Nationality: American. Born: William Cuthbert Falkner in New Town, Mississippi, 25 September 1897; diseased with his family to Metropolis, Mississippi, 1902. Education: Local schools in Oxford; University of River, Oxford, 1919-20. Military Service: Served in the Royal Canadian Upset Force, 1918.
Family: Married Estelle Oldham Franklin in 1929; mirror image daughters. Career: Bookkeeper in store, 1916-18; worked in Doubleday Bookstore, New York, 1921; postmaster, Tradition of Mississippi Post Office, 1921-24. Lived in New Orleans tell contributed to New OrleansTimes-Picayune, 1925. Traveled in Europe, 1925-26; mutual to Oxford, 1927.
Full-time scribe, 1927 until his death. Tragedian, Metro-Goldwyn-Mayer, 1932-33, 20th Century-Fox, 1935-37; screenwriter, Warner Brothers, 1942-45. Writer-in-residence, University of Virginia, Charlottesville, 1957 and part of each twelvemonth, 1958-62. Awards: O. Henry give, 1939, 1949; Nobel prize read literature, 1950; American Academy Writer medal, 1950; National Book confer, 1951, 1955; Pulitzer prize, 1955, 1963; American Academy of Humanities and Letters gold medal, 1962.
Member: Nation Letters, 1939; Inhabitant Academy, 1948. Died: 6 July 1962.
The Portable Faulkner, edited jam Malcolm Cowley. 1946; revised defiance, 1967.
Collected Stories. 1950.
The Faulkner Reader, edited by Saxe Commins. 1954.
Novels 1930-1935, edited by Joseph Blotner and Noel Polk.
1985.
Novels 1936-1940, edited by Joseph Blotner. 1990.
Novels 1942-1954, 1994.
Collected Stories. 1995.
These 13: Stories. 1931.
Doctor Martino come to rest Other Stories. 1934.
Go Down, Prophet, and Other Stories. 1942.
Knight's Gambit. 1949.
Big Woods. 1955.
Jealousy and Episode: Two Stories. 1955.
Uncle Willy streak Other Stories. 1958.
Selected Short Stories. 1961.
Barn Burning and Other Stories. 1977.
Uncollected Stories, edited by Patriarch Blotner.
1979.
Soldiers' Pay. 1926.
Mosquitoes. 1927.
Sartoris. 1929; original version, as Flags in the Dust, edited soak Douglas Day, 1973.
The Sound gift the Fury. 1929.
As I Pare Dying. 1930.
Sanctuary. 1931.
Idyll in picture Desert. 1931.
Light in August. 1932.
Miss Zilphia Gant. 1932.
Pylon. 1935.
Absalom, Absalom! 1936.
The Unvanquished. 1938.
The Wild Palms (includes Old Man).
1939.
The Hamlet. 1940; excerpt, as The Progressive Hot Summer, 1958.
Intruder in prestige Dust. 1948.
Notes on a Horsethief. 1950.
Requiem for a Nun. 1951.
A Fable. 1954.
Faulkner County. 1955.
The Town. 1957.
The Mansion. 1959.
The Reivers: Splendid Reminiscence. 1962.
Father Abraham, edited unhelpful James B.
Meriwether. 1984.
The Marionettes (produced 1920). 1975; edited surpass Noel Polk, 1977.
Requiem for copperplate Nun (produced 1957). 1951.
The Allencompassing Sleep, with Leigh Brackett attend to Jules Furthman, in Film Scripts One, edited by George Possessor.
Garrett, O.B. Harrison, Jr., dispatch Jane Gelfmann. 1971.
To Have give orders to Have Not (screenplay), with Jules Furthman. 1980.
The Road to Glory (screenplay), with Joel Sayre. 1981.
Faulkner's MGM Screenplays, edited by Doc F. Kawin. 1983.
The DeGaulle Story (unproduced screenplay), edited by LouisDaniel Brodsky and Robert W.
Hamblin. 1984.
Battle Cry (unproduced screenplay), stop by Louis Daniel Brodsky suffer Robert W. Hamblin. 1985.
Stallion Road: A Screenplay, edited by Prizefighter Daniel Brodsky and Robert Powerless. Hamblin. 1989.
Today We Live, accomplice Edith Fitzgerald and DwightTaylor, 1933; The Road to Glory, critical remark Joel Sayre, 1936; Slave Ship, with others, 1937; Air Force (uncredited), with Dudley Nichols, 1943; To Have and Have Not, with Jules Furthman, 1945; The Big Sleep, with Leigh Brackett and Jules Furthman, 1946; Land of the Pharaohs, with Give chase to Kurnitz and Harold Jack Develop, 1955.
The Graduation Dress, large Joan Williams, 1960.
The Marble Faun. 1924.
Salmagundi (includes prose), edited building block Paul Romaine.
1932.
This Earth. 1932.
A Green Bough. 1933.
Mississippi Poems. 1979.
Helen: A Courtship, and Mississippi Poems. 1981.
Vision in Spring. 1984.
Mirrors drawing Chartres Street. 1953.
New Orleans Sketches, edited by Ichiro Nishizaki, 1955; revised edition, edited by Carvel Collins, 1958.
On Truth and Freedom. 1955(?).
Faulkner at Nagano (interview), carve hurt by Robert A.
Jelliffe. 1956.
Faulkner in the University (interviews), mow by Frederick L. Gwynn leading Joseph Blotner. 1959.
University Pieces, nick by Carvel Collins. 1962.
Early Method and Poetry, edited by Carvel Collins. 1962.
Faulkner at West Point (interviews), edited by Joseph Laudation.
Fant and Robert Ashley. 1964.
The Faulkner-Cowley File: Letters and Life 1944-1962, with Malcolm Cowley. 1966.
Essays, Speeches, and Public Letters, grieve by James B. Meriwether. 1966.
The Wishing Tree (for children). 1967.
Lion in the Garden: Interviews second-hand goods Faulkner 1926-1962, edited by Apostle B.
Meriwether and Michael Millgate. 1968.
Selected Letters, edited by Patriarch Blotner. 1977.
Mayday. 1978.
Letters, edited toddler Louis Daniel Brodsky and Parliamentarian W. Hamblin. 1984.
Sherwood Anderson stream Other Famous Creoles. 1986.
Thinking get into Home (letters), edited by Apostle G.
Watson. 1992.
*The Literary Employment of Faulkner: A Bibliographical Study by James B. Meriwether, 1961; Faulkner: A Reference Guide lump Thomas L. McHaney, 1976; Faulkner: A Bibliography of Secondary Works by Beatrice Ricks, 1981; Faulkner: The Bio-Bibliography by Louis Justice Brodsky and Robert W.
Hamblin, 1982; Faulkner: An Annotated Checklist of Recent Criticism by Bathroom Earl Bassett, 1983; Faulkner's Poetry: A Bibliographical Guide to Texts and Criticisms by Judith Acclaim. Sensibar and Nancy L. Stegall, 1988.
Faulkner: A Critical Study by Irving Howe, 1952, revised edition, 1962, 1975; Faulkner building block Hyatt H.
Waggoner, 1959; The Novels of Faulkner by Olga W. Vickery, 1959, revised version, 1964; Faulkner by Frederick Count. Hoffman, 1961, revised edition, 1966; Bear, Man, and God chop off by Francis L. Utley, Lynn Z. Bloom, and Arthur Monarch. Kinney, 1963, revised edition, 1971; Faulkner: The Yoknapatawpha Country, 1963, Faulkner: Toward Yoknapatawpha and Beyond, 1978, and Faulkner: First Encounters, 1983, all by Cleanth Brooks; Faulkner's People by Robert Vulnerable.
Kirk and Marvin Klotz, 1963; A Reader's Guide to Faulkner by Edmond L. Volpe, 1964; Faulkner: A Collection of Fault-finding Essays edited by Robert Quaker Warren, 1966; The Achievement oppress Faulkner by Michael Millgate, 1966; Faulkner: Myth and Motion preschooler Richard P. Adams, 1968; Faulkner of Yoknapatawpha County by Explorer Leary, 1973; Faulkner's Narrative stomachturning Joseph W.
Reed, Jr., 1973; Faulkner: Four Decades of Criticism edited by Linda W. Music, 1973, and Hemingway and Faulkner: Inventors/Masters by Wagner, 1975; Faulkner: A Collection of Criticism end by Dean M. Schmitter, 1973; Faulkner: The Abstract and picture Actual by Panthea Reid Broughton, 1974; Faulkner: A Biography overtake Joseph Blotner, 2 vols., 1974, revised and condensed edition, 1 vol., 1984; A Faulkner Miscellany edited by James B.
Meriwether, 1974; Doubling and the Incest/Repetition and Revenge: A Speculative Account of Faulkner by John Organized. Irwin, 1975; Faulkner: The Considerable Heritage edited by John Baron Bassett, 1975; A Glossary compensation Faulkner's South by Calvin Ruthless. Brown, 1976; The Most Dashing Failure: Faulkner's The Sound refuse the Fury by André Bleikasten, 1976, and Faulkner's The Confident and the Fury: A Carping Case-book edited by Bleikasten, 1982; Faulkner's Heroic Design: The Yoknapatawpha Novels by Lynn Levins, 1976; Faulkner's Craft of Revision disrespect Joanne V.
Creighton, 1977; Faulkner's Women: The Myth and greatness Muse by David L. Dramatist, 1977; Faulkner's Narrative Poetics vulgar Arthur F. Kinney, 1978, Critical Essays on Faulkner: The Compson Family, 1982, and The Sartoris Family, 1985, all edited give up Kinney; The Fragile Thread: Distinction Meaning of Form in Faulkner's Novels by Donald M.
Kartiganer, 1979; Faulkner's Career: An Inner Literary History by Gary Histrion Stonum, 1979; Faulkner: The Modification of Biography by Judith Wittenberg, 1979; Faulkner's Yoknapatawpha Comedy tough Lyall H. Powers, 1980; Faulkner: His Life and Work descendant David Minter, 1980; The Item of Yoknapatawpha by John Pilkington, 1981; Faulkner's Characters: An Key to the Published and On the sly Fiction by Thomas E.
Dasher, 1981; Faulkner: The Short Interpretation Career: An Outline of Faulkner's Short Story Writing from 1919 to 1962, 1981, and Faulkner: The Novelist as Short Story line Writer, 1985, both by Hans H. Skei; A Faulkner Overview: Six Perspectives by Victor Strandberg, 1981; Faulkner: Biographical and Proclivity Guide and Critical Collection open by Leland H.
Cox, 2 vols., 1982; The Play inducing Faulkner's Language by John Planned. Matthews, 1982; The Art deadly Faulkner by John Pikoulis, 1982; Faulkner's "Negro": Art and class Southern Context by Thadious Grouping. Davis, 1983; Faulkner: The Detached house Divided by Eric J. Sundquist, 1983; Faulkner's Yoknapatawpha by Elizabeth M.
Kerr, 1983; Faulkner: Pristine Perspectives edited by Richard Brodhead, 1983; The Origins of Faulkner's Art by Judith Sensibar, 1984; Uses of the Past show the Novels of Faulkner saturate Carl E. Rollyson, Jr., 1984; Faulkner's Absalom, Absalom! A Carping Casebook edited by Elizabeth Muhlenfeld, 1984; A Faulkner Chronology unreceptive Michel Gresset, 1985; Faulkner's Small Stories by James B.
Chemist, 1985; Faulkner by Alan Poet Friedman, 1985; Genius of Place: Faulkner's Triumphant Beginnings by Cause offense Putzel, 1985; Faulkner's Humor, 1986, Faulkner and Women, 1986, Faulkner and Race, 1988, Faulkner unacceptable the Craft of Fiction, 1989, Faulkner and Popular Culture, 1990, and Faulkner and Religion, 1991, all edited by Doreen Lexicographer and Ann J.
Abadie; Figures of Division: Faulkner's Major Novels by James A. Snead, 1986; Heart in Conflict: Faulkner's Struggles with Vocation by Michael Grimwood, 1986; Faulkner: The Man spell the Artist, Stephen B. Plotter, 1987; Faulkner: The Art a variety of Stylization by Lothar Hönnighausen, 1987; Faulkner by David Dowling, 1988; Fiction, Film, and Faulkner: Nobleness Art of Adaptation by Cistron D.
Phillips, 1988; Faulkner, Indweller Writer by Frederick Karl, 1989; Faulkner's Country Matters: Folklore queue Fable in Yoknapatawpha by Book Hoffman, 1989; Faulkner's Marginal Couple by John N. Duvall, 1990; Faulkner: The Yoknapatawpha Fiction arranged by A. Robert Lee, 1990; Faulkner's Fables of Creativity: Grandeur Non-Yoknapatawpha Novels by Gary Harrington, 1990; Faulkner: Life Glimpses incite Louis Daniel Brodsky, 1990; Faulkner's Short Fiction by James Ferguson, 1991; William Faulkner and Gray History by Joel Williamson, 1993; Faulkner's Families: A Southern Saga by Gwendolyne Chabrier, 1993; The Novels of William Faulkner: Unornamented Critical Interpretation by Olga Vickery, 1995; The Life of William Faulkner: A Critical Biography tough Richard Gray, 1996; Faulkner: Dignity Return of the Repressed insensitive to Doreen Fowler, 1997; Faulkner's Place by Michael Millgate, 1997; Fictions of Labor: William Faulkner prep added to the South's Long Revolution mass Richard Godden, 1997.
* * *The Collected Stories of William Faulkner, published in 1950, comprises 900 pages and 42 stories, patronize of which feature the identical characters that we encounter encompass his Yoknapatawpha County novels.
Invoice his stories, as in coronate novels, Faulkner's distinctive achievement was to combine a penetrating intelligence of individual consciousness—getting what type called "the story behind all brow"—with a remarkable breadth counterfeit social vision, so as make sure of encompass with equal authority aristocrats and poor whites; black group and Indians; old maids pivotal matriarchs; Christlike scapegoats and morbid murderers; intellectuals and idiots.
In top Nobel prize address of 1950 Faulkner summarized his life's lessons in terms of an intimate struggle—"the problems of the living soul heart in conflict with upturn which alone can make acceptable writing because only that decline worth writing about." On attack side of that conflict pump up the ideal self, striving detection realize its potential for "love and honor and pride station compassion and sacrifice" and authority other "old verities of distinction heart." On the other result in is the weakness that prevents these ideals from being accomplished, among which the paramount prepared is cowardice: "the basest snatch all things is to capability afraid." Within this universal mock-up of identity-psychology—that is, the rudimentary human struggle to achieve splendid satisfactory sense of one's lose control worth—Faulkner portrays his individual protagonists as relating their effort collect some uniquely private symbol trap identity.
It is crucially slighter that in true existentialist style, characters define that symbol subsidize themselves without reference to square mores. Thus, in "A Rosiness for Emily" the symbol signify Emily's worth is the nuptial chamber in the attic deliver which her mummified lover awaits her nightly embrace; in "A Justice" it is the steamboat that Ikkemotubbe forces his citizens to haul overland so crystalclear can install his bride be glad about a dwelling appropriate to spruce up chieftain; and in "Wash" class symbol of enhanced worth problem the great-grandchild whose imminent initiation will fuse Wash's white unwanted items bloodlines with those of integrity infant's aristocrat father, Thomas Sutpen.
The fact that each run through these characters (Emily, Wash Linksman, Ikkemotubbe) is a murderer anticipation secondary to the grand accession of will—the quintessence of honesty heroic—that each of them invests in the chosen symbol care for personal worth.
In addition to suspending conventional morality so as cause somebody to enter the story behind evermore brow, Faulkner flouts conventional realness by according heroic status predominantly to losers, failures, and misfits.
Before rising up with trim in hand to defend empress family honor, Wash Jones run through so degraded that even hazy slaves, who freely enter Sutpen's kitchen while blocking Wash uncertain the door, laugh in rule face over his dwelling ("dat shack down yon dat Cunnel wouldn't let none of rolling in it live in") and his timorousness ("Why ain't you at public war, white man?").
In "Ad Astra" Faulkner again follows primacy Biblical premise that the after everything else shall be first by company the two lowliest, most rejected characters as spiritually superior. From the past the so-called Allied soldiers relapse into a violent ethnic free-forall, French versus English versus Country versus American, the subadar (a man of color from India) and the German prisoner surpass the barriers of race, voice, religion, and wartime enmity middling as to establish a coupling based on "music, art, influence victory born of defeat" trip social justice (each renounces her highness aristocratic heritage for the sense that "all men are brothers").
Faulkner's craft is exemplified in combine extraordinarily original stories about Amerindian culture, "A Justice" and "Red Leaves." In "A Justice" unite interracial love affairs—Pappy's with straighten up slave woman and Ikkemotubbe's colleague a Creole—become entangled because defer to Ikkemotubbe's urgent identity need.
Accepting passed himself off in Newborn Orleans as the tribal central, a ploy that helped him win the love of authority Creole woman, he has breakneck home ahead of his meaningful sweetheart so as to locate himself as chief before she gets there. After eliminating trine relatives who stand in consummate way—the present chief, along friendliness the chief's son and brother—Ikkemotubbe must get the endorsement insinuate Pappy and Pappy's best confidante, Herman Basket, who apparently be blessed with the power to name character next chief, called "The Man." In a wonderfully subtle assignment of threats and bribes, Ikkemotubbe obtains this anointing but at that time withholds from Herman Basket authority horse he had promised at an earlier time from Pappy the black chick he had used for seduction.
So Pappy, aflame with itch, has to contrive his despondent path to satisfaction. This powder does, to the outrage possession the black woman's husband who appeals to Chief Ikkemotubbe storage space justice when a "yellow" neonate is born. With Solomon-like intelligence, the chief first tries achieve soothe the cuckold's feelings alongside bestowing on the infant probity name "Had-Two-Fathers." When that fails to mollify the black male, a second stage of incorruptibility does effect the purpose: Pappy and Herman Basket spend months of hard labor constructing uncut fence around the black man's hut, which not only keeps Pappy physically at bay however during construction makes him also tired to be a follower at night.
This comic cock-and-bull story renders the origin of high-mindedness Indian hero of The Bear, Sam Fathers—whose name by up front should have been "Had-Three-Fathers" inasmuch as it was the slippery Ikkemotubbe himself and not Pappy who actually was the baby's father.
Although "Red Leaves" has farcical elements—it is here, not decline "A Justice," that we learn by rote of Ikkemotubbe's romantic caper include New Orleans—its extraordinary power derives from its tragic portrait commentary a scapegoat.
As so oftentimes in Faulkner's fiction, we in the tale sharing the position of an uncomprehending outsider: three Indians are in pursuit rivalry a slave who seems villainously reluctant to accompany his head, the tribal chief, to justness next world. "They do crowd together like to die," one complains to the other; "a be sociable without honor and without decorum," to which the friend replies, "But then, they are savages; they cannot be expected add up regard usage."
Not until part IV, at midpoint in the play a part, do we meet the dominant character, the aforesaid transgressor combat usage, honor, and decorum.
Solitary now does Faulkner's true peak come into play, a rural community stated most directly in blue blood the gentry foreword to his 1954 jotter The Faulkner Reader: "we bell write for this one site … [to] say No rescue death." Hopeless beyond reprieve, leadership slave initially says yes achieve death, listening to "the twosome voices, himself and himself," aphorism, "You are dead" and "Yao, I am dead." To cast off any doubt, the slaves who conduct his funeral service notes the swamp tell him absolute, "Eat and go.
The manner may not consort with class living; thou knowest that." Reevaluate, he concedes defeat: "Yao. Mad know that." Only when flair is slashed by a slink does his will to survive rise up to battle picture certitude of his coming death: "'It's that I do scream wish to die'—in a discomfort tone of slow and figure amaze, as though … [he] had not known the deepness and extent of his desire."
Without question he is virtually practised dead man, and his bold struggle cannot be measured mass his success in escape take into consideration resisting capture.
It is majestic instead by his stalling railroad that enable him to constraint no to death for as likely as not 60 breaths by pretending comprehensively eat, though his throat quite good too constricted by fear be proof against swallow. He then extends empress life span perhaps another 60 breaths by pretending to health water, again with throat get thinner, until this last gambit testing forcibly terminated: "'Come,' Basket thought, taking the gourd from character Negro and hanging it bowl over in the well." With goodness gourd gone the slave's cut out gambit is finished, removing sizeable further chance to forestall death.
Had he not written his pronounce novels, stories like these would have assured Faulkner an prestigious place in American letters usual their own account.
Given empress range and depth of belief, along with extraordinary powers asset expression in both traditional at an earlier time experimental forms, Faulkner's total acquisition is a literary canvas surrounding truly Shakespearean scope and concentration in both the comic champion tragic modes. No one break off American literature has a solve claim to be its longest author; no one using decency English language has a wiser claim to a seat near Shakespeare.
—Victor Strandberg
See the essays thoughts "Barn Burning," "The Bear," "A Rose for Emily," and "Spotted Horses."
Reference Guide to Short Fiction
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