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Author: Theresa M. Towner
Publisher: Univ. Press of Mississippi
ISBN: 1617030961
Category : Literary Criticism
Languages : en
Pages : 192
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Book Description
This study argues that Faulkner's writings about racial matters interrogated rather than validated his racial beliefs and that, in the process of questioning his own ideology, his fictional forms extended his reach as an artist. After winning the Nobel Prize in 1950, Faulkner wrote what critics term “his later novels.” These have been almost uniformly dismissed, with the prevailing view being that as he became a more public figure, his fiction became a platform rather than a canvas. Within this context Faulkner on the Color Line redeems the novels in the final phase of his career by interpreting them as Faulkner's way of addressing the problem of race in America. They are seen as a series of formal experiments Faulkner deliberately attempted as he examined the various cultural functions of narrative, most particularly those narratives that enforce American racial ideology. The first chapters look at the ways in which the ability to assert oneself verbally informs matters of individual and cultural identity in both the widely studied works of Faulkner's major phase and those in his later career. Later chapters focus on the last works, providing detailed readings of Intruder in the Dust, Requiem for a Nun, the Snopes trilogy, A Fable, and The Reivers. The book examines Faulkner as he confronted the vexing questions of race in these novels and assesses the identity of Faulkner as the Nobel Prize winner who claimed on many occasions that he was “tired,” maybe “written out.” In his decision not to speak in the identity of the Black people represented in his fiction, in his decision to write instead about the complexities of all racial constructions, he produced a host of characters suffering within the rigid protocols on race that had been enforced in America for centuries. As a private, white individual, he could never be other than what he was. Rather than attempt to reconcile Faulkner the public man with the private one, however, this study concludes that through his fiction Faulkner the artist questioned himself and came to understand others across the color line.
Author: Theresa M. Towner
Publisher: Univ. Press of Mississippi
ISBN: 1617030961
Category : Literary Criticism
Languages : en
Pages : 192
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Book Description
This study argues that Faulkner's writings about racial matters interrogated rather than validated his racial beliefs and that, in the process of questioning his own ideology, his fictional forms extended his reach as an artist. After winning the Nobel Prize in 1950, Faulkner wrote what critics term “his later novels.” These have been almost uniformly dismissed, with the prevailing view being that as he became a more public figure, his fiction became a platform rather than a canvas. Within this context Faulkner on the Color Line redeems the novels in the final phase of his career by interpreting them as Faulkner's way of addressing the problem of race in America. They are seen as a series of formal experiments Faulkner deliberately attempted as he examined the various cultural functions of narrative, most particularly those narratives that enforce American racial ideology. The first chapters look at the ways in which the ability to assert oneself verbally informs matters of individual and cultural identity in both the widely studied works of Faulkner's major phase and those in his later career. Later chapters focus on the last works, providing detailed readings of Intruder in the Dust, Requiem for a Nun, the Snopes trilogy, A Fable, and The Reivers. The book examines Faulkner as he confronted the vexing questions of race in these novels and assesses the identity of Faulkner as the Nobel Prize winner who claimed on many occasions that he was “tired,” maybe “written out.” In his decision not to speak in the identity of the Black people represented in his fiction, in his decision to write instead about the complexities of all racial constructions, he produced a host of characters suffering within the rigid protocols on race that had been enforced in America for centuries. As a private, white individual, he could never be other than what he was. Rather than attempt to reconcile Faulkner the public man with the private one, however, this study concludes that through his fiction Faulkner the artist questioned himself and came to understand others across the color line.
Author: Erich Nunn
Publisher: University of Georgia Press
ISBN: 082034737X
Category : History
Languages : en
Pages : 229
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Book Description
Sounding the Color Line explores how competing understandings of the U.S. South in the first decades of the twentieth century have led us to experience musical forms, sounds, and genres in racialized contexts. Yet, though we may speak of white or black music, rock or rap, sounds constantly leak through such barriers. A critical disjuncture exists, then, between actual interracial musical and cultural forms on the one hand and racialized structures of feeling on the other. This is nowhere more apparent than in the South. Like Jim Crow segregation, the separation of musical forms along racial lines has required enormous energy to maintain. How, asks Nunn, did the protocols structuring listeners' racial associations arise? How have they evolved and been maintained in the face of repeated transgressions of the musical color line? Considering the South as the imagined ground where conflicts of racial and national identities are staged, this book looks at developing ideas concerning folk song and racial and cultural nationalism alongside the competing and sometimes contradictory workings of an emerging culture industry. Drawing on a diverse archive of musical recordings, critical artifacts, and literary texts, Nunn reveals how the musical color line has not only been established and maintained but also repeatedly crossed, fractured, and reformed. This push and pull--between segregationist cultural logics and music's disrespect of racially defined boundaries--is an animating force in twentieth-century American popular culture.
Author: Gregory Howard Williams
Publisher: Penguin
ISBN: 1440673330
Category : Social Science
Languages : en
Pages : 314
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Book Description
“Heartbreaking and uplifting… a searing book about race and prejudice in America… brims with insights that only someone who has lived on both sides of the racial divide could gain.”—Cleveland Plain Dealer “A triumph of storytelling as well as a triumph of spirit.”—Alex Kotlowitz, award-winning author of There Are No Children Here As a child in 1950s segregated Virginia, Gregory Howard Williams grew up believing he was white. But when the family business failed and his parents’ marriage fell apart, Williams discovered that his dark-skinned father, who had been passing as Italian-American, was half black. The family split up, and Greg, his younger brother, and their father moved to Muncie, Indiana, where the young boys learned the truth about their heritage. Overnight, Greg Williams became black. In this extraordinary and powerful memoir, Williams recounts his remarkable journey along the color line and illuminates the contrasts between the black and white worlds: one of privilege, opportunity and comfort, the other of deprivation, repression, and struggle. He tells of the hostility and prejudice he encountered all too often, from both blacks and whites, and the surprising moments of encouragement and acceptance he found from each. Life on the Color Line is a uniquely important book. It is a wonderfully inspiring testament of purpose, perseverance, and human triumph. Winner of the Los Angeles Times Book Prize
Author: Gretchen Martin
Publisher: Univ. Press of Mississippi
ISBN: 1496804163
Category : Literary Criticism
Languages : en
Pages : 257
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Book Description
The extensive influence of the creative traditions derived from slave culture, particularly black folklore, in the work of nineteenth- and twentieth-century black authors, such as Ralph Ellison and Toni Morrison, has become a hallmark of African American scholarship. Yet similar inquiries regarding white authors adopting black aesthetic techniques have been largely overlooked. Gretchen Martin examines representative nineteenth-century works to explore the influence of black-authored (or narrated) works on well-known white-authored texts, particularly the impact of black oral culture evident by subversive trickster figures in John Pendleton Kennedy's Swallow Barn, Harriet Beecher Stowe's Uncle Tom's Cabin, Herman Melville's Benito Cereno, Joel Chandler Harris's short stories, as well as Mark Twain's Adventures of Huckleberry Finn and Pudd'nhead Wilson. As Martin indicates, such white authors show themselves to be savvy observers of the many trickster traditions and indeed a wide range of texts suggest stylistic and aesthetic influences representative of the artistry, subversive wisdom, and subtle humor in these black figures of ridicule, resistance, and repudiation. The black characters created by these white authors are often dismissed as little more than limited, demeaning stereotypes of the minstrel tradition, yet by teasing out important distinctions between the wisdom and humor signified by trickery rather than minstrelsy, Martin probes an overlooked aspect of the nineteenth-century American literary canon and reveals the extensive influence of black aesthetics on some of the most highly regarded work by white American authors.
Author: Michael Gorra
Publisher: Liveright Publishing
ISBN: 1631491717
Category : Literary Criticism
Languages : en
Pages : 418
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Book Description
A New York Times Notable Book of 2020 How do we read William Faulkner in the twenty-first century? asks Michael Gorra, in this reconsideration of Faulkner's life and legacy. William Faulkner, one of America’s most iconic writers, is an author who defies easy interpretation. Born in 1897 in Mississippi, Faulkner wrote such classic novels as Absolom, Absolom! and The Sound and The Fury, creating in Yoknapatawpha county one of the most memorable gallery of characters ever assembled in American literature. Yet, as acclaimed literary critic Michael Gorra explains, Faulkner has sustained justified criticism for his failures of racial nuance—his ventriloquism of black characters and his rendering of race relations in a largely unreconstructed South—demanding that we reevaluate the Nobel laureate’s life and legacy in the twenty-first century, as we reexamine the junctures of race and literature in works that once rested firmly in the American canon. Interweaving biography, literary criticism, and rich travelogue, The Saddest Words argues that even despite these contradictions—and perhaps because of them—William Faulkner still needs to be read, and even more, remains central to understanding the contradictions inherent in the American experience itself. Evoking Faulkner’s biography and his literary characters, Gorra illuminates what Faulkner maintained was “the South’s curse and its separate destiny,” a class and racial system built on slavery that was devastated during the Civil War and was reimagined thereafter through the South’s revanchism. Driven by currents of violence, a “Lost Cause” romanticism not only defined Faulkner’s twentieth century but now even our own age. Through Gorra’s critical lens, Faulkner’s mythic Yoknapatawpha County comes alive as his imagined land finds itself entwined in America’s history, the characters wrestling with the ghosts of a past that refuses to stay buried, stuck in an unending cycle between those two saddest words, “was” and “again.” Upending previous critical traditions, The Saddest Words returns Faulkner to his sociopolitical context, revealing the civil war within him and proving that “the real war lies not only in the physical combat, but also in the war after the war, the war over its memory and meaning.” Filled with vignettes of Civil War battles and generals, vivid scenes from Gorra’s travels through the South—including Faulkner’s Oxford, Mississippi—and commentaries on Faulkner’s fiction, The Saddest Words is a mesmerizing work of literary thought that recontextualizes Faulkner in light of the most plangent cultural issues facing America today.
Author: Barbara Ladd
Publisher: LSU Press
ISBN: 9780807130490
Category : Social Science
Languages : en
Pages : 228
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Book Description
Nationalism and the Color Line in George W. Cable, Mark Twain, and William Faulkner is a strikingly original study of works by three postbellum novelists with strong ties to the Deep South and Mississippi Valley. In it, Barbara Ladd argues that writers like Cable, Twain, and Faulkner cannot be read exclusively within the context of a nationalistically defined "American" literature, but must also be understood in light of the cultural legacy that French and Spanish colonialism bestowed on the Deep South and the Mississippi River Valley, specifically with respect to the very different ways these colonialist cultures conceptualized race, color, and nationality.Ladd probes the work of these writers for discontinuities, for moments of narrative incoherence, from which she charts the ideological winds that blew through the United States in the nineteenth and early twentieth centuries. In Cable's The Grandissimes, written at the beginning of the Redemption era, the discontinuities are strategic whispers to the reader about the reality of racial division and violence that lay beneath the white reconciliation romance. Twain's Pudd'nhead Wilson and Those Extraordinary Twins also inscribes racial discord, although with the added dimension of experimentation with form. And in Absalom, Absalom! and Light in August, narrative incoherence becomes central as Faulkner explores the impact of radical racism on the ways that whiteness was constructed in the early twentieth century. Neither "race" nor "nation," Ladd shows, is stable in the work of these writers, but is always contested and shifting.Ladd's book raises provocative questions about the relationships between race, region, and nationalism in literary study. With its innovative approach and rich New Historicist method, it is an important contribution to scholarship in several fields.
Author:
Publisher: Univ. Press of Mississippi
ISBN: 9781604737240
Category : Literary Criticism
Languages : en
Pages : 528
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Book Description
For readers and critics, a guide to the Nobel Laureate's short stories
Author: Theresa M. Towner
Publisher: Univ. Press of Mississippi
ISBN:
Category : Mississippi
Languages : en
Pages : 528
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Book Description
For readers and critics, a guide to the Nobel Laureate's short stories
Author: Marc K. Dudley
Publisher:
ISBN: 9781606350928
Category : Race in literature
Languages : en
Pages : 0
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Book Description
William Faulkner has long been considered the great racial interrogator of the early twentieth-century South. In "Hemingway, Race, and Art", author Marc Kevin Dudley suggests that Ernest Hemingway not only shared Faulkner's racial concerns but extended them beyond the South to encompass the entire nation. Though Hemingway wrote extensively about Native Americans and African Americans, always in the back of his mind was Africa. Dudley sees Hemingway's fascination with, and eventual push toward, the African continent as a grand experiment meant to both placate and comfort the white psyche, and to challenge and unsettle it, too. Dudley demonstrates how Hemingway's interest in race was closely aligned to a national anxiety over a changing racial topography. Affected by his American pedigree, his masculinity, and his whiteness, Hemingway's treatment of race is characteristically complex, at once both a perpetuation of type and a questioning of white self-identity. "Hemingway, Race, and Art" expands our understanding of Hemingway and his work and shows how race consciousness pervades the text of one of America's most important and influential writers. -- From publisher's description.
Author: Joseph R. Urgo
Publisher: Univ. Press of Mississippi
ISBN: 9781578066797
Category : Literary Collections
Languages : en
Pages : 236
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Book Description
A study of Faulkner's place among his peers
