A bold book, built of close readings, striking in its range and
depth, The Signifying Eye shows Faulkner's art take shape in
sweeping arcs of social, labor, and aesthetic history. Beginning
with long-unpublished works (his childhood sketches and his
hand-drawn and hand-illustrated play The Marionettes) and early
novels (Mosquitoes and Sartoris), working through many major works
(The Sound and the Fury, As I Lay Dying, Sanctuary, Light in
August, and Absalom, Absalom!), and including more popular fictions
(The Wild Palms and The Unvanquished) and late novels (notably
Intruder in the Dust and The Town), The Signifying Eye reveals
Faulkner's visual obsessions with artistic creation as his work is
read next to Wharton, Cather, Toomer, and-in a tour de force
intervention-Willem de Kooning. After coloring in southern
literature as a "reverse slave narrative," Waid's Eye locates
Faulkner's fiction as the "feminist hinge" in a crucial parable of
art that seeks abstraction through the burial of the race-defined
mother. Race is seen through gender and sexuality while social fall
is exposed (in Waid's phrase) as a "coloring of class." Locating
"visual language" that constitutes a "pictorial vocabulary," The
Signifying Eye delights in literacy as the oral meets the written
and the abstract opens as a site to see narrative. Steeped in
history, this book locates a heightened reality that goes beyond
representation to bring Faulkner's novels, stories, and drawings
into visible form through Whistler, Beardsley, Gorky, and de
Kooning. Visionary and revisionist, Waid has painted the proverbial
big picture, changing the fundamental way that both the making of
modernism and the avant-garde will be seen.
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