward Yoknapatawpha and Beyond (New Haven: Yale University Press, 1978). Randolph E. Stein's 1965 dis­ sertation, 'The World Outside Yoknapatawpha: A Study of Five Novels by William Faulkner', deals almost exclusively with the novels as separate texts, and his comments are now dated: many of his remarks, while perhaps of some value when the dissertation was written, have by the present time become critical common­ places, while others-such as his reading of Pylon as an unrelenting attack on the spiritual wasteland of modern society and his view of the tall convict in The Wild Palms as a primitive hero-have since been discredited. Duane MacMillan's more recent dissertation, 'The Non-Yoknapatawpha Novels of William Faulkner: An Examination of Soldiers' Pay, Mosquitoes, Pylon, The Wild Palms, and A Fable' (1972), provides synopses of observations made by others on the non-Yoknapatawpha novels, and these in turn establish the foun­ dation for his own detailed analyses. Although MacMillan occa­ sionally develops worthwhile points, especially with regard to A Fable, his dissertation as a whole is hampered by his extreme reliance on Faulkner's Nobel Prize Address as a schema through which the entire canon must be interpreted. Indeed, although Mac­ Millan takes issue with those commentators who read A Fable as a 'gloss' on the Nobel Prize Address, this is essentially his own position with each of the non-Yoknapatawpha novels. His state­ ment that Faulkner's basic attitudes as expressed in Stockholm were present very early in his literary career, and consequently 'required little or no development or evolution' (297) during the subsequent forty years of that career, seems dubious in itself and dependent upon the assumption, evident throughout the dissertation, that Faulkner's novels tend more toward explication than exploration. 132 Notes for pages 1-12 133 See Stein, 'The World Outside Yoknapatawpha: A Study of Five Novels by William Faulkner', Diss. Ohio University 1965, and Mac­ Millan, 'The Non-Yoknapatawpha Novels of William Faulkner: An Examination of Soldiers' Pay, Mosquitoes, Pylon, The Wild Palms, and A Fable', Diss. University of Wisconsin 1972. 3. McHaney, 'Brooks on Faulkner: The End of the Long View', in Review I, eds James 0. Hoge and James L. W. West, III (Charlottes­ ville: University Press of Virginia, 1979) pp. 29-46. 4. See, for example, Lion in the Garden: Interviews with William Faulkner 1926-{;2, eds James B. Meriwether and Michael Millgate (New York: Random, 1968) p. 255. 5. For a valuable discussion of Soldiers' Pay and Mosquitoes as pre­ Yoknapatawphan, apprenticeship fiction, see Martin Kreiswirth, William Faulkner: The Making of a Novelist (Athens, Georgia: Univer­ sity of Georgia Press, 1983). 6. See Joseph Blotner, Faulkner: A Biography. 2 vols. (New York: Random, 1974) pp. 508--10, 516-19. 7. See Michael Millgate, The Achievement of William Faulkner (London: Constable, 1966) pp. 138-41, and Brooks, pp. 395-405. CHAPTER 2: SOLDIERS' PAY 1. Blotner, Biography, p. 397. 2. See Carvel Collins's introduction to New Orleans Sketches, aug­ mented edition, ed. Carvel Collins (New York: Random, 1968) pp. xxi. Yonce notes that there is no manuscript evidence that this was the original title. See 'The Composition', p. 294. 3. For a more comprehensive synopsis of the pre-publication history of Soldiers' Pay see Blotner, Biography, pp. 397-515, and Yonce, 'The Composition'. 4. See Blotner, Biography, pp. 505-6, and William Faulkner: The Critical Heritage, ed. John Bassett (London: Routledge & Kegan Paul, 1975) pp. 52--62. 5. Vickery, The Novels of William Faulkner (Baton Rouge: Louisiana State University Press, 1964) pp. 1-7; Millgate, The Achievement, pp. 61-8 and 'Starting Out in the Twenties: Reflections on Soldiers' Pay', Mosaic, 7 (1973) 1-14; Brooks, Toward Yoknapatawpha, pp. 67-99 and 'Faulkner's First Novel', Southern Review NS 6 (1970) 1056-74; and Yonce, 'The Composition', 'Faulkner's "Atthis" ', and Diss. 6. Soldiers' Pay (New York: Boni & Liveright, 1926) p. 196. Subsequent references to Soldiers' Pay are from this edition and are noted paren­ thetically. 7. 'Sherwood Anderson' in New Orleans Sketches, p. 133. 8. 'Sherwood Anderson' in New Orleans Sketches, pp. 132-4. 9. Dark Laughter (New York: Boni & Liveright, 1925) p. 248. 10. Jones's yellow eyes anticipate Charlotte's 'yellow stare' in The Wild Palms and this correspondence serves in part to suggest their being aligned with each other as insufficient artist-figures. 134 Notes for pages 13-32 11. Homer, The Odyssey, trans. Robert Fitzgerald (Garden City: Anchor Books, 1963) XVI, 211. 12. Stewart, The Disguised Guest: Rank, Role, and Identity in the 'Odyssey' (Lewisburg: Bucknell University Press, 1976) pp. 105, 109, 122-3. 13. As I Lay Dying: The Corrected Text (New York: Random, 1985) p. 162. Andre Bleikasten also notes the importance of Donald's need to regain his identity and briefly suggests that it may be an 'inverted emblem of Faulkner's own quest' regarding the author's relation­ ship to his past. See Bleikasten, The Most Splendid Failure: Faulkner's 'The Sound and the Fury' (Bloomingdale: Indiana University Press, 1976) p. 20. 14. Yonce, Diss., pp. 18-19. Actually, Faulkner allowed one reference to Joe as 'Gilligan' to remain, which may have been, as Yonce suggests, an 'oversight' (Diss., p. 19). 15. The Achievement, p. 16. 16. Michael Grimwood, Heart in Conflict: Faulkner's Struggles with Vocation (Athens, Georgia: University of Georgia Press, 1987) p. 29. 17. 'Verse Old and Nascent: A Pilgrimage', in William Faulkner: Early Prose and Poetry, ed. Carvel Collins (Boston: Little, Brown, 1962) p. 115. 18. 'An Introduction for The Sound and the Fury', ed. James B. Meriwether, Southern Review NS 8 (1972) 708. 19. Essays, Speeches & Public Letters, ed. James B. Meriwether (New York: Random, 1965) p. 120. CHAPTER 3: MOSQUITOES 1. The Selected Letters of William Faulkner, ed. Joseph Blotner (New York: Random, 1978) p. 40. 2. Mosquitoes (New York: Boni & Liveright, 1927) p. 186. Subsequent references to Mosquitoes are from this edition and are noted paren­ thetically. 3. See 'Out of Nazareth' in New Orleans Sketches, p. 53. 4. Brooks, 'Faulkner's Mosquitoes', Georgia Review, 31 (1977) 217. 5. Warren, 'Faulkner's "Portrait of the Artist" ', Mississippi Quarterly, 19 (1966) 121-31. 6. Frank Budgen, James Joyce and the Making of 'Ulysses' (New York: Smith & Haas, 1934) p. 60. 7. Richard Ellman, James Joyce (Oxford: Oxford University Press, 1959) p. 450. 8. Arnold, 'Freedom and Stasis in Faulkner's Mosquitoes', Mississippi Quarterly, 28 (1975) 289-90, and 'William Faulkner's Mosquitoes', Diss., University of South Carolina 1978, pp. xiv-xix, xxiii-xxiv. 9. See Blotner, Biography, p. 405, and Walter B. Rideout and James B. Meriwether, 'On the Collaboration of Faulkner and Anderson', American Literature, 35 (1963) 85-7. 10. Carvel Collins, 'Introduction' in 'Helen: A Courtship' and 'Mississippi Notes for pages 33-46 135 Poems' (New Orleans and Oxford: Tulane University and Yoknapa­ tawpha Press, 1981) p. 32. 11. For a discussion of other archetypal images in this scene, see David Williams, Faulkner's Women: The Myth and the Muse (Montreal and London: MeGill-Queen's University Press, 1977) p. 36. 12. This is a general pattern rather than a precise schema. The entire 'Five O'Clock' episode, for instance, is devoted to Patricia and David. 13. As I Lay Dying, p. 160. 14. 'The Kid Learns' in New Orleans Sketches, p. 86. 15. Kenneth W. Hepburn in 'Faulkner's Mosquitoes: A Poetic Turning Point', Twentieth Century Literature, 17 (1971) 23, suggests that in section ten of the Epilogue Talliaferro attempts two 'artistic' acts. 16. Blotner, Biography, note-page 70. 17. While in New Orleans, interestingly enough, Faulkner, like Talli­ aferro, carried a walking stick and spoke with a vaguely British accent, and in the course of his career he twice used the first name 'Ernest' as a pseudonym: once, in 1925, in a facetious letter to H. L. Mencken urging him to publish a poem by one William Faulkner and again, much later, when he published 'Afternoon of a Cow' under the name of his 'amanuensis', Ernest V. Trueblood. See Blotner, Biography, p. 480, and Uncollected Stories of William Faulkner, ed. Joseph Blotner (New York: Random, 1979) p. 703. See also Grimwood, p. 34, who sees a further connection in the fact that just as Faulkner had altered the spelling of his family name from 'Falkner', so does Talliaferro change his name from 'Tarver'. 18. See also Max Putzel, Genius of Place: William Faulkner's Triumphant Beginnings (Baton Rouge: Louisiana State University Press, 1985) pp. 91-5. 19. Blotner, Biography, p. 502. 20. 'Carcassonne', in The Collected Stories of William Faulkner (New York: Random, 1977) p. 899. 21. The Wild Palms (New York: Random, 1939) p. 324. 22. The Collected Poems of Dylan Thomas (New York: New Directions, 1971) p. 47. CHAPTER 4: PYLON 1. Ernest Hemingway, 'On Being Shot Again: A Gulf Stream Letter', reprinted in By-Line: Ernest Hemingway Selected Articles and Dis­ patches of Four Decades, ed. William White (New York: Scribners, 1967) p. 200. 2. Ernest Hemingway: Selected Letters 1917-1961, ed. Carlos Baker (New York: Granada, 1981) p. 864; see also p.