By Donald M. Kartiganer
Huge eightvo. xviii, 206 pp, acknowledgments, preface, half I. The Dislocation of shape: 1. The Sound and the Fury; 2. As I Lay death. half II. towards a ideally suited Fiction: three. mild in August; four. Absalom, Absalom! half III. Mythos: five. The Hamlet; 6. The final Novels. half IV. Faulkner and Modernism; notes, index. First variation, 1979. eco-friendly fabric with gilt lettering to backbone. "The writer keeps that Faulkner's specially mmodernist crisis with order and flux, layout and dislocation, decided the elemental trend of his paintings: the splintering of a conventionally recognized international into person fragments, by way of a look for a accomplished structural layout fto comprise them in a primary drama." from the jacket flap.
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Extra resources for The fragile thread: the meaning of form in Faulkner's novels
And from its secure perch, intimate with the events yet aloof from the pain of being a Compson, this voice seeks to tell us the meaning of what has come before. Benjy, so brilliantly rendered in his own voice in the first section, is now described from the outside. Luster entered, followed by a big man who appeared to have been shaped of some substance whose particles would not or did not cohere to one another or to the frame which supported it. His skin was dead looking and hairless; dropsical too, he moved with a shambling gait like a trained bear.
In Part Four: Faulkner and Modernism, I sketch an implicit aesthetics to the novels that links them to their proper context: the high modernist mode that dominates the first third of the century. It is an account not so much of Faulkner's conscious theories of what fiction must be as of the background of my own thinking, of the assumptions about modern literature that have both influenced, and been influenced by, my reading of Faulkner. Page 1 ONE THE DISLOCATION OF FORM Page 3 1 The Sound and the Fury I When Random House decided in 1946 to combine The Sound and the Fury and As I Lay Dying in a single Modern Library volume, the motive presumably had little to do with any formal or thematic relationship between the two novels.
Blood, I says, governors and generals. It's a damn good thing we never had any kings and presidents; we'd all be down there at Jackson chasing butterflies" (p. 286). Following Benjy and Quentin, this sort of thing comes as bracing, if low, comedy. And it reminds us, even in this grim study of family distintegration, of the variety of Faulkner's voices and his daring willingness to use them. Thus Faulkner adds still one more piece to his exploration of the possibilities of vision. Still subjective, as opposed to the more objective first and fourth sections, but substantially different from Quentin's, Jason's is the mind that seems to have dissolved the boundaries of fact and invention, not as they might be dissolved in the collaboration within a supreme fiction, but as in the furthest stages of paranoia.