William Faulkner, an interview of The Paris Review , in He experimented intelligently with switching different perspectives and voices , including those of children, the outcast, the insane and the illiterate. Moreover, he is talented at the arrangement of narrative chronology, sometimes by breaking the time frame and re-combining it with whole new aspect. His rich and brilliant baroque writing style is developed in the extremely long sentences embedding with complex subordinate parts.
The characters in the novel had great range of variety; they might be former or runaway slaves , the descendant of slaves, the poor white, agrarians , working-class Southerners and the aristocracy from old and traditional Southern families. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down. Yoknapatawpha County William Faulkner created a plenary imaginative scene , Yoknapatawpha County, which became story settings in numerous novels and the landscape in which those depicted families live and have great interconnection with each other, extending for generations.
Novels and short stories set in Yoknapatawpha County:. As I Lay Dying William Faulkner is known for his short stories, novels, poetry, screenplays, a play, and essays.
Primarily, he is known for his short stories and novels. His novels and short stories are based on a country called Lafayette Country and set in a fictional country of Yoknapatawapha. William Faulkner is among the most celebrated writers in American literature, mainly Southern American literature. Falkner started publishing his work in He was named after his paternal grandfather William Clark Falkner who was an intelligent and adventurous man who was shot dead seven years before the birth of William Faulkner.
The grandfather of Faulkner spent his life as a financier, soldier, businessman, farmer, politician, lawyer, and best-selling author. He had written The White Rose of Memphis. They both were voracious readers, painters, and photographers. Both of them have thought of Faulkner the beauty of color and line.
The caretaker of Faulkner was a black woman named Caroline Barr. She also influenced him greatly in his life. In his documents, Faulkner has pointed out to Barr as motivation and spurred in him a fascination with politics of race and sexuality. Faulkner started drawing from his teenage years. He also enjoyed writing and reading poetry.
He started imitating the Scottish romantics by the age of He was highly intelligent; however, he did not take an interest in school and did not earn any high school diploma.
Faulkner worked as a clerk and carpenter in the bank of his grandfather. Faulkner was greatly impressed by Estelle Oldham. After her engagement, Faulkner turned to a new mentor Phil Stone. Phil Stone was greatly impressed by his poetry. On the invitation of Stone, Faulkner shifted to New Heaven, in Connecticut and started living with him. Stone nurtured his passion for writing. He was trained as a pilot for the Royal Canadian Air Force.
In , Faulkner attended the University of Mississippi. He started writing for the Mississippian, a student newspaper. In this newspaper, he submitted his first published poem and short fiction. He dropped out after the three semesters.
He then worked as an assistant to a bookseller in New York City. He also worked as a postmaster for university. Afterward, Faulkner shifted to New Orleans, where he published numerous essays for the magazine named The Double Dealer.
Light In August. Use a prose style that will reflect the philosophical groundings of the novel. After all, there must be some things for which God cannot be accused by man and held responsible. There must be.
Novels about Time — such as Absalom! The novel, then will distort time to show how memory, trauma and generational linkages remain important in post-Civil War America. In the above example from Light in August , the narrator affirms the good and the evil found in everybody, and stresses that there must be some free will the guides either position.
Use a vernacular that forces the reader to speak as the character does. However, this forces the reader to speak as the character does, as it is more efficient than retrospectively looking back at what they may be saying. Much of his prose forces us to embody the characters in focus. I did however expertise some technical issues using this web site, as I experienced to reload the web site lots of times previous to I could get it to load correctly. I had been wondering if your hosting is OK?
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Outstanding Blog! I will definitely digg it and personally suggest to my friends. One of the most effective ways Faulkner establishes depth of character and scene is by using long lists of descriptions. Oftentimes, a description of an object will be followed by a description of a character: In this way, the object and character, because they have been similarly described, take on the appearance of each other.
For example, at the beginning of "A Rose for Emily," Faulkner describes the Grierson house: "It was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street.
Both are now dead — she literally, the house figuratively — but even in their deaths they are described as physically similar: The house is "filled with dust and shadows," and she dies with "her gray head propped on a pillow yellow and moldy with age and lack of sunlight. Another example of Faulkner's using extended descriptions is in "That Evening Sun," in which the first two paragraphs describe the town of Jefferson in the present and in the past.
The first paragraph, one long sentence, portrays the town's present condition: The streets are paved, there is electricity, and black women still wash white people's laundry, but now they transport themselves and the laundry in automobiles.
The second paragraph, like the first, is one complete sentence, but it portrays Jefferson's past: The shade trees, which in the present have been cut down to make room for electrical poles, still stand, and the black women who wash for white people carry the laundry in bundles on their heads, not in automobiles. By juxtaposing these two paragraphs, with their lengthy descriptions of Jefferson, Faulkner establishes one of the major themes found throughout all of his short stories, the difference between the present and the past, and how that difference affects people in dissimilar ways.
We are reminded of section V in "A Rose for Emily," in which that section's second paragraph, composed of a short sentence and then a very lengthy one, describes how old-timers, "confusing time with its mathematical progression," psychologically still live in the past even though a "narrow bottle-neck of the most recent decade of years" separates them from it. Because many of the short stories juxtapose past conditions with the present and include jumping between different times, Faulkner needed a narrative technique that would seamlessly tie one scene to another.
His solution was to make an object or action in one scene trigger another scene in which that same object or action was present.
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