from The American Heritage® Dictionary of the English Language, 4th Edition
- Faulkner, William 1897-1962. American writer who set many of his works, such as the novels The Sound and the Fury (1929) and The Unvanquished (1938), in the imaginary Yoknapatawpha County, a microcosm of the postbellum South, in which he explored the decay of traditional Southern culture and the relations between the races. He won the 1949 Nobel Prize for literature.
from Wiktionary, Creative Commons Attribution/Share-Alike License
- proper n. A surname.
from WordNet 3.0 Copyright 2006 by Princeton University. All rights reserved.
- n. United States novelist (originally Falkner) who wrote about people in the southern United States (1897-1962)
On a somewhat related note, Faulkner is documented as having once made the following statement when asked his opinion of Hemingway: "He has never been known to use a word that might send a reader to the dictionary."
And what about those characters in Faulkner's work who "think" in Faulkner's own circuitous, declamatory style?
William Faulkner is a small, wiry man with closely cropped iron-gray hair; an upswept mus¬tache of a darker color; a thin, high-bridged aqui¬line nose; heavy-lidded and deeply set brown eyes in which melancholy, calculation and humor variously are reflected; and a face tanned and webbed, especially near the eyes, with the creases and lines and tiny tracings of advancing middle age and the erosion of many days spent in the open in all weathers.
There's no doubt that the journey of the dead mother in Faulkner's As I Lay
Ulysses is a rewriting of the Odyssey; the Biblical echoes in Faulkner are deafening; some readers might think Henry James stole from himself and wrote the same few stories over and over again.
Faulkner is apparent, with his cerebral self-awareness and utter disregard of narrative and grammatical convention.
I am sorry Faulkner is a god compared to those books.
The enabling assumption behind Ulin's effort to disentangle Faulkner from the modernist web seems to me to be expressed in the observation that his "stylistic innovation" is really just "a matter of emotional impact, of the effort to re-create life as it is lived."
What Ulin is getting at remains to me mysterious, but at any rate his degree of orthodox whatever seems a pretty thin measure with which to separate William Faulkner from the other important modernists.
Faulkner is at times a writer like this, but his fiction always forces awareness of the way these images are produced, and it's hard to believe he didn't know this.
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