Daniel Hoffman's bold new readings reveal unsuspected dimensions in
Faulkner's The Unvanquished, The Hamlet, and Go Down, Moses. He
shows how these works, often regarded as disunified collections of
short stories and novellas, are coherent and successful experiments
in novelistic form. These last three novels of Faulkner's great
period are striated with folklore and structured with myths. They
teem with folk motifs of comic exaggeration, deception,
horse-trading, tall-tale humor. Hitherto, critics unversed in
folklore have been able to treat these aspects only in
generalities. Here, drawing on fieldwork from the Mississippi
Writers Project in the 1930s, the author of Poe Poe Poe Poe Poe Poe
Poe and the influential Form and Fable in America Fiction
demonstrates in detail Faulkner's ironical, subversive, and
transformative appropriations of folklore plots, characters,
comedy, language, and the style of oral tale-telling, setting these
in the full complexity of the works they animate. Hoffman, shows,
too how in imagining his dynastic novels, Faulkner interprets myth
as history, history as myth. He challenges recent deconstructive,
post-Marxist and structuralist readings of ""The Bear,"" and
demonstrates the necessity on the reader's part for an historical
imagination to complement Faulkner's own. Written with verve,
Faulkner's Country Matters enriches our reading of Faulkner by
presenting his work in its necessary settings of southern history
and culture. Faulkner's modernism is restated as a continuance of
the great American fiction tradition of Hawthorne, Melville, and
Mark Twain.
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