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.CriticismHarold Bloom, ed., Caddy Compson (New York: Chelsea House, 1990).A collection of critical essays, most originally published in the 1970s and 1980s,examining the character from different perspectives.Bloom, ed., William Faulkner s The Sound and the Fury (New York: ChelseaHouse, 1988).An anthology of criticism of the novel from different theoretical approaches,including formalist, psychoanalytic, historical, and poststructuralist studies.Ofparticular interest for students of Modernism are Donald Kartiganer s The Soundand the Fury and the Dislocation of Form and Gary Lee Stonum s The Sound andthe Fury: The Search for a Narrative Method. Cleanth Brooks, William Faulkner: The Yoknapatawpha Country (New Haven,Conn.: Yale University Press, 1963).One of the early landmark studies of Faulkner s fiction.The chapter on The Soundand the Fury treats in particular the role of time and religion in the novel.Thevarious obsessions the Compson brothers have with past, present, and future, andhow each represents for them a false interpretation of eternity, are juxtaposedagainst the outlook of Dilsey, whose ultimate commitment, because of hersimple yet heartfelt Christian faith, is to eternity. 130 American Modernism, 1914 1945Frederick L.Gwynn and Joseph Blotner, eds., Faulkner in the University: ClassConferences at the University of Virginia, 1957 1958 (Charlottesville: Univer-sity of Virginia Press, 1959).Useful for anyone interested in reading Faulkner s own commentary on his fic-tion.He consistently refers to The Sound and the Fury as his favorite among hisnovels.He also comments on characters in the novel, particularly Quentin andCaddy.Stephen Hahn and Arthur F.Kinney, eds., Approaches to Teaching Faulkner s TheSound and the Fury (New York: Modern Language Association, 1996).A collection of articles applying a wide variety of critical theories to the novel.Intended for teachers, it includes a chapter, Beginnings, focused on teaching (orreading) the novel for the first time, and a concluding chapter situating the novelas part of Faulkner s larger body of fiction.John T.Irwin, Doubling and Incest/Repetition and Revenge: A Speculative Reading ofFaulkner (Baltimore: Johns Hopkins University Press, 1975; revised, 1996).A psychoanalytic reading of Faulkner s fiction, focusing largely on the characterof Quentin Compson.John T.Matthews, The Play of Faulkner s Language (Ithaca, N.Y.: Cornell Univer-sity Press, 1982).A deconstructive study of Faulkner s rhetoric that includes a close reading of TheSound and the Fury.Matthews, The Sound and the Fury: Faulkner and the Lost Cause (Boston:Twayne, 1991).An accessible study focusing largely on the novel s larger context in Southernhistory.Michael Millgate, The Achievement of William Faulkner (New York: RandomHouse, 1966).An early overview of Faulkner s novels, primarily from a formalist theoreticalapproach.Stephen M.Ross and Noel Polk, Reading Faulkner: The Sound and the Fury:Glossary and Commentary, Reading Faulkner Series ( Jackson: UniversityPress of Mississippi, 1996).A line-by-line interpretation of the novel and commentary on key words, phrases,and longer passages.Olga Vickery, The Novels of William Faulkner: A Critical Interpretation (BatonRouge: Louisiana State University Press, 1959; revised, 1964).An influential formalist study of Faulkner s fiction.The chapter on The Sound andthe Fury, titled Worlds in Counterpoint, focuses largely on how readers must, ineffect, create their own version of the story from the four points of view offered inthe novel.Vickery argues that a primary theme of the novel, as suggested by thestructure of the work, is the relation between the act and man s apprehension ofthe act, between the event and the interpretation. William Faulkner 131Linda Wagner-Martin, ed., William Faulkner: Six Decades of Criticism (East Lan-sing: Michigan State University Press, 2002).Divided into four parts, one of which focuses on the Enduring Core ofFaulkner s works: The Sound and the Fury and Absalom, Absalom!William Faulkner on the Web, edited by John B.Padgett [accessed 29 October 2009].Among other resources, features a brief commentary on The Sound and the Furyand a partial glossary of characters in the novel. John B.PadgetthWilliam Faulkner, As I Lay Dying(New York: Cape & Smith, 1930)Faulkner began writing As I Lay Dying on 25 October 1929 and completed themanuscript just forty-seven days later.He wrote much of the novel while work-ing nights at the University of Mississippi power plant, where he supervised thefeeding of coal into the boilers.Faulkner s comments about the writing of thenovel have shaped some of the critical reaction to the work.In Faulkner in theUniversity he remembers his attitude at the beginning: I set out deliberately towrite a tour-de-force.Before I ever put pen to paper and set down the first wordI knew what the last word would be.Before I began I said, I am going to writea book by which, at a pinch, I can stand or fall if I never touch ink again. Thenovel is often compared to The Sound and the Fury in regard to form: both are,essentially, stream-of-consciousness family stories centered on a single dominantfemale member of the family.As I Lay Dying differs from the earlier novel in atleast two significant ways, however.First, the Bundrens are a poor farming fam-ily living on the outskirts of Yoknapatawpha County a sharp contrast to theaffluent and socially prominent Compsons of Jefferson.Second, As I Lay Dyingis far less limited in the number of viewpoints from which the story is presented.Instead of just three first-person narrators, as in the earlier novel, As I Lay Dyingis told via fifty-nine monologues, including at least one by every member of theBundren family and eight additional speakers from outside the family who offeradditional perspective and commentary on the story and the social milieu.The novel focuses on the death and (eventual) burial of Addie Bundren, aformer schoolteacher from Jefferson, the county seat, who married a poor farmerfrom the Frenchman s Bend section of the county, which is located some distancefrom Jefferson.As the novel opens, she is on her deathbed; the family is preparing,as best they can, for her funeral and burial in Jefferson, which, the reader discov-ers later, is to fulfill a promise her husband, Anse, made to her years earlier.Thenovel explores both the grief and the self-interest of each member of the family,sometimes in the same breath.Cash, the eldest son, is a carpenter and shows his 132 American Modernism, 1914 1945love for his mother by building her coffin on the bevel right outside her window,where she can see and hear his efforts.Jewel, her third son and, the reader learns,the product of an affair she had with a preacher is forced to give up his belovedhorse to allow their journey to continue.Dewey Dell, the fourth child and onlydaughter, finds her grief over her mother s death conflicted by her own unwantedpregnancy [ Pobierz całość w formacie PDF ]
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.CriticismHarold Bloom, ed., Caddy Compson (New York: Chelsea House, 1990).A collection of critical essays, most originally published in the 1970s and 1980s,examining the character from different perspectives.Bloom, ed., William Faulkner s The Sound and the Fury (New York: ChelseaHouse, 1988).An anthology of criticism of the novel from different theoretical approaches,including formalist, psychoanalytic, historical, and poststructuralist studies.Ofparticular interest for students of Modernism are Donald Kartiganer s The Soundand the Fury and the Dislocation of Form and Gary Lee Stonum s The Sound andthe Fury: The Search for a Narrative Method. Cleanth Brooks, William Faulkner: The Yoknapatawpha Country (New Haven,Conn.: Yale University Press, 1963).One of the early landmark studies of Faulkner s fiction.The chapter on The Soundand the Fury treats in particular the role of time and religion in the novel.Thevarious obsessions the Compson brothers have with past, present, and future, andhow each represents for them a false interpretation of eternity, are juxtaposedagainst the outlook of Dilsey, whose ultimate commitment, because of hersimple yet heartfelt Christian faith, is to eternity. 130 American Modernism, 1914 1945Frederick L.Gwynn and Joseph Blotner, eds., Faulkner in the University: ClassConferences at the University of Virginia, 1957 1958 (Charlottesville: Univer-sity of Virginia Press, 1959).Useful for anyone interested in reading Faulkner s own commentary on his fic-tion.He consistently refers to The Sound and the Fury as his favorite among hisnovels.He also comments on characters in the novel, particularly Quentin andCaddy.Stephen Hahn and Arthur F.Kinney, eds., Approaches to Teaching Faulkner s TheSound and the Fury (New York: Modern Language Association, 1996).A collection of articles applying a wide variety of critical theories to the novel.Intended for teachers, it includes a chapter, Beginnings, focused on teaching (orreading) the novel for the first time, and a concluding chapter situating the novelas part of Faulkner s larger body of fiction.John T.Irwin, Doubling and Incest/Repetition and Revenge: A Speculative Reading ofFaulkner (Baltimore: Johns Hopkins University Press, 1975; revised, 1996).A psychoanalytic reading of Faulkner s fiction, focusing largely on the characterof Quentin Compson.John T.Matthews, The Play of Faulkner s Language (Ithaca, N.Y.: Cornell Univer-sity Press, 1982).A deconstructive study of Faulkner s rhetoric that includes a close reading of TheSound and the Fury.Matthews, The Sound and the Fury: Faulkner and the Lost Cause (Boston:Twayne, 1991).An accessible study focusing largely on the novel s larger context in Southernhistory.Michael Millgate, The Achievement of William Faulkner (New York: RandomHouse, 1966).An early overview of Faulkner s novels, primarily from a formalist theoreticalapproach.Stephen M.Ross and Noel Polk, Reading Faulkner: The Sound and the Fury:Glossary and Commentary, Reading Faulkner Series ( Jackson: UniversityPress of Mississippi, 1996).A line-by-line interpretation of the novel and commentary on key words, phrases,and longer passages.Olga Vickery, The Novels of William Faulkner: A Critical Interpretation (BatonRouge: Louisiana State University Press, 1959; revised, 1964).An influential formalist study of Faulkner s fiction.The chapter on The Sound andthe Fury, titled Worlds in Counterpoint, focuses largely on how readers must, ineffect, create their own version of the story from the four points of view offered inthe novel.Vickery argues that a primary theme of the novel, as suggested by thestructure of the work, is the relation between the act and man s apprehension ofthe act, between the event and the interpretation. William Faulkner 131Linda Wagner-Martin, ed., William Faulkner: Six Decades of Criticism (East Lan-sing: Michigan State University Press, 2002).Divided into four parts, one of which focuses on the Enduring Core ofFaulkner s works: The Sound and the Fury and Absalom, Absalom!William Faulkner on the Web, edited by John B.Padgett [accessed 29 October 2009].Among other resources, features a brief commentary on The Sound and the Furyand a partial glossary of characters in the novel. John B.PadgetthWilliam Faulkner, As I Lay Dying(New York: Cape & Smith, 1930)Faulkner began writing As I Lay Dying on 25 October 1929 and completed themanuscript just forty-seven days later.He wrote much of the novel while work-ing nights at the University of Mississippi power plant, where he supervised thefeeding of coal into the boilers.Faulkner s comments about the writing of thenovel have shaped some of the critical reaction to the work.In Faulkner in theUniversity he remembers his attitude at the beginning: I set out deliberately towrite a tour-de-force.Before I ever put pen to paper and set down the first wordI knew what the last word would be.Before I began I said, I am going to writea book by which, at a pinch, I can stand or fall if I never touch ink again. Thenovel is often compared to The Sound and the Fury in regard to form: both are,essentially, stream-of-consciousness family stories centered on a single dominantfemale member of the family.As I Lay Dying differs from the earlier novel in atleast two significant ways, however.First, the Bundrens are a poor farming fam-ily living on the outskirts of Yoknapatawpha County a sharp contrast to theaffluent and socially prominent Compsons of Jefferson.Second, As I Lay Dyingis far less limited in the number of viewpoints from which the story is presented.Instead of just three first-person narrators, as in the earlier novel, As I Lay Dyingis told via fifty-nine monologues, including at least one by every member of theBundren family and eight additional speakers from outside the family who offeradditional perspective and commentary on the story and the social milieu.The novel focuses on the death and (eventual) burial of Addie Bundren, aformer schoolteacher from Jefferson, the county seat, who married a poor farmerfrom the Frenchman s Bend section of the county, which is located some distancefrom Jefferson.As the novel opens, she is on her deathbed; the family is preparing,as best they can, for her funeral and burial in Jefferson, which, the reader discov-ers later, is to fulfill a promise her husband, Anse, made to her years earlier.Thenovel explores both the grief and the self-interest of each member of the family,sometimes in the same breath.Cash, the eldest son, is a carpenter and shows his 132 American Modernism, 1914 1945love for his mother by building her coffin on the bevel right outside her window,where she can see and hear his efforts.Jewel, her third son and, the reader learns,the product of an affair she had with a preacher is forced to give up his belovedhorse to allow their journey to continue.Dewey Dell, the fourth child and onlydaughter, finds her grief over her mother s death conflicted by her own unwantedpregnancy [ Pobierz całość w formacie PDF ]