By Joseph R. Urgo
Essays by way of Houston A. Baker, Jr., Deborah Clarke, Grace Elizabeth Hale, W. Kenneth Holditch, M. Thomas Inge and Donária Romeiro Carvalho Inge, Donald M. Kartiganer, George Monteiro, Danièle Pitavy-Souques, Peggy Whitman Prenshaw, Merrill Maguire Skaggs, Joseph R. Urgo.
Although he spent the majority of his existence in Oxford, Mississippi—far faraway from the highbrow facilities of modernism and the writers who created it—William Faulkner (1897-1962) proved to be one of many American novelists who such a lot comprehensively grasped modernism. In his fiction he proven its tenets within the such a lot startling and insightful methods.
What, then, did such contemporaries as Ernest Hemingway, Eudora Welty, and Walker Evans contemplate his paintings? How did his instances have an effect on and settle for what he wrote?
''Faulkner and His Contemporaries'' explores the connection among the Nobel laureate, ensconced in his ''postage stamp of local soil,'' and the modern international of letters in which he created his masterpieces.
In the anthology, essays specialize in such themes as how Faulkner's literary antecedents (in specific, Willa Cather and Joseph Conrad) prompted his writing, his literary/aesthetic feud with rival Ernest Hemingway, and the typical issues he stocks with fellow southerners Welty and Evans.
Several essays study the modern atmosphere within which Faulkner labored. Deborah Clarke concentrates at the upward thrust of the car undefined. Kenneth Holditch indicates how the town of recent Orleans acted as an immense strength in Faulkner's fiction, and beauty Elizabeth Hale examines how the civil rights period of Faulkner's later profession forced him to accommodate his rules approximately race and uprising in new methods.
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Baker, jr. of the South,” I shot at them. Only to see blank stares. Of course, I now see that my failure was to register my own mythic discoveries as the opening gambit to teaching Faulkner. I did not share with them my journey. And— most importantly—I did not alert them that I repudiated—and repudiated utterly—the enormous failings of the author from Oxford. Earlier, I mentioned a disastrous graduate school encounter with Light in August. Let me explain. I was the only black person in an American literature graduate seminar of fifty students in a palmy West Coast venue during the mid-1960s.
For Faulkner biography, I have relied almost exclusively on this source. Joseph Blotner’s magnificent, two-volume biography is, of course, the comprehensive biographical source for the specialist. 2. T. S. Eliot, “Tradition and the Individual Talent,” in Selected Essays (New York: Harcourt, Brace and Company, 1950). For all references to Eliot’s classic essay, I have relied upon this edition. 3. T. S. Eliot, “Ulysses, Order, and Myth,” The Dial 75 (November, 1923): 480–83. All citations are to this version of the review-essay.
We think of Blake’s masterful creation The Vision of the Daughters of Albion as one installment on this resolution. Blake’s romantic successors and their mythic romantic creations include Shelley’s Prometheus Unbound, Keats’s Endymion, and Swinburne’s Atalanta in Calydon. Faulkner’s romantic, mythic impulse yielded rich store and has a distinct bearing on his own grandly illusioned and heroically soliloquizing figures such as Thomas Sutpen, a creation fully worthy of William Blake the prophet.
Faulkner and His Contemporaries by Joseph R. Urgo