Faulkner, Paul, Knowledge on Trust

This is a review of Faulkner, Paul, Knowledge on Trust, Oxford: Oxford University Press, 2011, pp.240, US 55.00 (hardback)

There is Still Time: Contingency And History

...and it\u27s all in the balance, it hasn\u27t happened yet, it hasn\u27t even begun yet, it not only hasn\u27t begun yet but there is still time for it not to begin against that position and those circumstances which made more men than Garnett and Kemper and Armistead and Wilcox look grave... William Faulkner\u27s Intruder in the Dust has that beautifully evocative passage that anyone worth their salt contemplating a Pickett\u27s Charge program has considered including in their ebb and flow. Faulkner was a master of language, and his passage about, every Southern boy fourteen years old, is a particularly artful. [excerpt

Faulkner's presence in Latin American literature

Existe un cierto consenso crítico por el que William Faulkner es considerado el novelista americano más grande del siglo XX. Faulkner no sólo dejó su marca en la literatura americana sino que también dejó un legado para escritores de toda la literatura mundial. El impacto de Faulkner en la literatura europea moderna ha sido documentado con amplitud pero mucha menor atención ha sido dada a la presencia de Faulkner en la literatura latinoamericana. En efecto, la influencia de Faulkner en una generación de escritores latinoamericanos fue frenada. Los escritores que formaron la vanguardia llamada "El Boom" -por ejemplo, Juan Carlos Onetti, Carlos Fuentes, Mario Vargas Llosa, Gabriel Garcia Márquez- afirman que Faulkner dejó una huella innegable en el espíritu literario de Latinoamérica. La presencia y la recepción de Faulkner están conjuntados en el homenaje de Vargas Llosa "Faulkner en Laberinto" (1980): Escribía en inglés, pero era uno de los nuestros. "Faulkner es uno de los nuestros; pertenece a nuestra herencia cultural" -Carios Fuente

Faulkner's presence in Latin American literature

Existe un cierto consenso crítico por el que William Faulkner es considerado el novelista americano más grande del siglo XX. Faulkner no sólo dejó su marca en la literatura americana sino que también dejó un legado para escritores de toda la literatura mundial. El impacto de Faulkner en la literatura europea moderna ha sido documentado con amplitud pero mucha menor atención ha sido dada a la presencia de Faulkner en la literatura latinoamericana. En efecto, la influencia de Faulkner en una generación de escritores latinoamericanos fue frenada. Los escritores que formaron la vanguardia llamada "El Boom" -por ejemplo, Juan Carlos Onetti, Carlos Fuentes, Mario Vargas Llosa, Gabriel Garcia Márquez- afirman que Faulkner dejó una huella innegable en el espíritu literario de Latinoamérica. La presencia y la recepción de Faulkner están conjuntados en el homenaje de Vargas Llosa "Faulkner en Laberinto" (1980): Escribía en inglés, pero era uno de los nuestros. "Faulkner es uno de los nuestros; pertenece a nuestra herencia cultural" -Carios Fuente

Teaching Faulkner

Teaching Faulkner I: The Bear / Robert W. Hamblin and James B. Carothers. Yerby AuditoriumTeaching Faulkner II: Faulkner\u27s Dirt / Charles A. Pee

William Faulkner\u27s Hebrew Bible: Empire and the Myths of Origins

I propose that William Faulkner\u27s literary imagination is charged by a Jewish sensibility rooted in reverence for the Bible as a text that is as vital and relevant in his time as in any since its composition. The Hebrew Bible\u27s narrative method of compiling, redacting, doubling, and retelling, and its attention to curses, genealogies, covenants, and nation-building, reverberate in Faulkner\u27s time as resoundingly as in any preceding it. There are myriad links in Faulkner\u27s work between the Hebrew Bible, Southern Christianity, and American colonialism that merit our attention within ongoing discussions of Faulkner, empire, and nation-building, the Bible and colonialism, and Faulkner and the Bible in order to situate a postcolonial reading of Faulkner and scripture. I suggest that William Faulkner, raised Methodist and on record as considering himself a good Christian is, ontologically speaking, Jewish. That is, Faulkner, as his texts bear out and his many comments on the Hebrew Bible, Christianity, God, morality, and Messianic time substantiate, is imbued by a Jewish sensibility. Within a framework informed by Mieke Bal\u27s counter-reading approach to the Hebrew Bible, Walter Benjamin\u27s constellation of events, and Susan Handelman\u27s conception of literary theory as rabbinical, I want to consider Faulkner\u27s interrogation of US imperialism and his dismantling of the authority of origins. I begin by locating Faulkner within a Jewish, text-based tradition, and then canvass Faulkner\u27s historical moment—the rise of US imperialism at home and abroad—to suggest why the Hebrew Bible, itself an account of empires and nation-building, echoes so poignantly in Faulkner. Close readings of Absalom, Absalom!, Light in August, and Go Down, Moses follow, with an emphasis on a Hebrew Bible dialogue between ancient Israel and modern America as negotiated by William Faulkner. The ethical imperative, intones Faulkner, is to recognize that oppressive behaviors are no progress at all but rather contemporary realizations of the originary Exodus enslavement, upon which America\u27s imperial assault marches onward

William Faulkner\u27s public and poetic voices: A discussion of the human condition

William Faulkner claimed that his fiction failed to show that man will prevail, the standard that he set for literature in his Nobel Prize acceptance speech. However, this statement and others by Faulkner can be misleading without an understanding of Faulkner\u27s terms. A study of his speeches, essays, public letters, and interviews (Faulkner\u27s public voice) in conjunction with his major fiction (his poetic voice) clarifies what Faulkner meant by immortality, evil, fear, and failure and thereby demonstrates that both Faulkner\u27s fiction and his nonfiction do in fact illustrate his belief that man will prevail.

Lucy Faulkner and the 'ghastly grin': Reworking the title page illustration to Goblin Market

An article that recovers the work of the craftswoman Lucy Faulkner Orrinsmith. It demonstrates her role in the re-cutting of the title page illustration to Christina Rossetti’s poem ‘Goblin Market’ designed by D. G. Rossetti in 1862-5

Faulkner\u27s Subject: A Cosmos No One Owns

Faulkner\u27s Subject offers a reading of William Faulkner for our time, and does so by rethinking his masterpieces through the lenses of current critical theory. The book attends equally to the power of his work and to the current theoretical issues that would call that power into question. Drawing on poststructuralist, ideological, and gender theory, Weinstein examines the harrowing process of becoming oneself at the heart of these novels. This self is always male, and it achieves focus only through strategically mystifying or marginalizing women and blacks. The cosmos he called his own--the textual world he produced, of which he would be sole owner and proprietor--merges as a cosmos no one owns, a verbal territory also generated (and biased) by the larger culture\u27s discourses of gender and race. Like personal identity itself, it is a cosmos no one owns

Finding Aid for the Faulkner Small Manuscripts Collection (MUM00175)

Collection of items related to William Faulkner, including manuscripts, clippings concerning Faulkner, literary criticism, ephemeral items and materials related to Faulkner\u27s work, his life in Oxford, MS and at the University of Mississippi