By Joseph R. Urgo
Photos, lumber, airplanes, hand-hewn coffins--in each William Faulkner novel and brief tale worldly fabric abounds. The essays in Faulkner and fabric Culture supply a clean knowing of the issues Faulkner introduced from the area round him to the single he created. Charles S. Aiken surveys Faulkner's illustration of terrain and concludes, opposite to confirmed feedback, that to Faulkner, Yoknapatawpha was once now not a microcosm of the South yet a really specific and relatively particularly positioned position. Jay Watson works with literary conception, philosophy, the historical past of woodworking and furniture-making, and social and highbrow historical past to discover how Light in August is tied in detail to the region's logging and woodworking industries. different essays within the quantity comprise Kevin Railey's at the client items that seem in Flags within the Dust. Miles Orvell discusses the accomplice Soldier monuments put in in small cities in the course of the South and the way such monuments input Faulkner's paintings. Katherine Henninger analyzes Faulkner's fictional illustration of photos and the functionality of images inside his fiction, relatively in The Sound and the Fury, Light in August, and Absalom, Absalom!.
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Additional resources for Faulkner and Material Culture (Faulkner and Yoknapatawpha Series)
Moreover, while the examples, references, and associations that establish a theme can range indiscriminately across history, myth, and psyche, for Brown the contents 22 j a y wa t s o n of the material unconscious are typically limited to products of the history and economy of a specific era, the era of the text’s own production. One example of what it means to observe this difference is that my analysis of the economies of wood in Light in August will not capitalize on the fact that a major character is named Grove or that the text refers on numerous occasions to the Christian Cross, whereas a theme-based study of the general motif of “wood” would certainly permit both moves.
8 And finally, the principal setting for the novel’s concluding episode, which is recounted by a traveling furniture dealer to his wife in the comfort and quiet of the marriage bed, is the truck in which he picks up and delivers his wares for his customers in north Mississippi and southwestern Tennessee. On his way “to get some old pieces of furniture which he had bought by correspondence” (494), he delivers the hitch-hiking Byron and Lena (and baby) at least as far as Saulsbury, Tennessee, where they leave Mississippi and the novel behind.
This new arrangement not only facilitated the use of tractors in fields, but made it easier to extend power to the dwellings when electricity reached a farm or plantation. Faulkner had a complex relationship with material culture and change. He was among the vanguards in adopting certain new material wonders. Faulkner was one of the first Americans to learn to fly and to own an airplane. He earned part of his income from selling his novels and short stories to motion picture studios and to television production companies.