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With contributions by Greg Barnhisel, John N. Duvall, Kristin
Fujie, Sarah E. Gardner, Jaime Harker, Kristi Rowan Humphreys,
Robert Jackson, Mary A. Knighton, Jennifer Nolan, Carl Rollyson,
Tim A. Ryan, Jay Satterfield, Erin A. Smith, Jay Watson, and
Yung-Hsing Wu.William Faulkner's first ventures into print culture
began far from the world of highbrow New York publishing houses
such as Boni & Liveright or Random House and little magazines
such as the Double Dealer. With that diverse publishing history in
mind, this collection explores Faulkner's multifaceted engagements,
as writer and reader, with the US and international print cultures
of his era, along with how these cultures have mediated his
relationship with various twentieth- and twenty-first-century
Audiences. These essays address the place of Faulkner and his
writings in the creation, design, publishing, marketing, reception,
and collecting of books, in the culture of twentieth-century
magazines, journals, newspapers, and other periodicals (from pulp
to avant-garde), in the history of modern readers and readerships,
and in the construction and cultural politics of literary
authorship. Several Contributors focus on Faulkner's sensational
1931 novel Sanctuary to illustrate the author's multifaceted
relationship to the print ecology of his time, tracing the novel's
path from the wellsprings of Faulkner's artistic vision to the
novel's reception among reviewers, tastemakers, intellectuals, and
other readers of the early 1930s. Other essayists discuss
Faulkner's early notices, the Saturday Review of Literature,
Saturday Evening Post, men's magazines of the 1950s, and Cold War
modernism.
Contributions by W. Fitzhugh Brundage, Jordan Burke, Rebecca
Bennett Clark, James C. Cobb, Anna Creadick, Colin Dayan, Wai Chee
Dimock, Sarah E. Gardner, Hannah Godwin, Brooks E. Hefner, Andrew
B. Leiter, Sean McCann, Conor Picken, Natalie J. Ring, Calvin
Schermerhorn, and Jay Watson. William Faulkner remains a
historian's writer. A distinguished roster of historians have
referenced Faulkner in their published work. They are drawn to him
as a fellow historian, a shaper of narrative reflections on the
meaning of the past; as a historiographer, a theorist, and
dramatist of the fraught enterprise of doing history; and as a
historical figure himself, especially following his mid-century
emergence as a public intellectual after winning the Nobel Prize
for Literature. This volume brings together historians and literary
scholars to explore the many facets of Faulkner's relationship to
history: the historical contexts of his novels and stories; his
explorations of the historiographic imagination; his engagement
with historical figures from both the regional and national past;
his influence on professional historians; his pursuit of alternate
modes of temporal awareness; and the histories of print culture
that shaped the production, reception, and criticism of Faulkner's
work. Contributors draw on the history of development in the
Mississippi Valley, the construction of Confederate memory, the
history and curriculum of Harvard University, twentieth-century
debates over police brutality and temperance reform, the history of
modern childhood, and the literary histories of anti-slavery
writing and pulp fiction to illuminate Faulkner's work. Others in
the collection explore the meaning of Faulkner's fiction for such
professional historians as C. Vann Woodward and Albert Bushnell
Hart. In these ways and more, Faulkner and History offers fresh
insights into one of the most persistent and long-recognized
elements of the Mississippian's artistic vision.
Contributions by Josephine Adams, Jeff Allred, Garry Bertholf,
Maxwell Cassity, John N. Duvall, Katherine Henninger, Maude Hines,
Robert Jackson, Julie Beth Napolin, Rebecca Nisetich, George Porter
Thomas, Jay Watson, and Yuko Yamamoto If it seems outrageous to
suggest that one of the twentieth century’s most important
literary cartographers of the private recesses of consciousness is
also among its great novelists of family, William Faulkner
nonetheless fits the bill on both counts. Family played an outsized
role in both his life and his writings, often in deeply problematic
ways, surfacing across his oeuvre in a dazzling range of distorted,
defamiliarized, and transgressive forms, while on other occasions
serving as a crucible for crushing forces of conformity,
convention, and tradition. The dozen essays featured in this
collection approach Faulkner’s many families—actual and
imagined—as especially revealing windows to his work and his
world. In Faulkner's Families, contributors explore the role of the
child in Faulkner’s vision of family and regional society;
sibling relations throughout the author's body of work; the
extension of family networks beyond blood lineage and across racial
lines; the undutiful daughters of Yoknapatawpha County; the
critical power of family estrangement and subversive genealogies in
Faulkner’s imagination; forms of queer and interspecies kinship;
the epidemiological imagination of Faulkner’s notorious Snopes
family as social contagion; the experiences of the African American
families who worked on the writer’s Greenfield Farm property; and
Faulkner’s role in promoting a Cold War–era ideology of "the
family of man" in post–World War II Japan.
Contributions by Tim Armstrong, Edward A. Chappell, W. Ralph
Eubanks, Amy A. Foley, Michael Gorra, Sherita L. Johnson, Andrew B.
Leiter, John T. Matthews, Julie Beth Napolin, Erin Penner,
Stephanie Rountree, Julia Stern, Jay Watson, and Randall Wilhelm In
1930, the same year he moved into Rowan Oak, a slave-built former
plantation home in his hometown of Oxford, Mississippi, William
Faulkner published his first work of fiction that gave serious
attention to the experience and perspective of an enslaved
individual. For the next two decades, Faulkner repeatedly returned
to the theme of slavery and to the figures of enslaved people in
his fiction, probing the racial, economic, and political contours
of his region, nation, and hemisphere in work such as The Sound and
the Fury; Light in August; Absalom, Absalom!; and Go Down, Moses.
Faulkner and Slavery is the first collection to address the myriad
legacies of African chattel slavery in the writings and personal
history of one of the twentieth century’s most incisive authors
on US slavery and the long ordeal of race in the Americas.
Contributors to the volume examine the constitutive links among
slavery, capitalism, and modernity across Faulkner’s oeuvre. They
study how the history of slavery at the University of Mississippi
informs writings like Absalom, Absalom! and trace how slavery’s
topologies of the rectilinear grid or square run up against the
more reparative geography of the oval in Faulkner’s narratives.
Contributors explore how the legacies of slavery literally sound
and resound across centuries of history, and across multiple novels
and stories in Faulkner’s fictional county of Yoknapatawpha, and
they reveal how the author’s remodeling work on his own residence
brought him into an uncomfortable engagement with the spatial and
architectural legacies of chattel slavery in north Mississippi.
Faulkner and Slavery offers a timely intervention not only in the
critical study of the writer’s work but in ongoing national and
global conversations about the afterlives of slavery and the
necessary work of antiracism.
Contributions by Ted Atkinson, Gloria J. Burgess, David A. Davis,
Sarah E. Gardner, Richard Godden, Ryan Heryford, Robert Jackson,
Gavin Jones, Mary A. Knighton, Peter Lurie, John T. Matthews, Myka
Tucker-Abramson, Michael Wainwright, Jay Watson, and Michael
Zeitlin The matter of money touches a writer's life at every
point-in the need to make ends meet; in dealings with agents,
editors, publishers, and bookstores; and in the choice of subject
matter and the minutiae of imagined worlds. William Faulkner's
Yoknapatawpha was no exception. The people and communities he wrote
about stayed deeply entangled in personal, national, and even
global networks of industry, commerce, and finance, as did the
author himself. Faulkner's economic biography often followed, but
occasionally bucked, the tumultuous economic trends of the
twentieth century. The Faulkner met within these pages is among
modern literature's most incisive and encyclopedic critics of what
one contemporary theorist calls the madness of economic reason.
Faulkner and Money brings together a distinguished group of
scholars to explore the economic contexts of Faulkner's life and
work, to follow the proverbial money toward new insights into the
Nobel Laureate and new questions about his art. Essays in this
collection address economies of debt and gift giving in Intruder in
the Dust; the legacies of commodity fetishism in Sanctuary and of
twentieth-century capitalism's financial turn in The Town; the
pegging of self-esteem to financial acumen in the career of The
Sound and the Fury's Jason Compson; the representational challenges
posed by poverty and failure in Faulkner's Frenchman's Bend tales;
the economics of regional readership and the Depression-era
literary market; the aesthetic, monetary, and psychological rewards
of writing for Hollywood; and the author's role as benefactor to an
aspiring African American college student in the 1950s.
Contributions by Tim Armstrong, Edward A. Chappell, W. Ralph
Eubanks, Amy A. Foley, Michael Gorra, Sherita L. Johnson, Andrew B.
Leiter, John T. Matthews, Julie Beth Napolin, Erin Penner,
Stephanie Rountree, Julia Stern, Jay Watson, and Randall Wilhelm In
1930, the same year he moved into Rowan Oak, a slave-built former
plantation home in his hometown of Oxford, Mississippi, William
Faulkner published his first work of fiction that gave serious
attention to the experience and perspective of an enslaved
individual. For the next two decades, Faulkner repeatedly returned
to the theme of slavery and to the figures of enslaved people in
his fiction, probing the racial, economic, and political contours
of his region, nation, and hemisphere in work such as The Sound and
the Fury; Light in August; Absalom, Absalom!; and Go Down, Moses.
Faulkner and Slavery is the first collection to address the myriad
legacies of African chattel slavery in the writings and personal
history of one of the twentieth century's most incisive authors on
US slavery and the long ordeal of race in the Americas.
Contributors to the volume examine the constitutive links among
slavery, capitalism, and modernity across Faulkner's oeuvre. They
study how the history of slavery at the University of Mississippi
informs writings like Absalom, Absalom! and trace how slavery's
topologies of the rectilinear grid or square run up against the
more reparative geography of the oval in Faulkner's narratives.
Contributors explore how the legacies of slavery literally sound
and resound across centuries of history, and across multiple novels
and stories in Faulkner's fictional county of Yoknapatawpha, and
they reveal how the author's remodeling work on his own residence
brought him into an uncomfortable engagement with the spatial and
architectural legacies of chattel slavery in north Mississippi.
Faulkner and Slavery offers a timely intervention not only in the
critical study of the writer's work but in ongoing national and
global conversations about the afterlives of slavery and the
necessary work of antiracism.
Contributions by Ryan L. Fletcher, Darren E. Grem, Paul Harvey,
Alicia Jackson, Ted Ownby, Otis W. Pickett, Arthur Remillard, Chad
Seales, and Randall J. StephensOver more than three decades of
teaching at the University of Mississippi, Charles Reagan Wilson's
research and writing transformed southern studies in key ways. This
volume pays tribute to and extends Wilson's seminal work on
southern religion and culture. Using certain episodes and moments
in southern religious history, the essays examine the place and
power of religion in southern communities and society. It emulates
Wilson's model, featuring both majority and minority voices from
archives and applying a variety of methods to explain the South's
religious diversity and how religion mattered in many arenas of
private and public life, often with life-or-death stakes. The
volume first concentrates on churches and ministers, and then
considers religious and cultural constructions outside formal
religious bodies and institutions. It examines the faiths expressed
via the region's fields, streets, homes, public squares,
recreational venues, roadsides, and stages. In doing so, this book
shows that Wilson's groundbreaking work on religion is an essential
part of southern studies and crucial for fostering deeper
understanding of the South's complicated history and culture.
At the turn of the millennium, the Martinican novelist Edouard
Glissant offered the bold prediction that ""Faulkner's oeuvre will
be made complete when it is revisited and made vital by African
Americans,"" a goal that ""will be achieved by a radically 'other'
reading."" In the spirit of Glissant's prediction, this collection
places William Faulkner's literary oeuvre in dialogue with a
hemispheric canon of black writing from the United States and the
Caribbean. The volume's seventeen essays and poetry selections
chart lines of engagement, dialogue, and reciprocal resonance
between Faulkner and his black precursors, contemporaries, and
successors in the Americas. Contributors place Faulkner's work in
illuminating conversation with writings by Paul Laurence Dunbar, W.
E. B. Du Bois, James Weldon Johnson, Jean Toomer, Nella Larsen,
Claude McKay, Ralph Ellison, James Baldwin, Ernest J. Gaines, Marie
Vieux-Chauvet, Toni Morrison, Edwidge Danticat, Randall Kenan,
Edward P. Jones, and Natasha Trethewey, along with the musical
artistry of Mississippi bluesman Charley Patton. In addition, five
contemporary African American poets offer their own creative
responses to Faulkner's writings, characters, verbal art, and
historical example. In these ways, the volume develops a
comparative approach to the Faulkner oeuvre that goes beyond the
compelling but limiting question of influence--who read whom, whose
works draw from whose--to explore the confluences between Faulkner
and black writing in the hemisphere.
Contributions by Ryan L. Fletcher, Darren E. Grem, Paul Harvey,
Alicia Jackson, Ted Ownby, Otis W. Pickett, Arthur Remillard, Chad
Seales, and Randall J. Stephens Over more than three decades of
teaching at the University of Mississippi, Charles Reagan Wilson's
research and writing transformed southern studies in key ways. This
volume pays tribute to and extends Wilson's seminal work on
southern religion and culture. Using certain episodes and moments
in southern religious history, the essays examine the place and
power of religion in southern communities and society. It emulates
Wilson's model, featuring both majority and minority voices from
archives and applying a variety of methods to explain the South's
religious diversity and how religion mattered in many arenas of
private and public life, often with life-or-death stakes. The
volume first concentrates on churches and ministers, and then
considers religious and cultural constructions outside formal
religious bodies and institutions. It examines the faiths expressed
via the region's fields, streets, homes, public squares,
recreational venues, roadsides, and stages. In doing so, this book
shows that Wilson's groundbreaking work on religion is an essential
part of southern studies and crucial for fostering deeper
understanding of the South's complicated history and culture.
William Faulkner remains a historian's writer. A distinguished
roster of historians have referenced Faulkner in their published
work. They are drawn to him as a fellow historian, a shaper of
narrative reflections on the meaning of the past; as a
historiographer, a theorist, and dramatist of the fraught
enterprise of doing history; and as a historical figure himself,
especially following his mid-century emergence as a public
intellectual after winning the Nobel Prize for Literature. This
volume brings together historians and literary scholars to explore
the many facets of Faulkner's relationship to history: the
historical contexts of his novels and stories; his explorations of
the historiographic imagination; his engagement with historical
figures from both the regional and national past; his influence on
professional historians; his pursuit of alternate modes of temporal
awareness; and the histories of print culture that shaped the
production, reception, and criticism of Faulkner's work.
Contributors draw on the history of development in the Mississippi
Valley, the construction of Confederate memory, the history and
curriculum of Harvard University, twentieth-century debates over
police brutality and temperance reform, the history of modern
childhood, and the literary histories of anti-slavery writing and
pulp fiction to illuminate Faulkner's work. Others in the
collection explore the meaning of Faulkner's fiction for such
professional historians as C. Vann Woodward and Albert Bushnell
Hart. In these ways and more, Faulkner and History offers fresh
insights into one of the most persistent and long-recognized
elements of the Mississippian's artistic vision.
At the turn of the millennium, the Martinican novelist Edouard
Glissant offered the bold prediction that ""Faulkner's oeuvre will
be made complete when it is revisited and made vital by African
Americans,"" a goal that ""will be achieved by a radically 'other'
reading."" In the spirit of Glissant's prediction, this collection
places William Faulkner's literary oeuvre in dialogue with a
hemispheric canon of black writing from the United States and the
Caribbean. The volume's seventeen essays and poetry selections
chart lines of engagement, dialogue, and reciprocal resonance
between Faulkner and his black precursors, contemporaries, and
successors in the Americas. Contributors place Faulkner's work in
illuminating conversation with writings by Paul Laurence Dunbar, W.
E. B. Du Bois, James Weldon Johnson, Jean Toomer, Nella Larsen,
Claude McKay, Ralph Ellison, James Baldwin, Ernest J. Gaines, Marie
Vieux-Chauvet, Toni Morrison, Edwidge Danticat, Randall Kenan,
Edward P. Jones, and Natasha Trethewey, along with the musical
artistry of Mississippi bluesman Charley Patton. In addition, five
contemporary African American poets offer their own creative
responses to Faulkner's writings, characters, verbal art, and
historical example. In these ways, the volume develops a
comparative approach to the Faulkner oeuvre that goes beyond the
compelling but limiting question of influence - who read whom,
whose works draw from whose - to explore the confluences between
Faulkner and black writing in the hemisphere.
Contributions by Josephine Adams, Jeff Allred, Garry Bertholf,
Maxwell Cassity, John N. Duvall, Katherine Henninger, Maude Hines,
Robert Jackson, Julie Beth Napolin, Rebecca Nisetich, George Porter
Thomas, Jay Watson, and Yuko Yamamoto If it seems outrageous to
suggest that one of the twentieth century’s most important
literary cartographers of the private recesses of consciousness is
also among its great novelists of family, William Faulkner
nonetheless fits the bill on both counts. Family played an outsized
role in both his life and his writings, often in deeply problematic
ways, surfacing across his oeuvre in a dazzling range of distorted,
defamiliarized, and transgressive forms, while on other occasions
serving as a crucible for crushing forces of conformity,
convention, and tradition. The dozen essays featured in this
collection approach Faulkner’s many families—actual and
imagined—as especially revealing windows to his work and his
world. In Faulkner's Families, contributors explore the role of the
child in Faulkner’s vision of family and regional society;
sibling relations throughout the author's body of work; the
extension of family networks beyond blood lineage and across racial
lines; the undutiful daughters of Yoknapatawpha County; the
critical power of family estrangement and subversive genealogies in
Faulkner’s imagination; forms of queer and interspecies kinship;
the epidemiological imagination of Faulkner’s notorious Snopes
family as social contagion; the experiences of the African American
families who worked on the writer’s Greenfield Farm property; and
Faulkner’s role in promoting a Cold War–era ideology of "the
family of man" in post–World War II Japan.
From new insights into the Chickasaw sources and far-reaching
implications of Faulkner's fictional place-name "Yoknapatawpha," to
discussions that reveal the potential for indigenous land-,
family-, and story-based methodologies to deepen understanding of
Faulkner's fiction (including but not limited to the novels and
stories he devoted explicitly to Native American topics), the
eleven essays of this volume advance the critical analysis of
Faulkner's Native South and the Native South's Faulkner. Critics
push beyond assessments of the historical accuracy of his Native
representations and the colonial hybridity of his Indian
characters. Essayists turn instead to indigenous intellectual
culture for new models, problems, and questions to bring to
Faulkner studies. Along the way, readers are treated to
illuminating comparisons between Faulkner's writings and the work
of a number of Native American authors, filmmakers, tribal leaders,
and historical figures. Faulkner and the Native South brings
together Native and non-Native scholars in a stimulating and often
surprising critical dialogue about the indigenous wellsprings of
Faulkner's creative energies and about Faulkner's own complicated
presence in Native American literary history. Contributions by Eric
Gary Anderson, Melanie R. Anderson, Jodi A. Byrd, Gina Caison,
Robbie Ethridge, Patricia Galloway, LeAnne Howe, John Wharton Lowe,
Katherine M. B. Osburn, Melanie Benson Taylor, Annette Trefzer, and
Jay Watson.
Contributions by Eric Gary Anderson, Melanie R. Anderson, Jodi A.
Byrd, Gina Caison, Robbie Ethridge, Patricia Galloway, LeAnne Howe,
John Wharton Lowe, Katherine M. B. Osburn, Melanie Benson Taylor,
Annette Trefzer, and Jay Watson From new insights into the
Chickasaw sources and far-reaching implications of Faulkner's
fictional place-name ""Yoknapatawpha,"" to discussions that reveal
the potential for indigenous land-, family-, and story-based
methodologies to deepen understanding of Faulkner's fiction
(including but not limited to the novels and stories he devoted
explicitly to Native American topics), the eleven essays of this
volume advance the critical analysis of Faulkner's Native South and
the Native South's Faulkner. Critics push beyond assessments of the
historical accuracy of his Native representations and the colonial
hybridity of his Indian characters. Essayists turn instead to
indigenous intellectual culture for new models, problems, and
questions to bring to Faulkner studies. Along the way, readers are
treated to illuminating comparisons between Faulkner's writings and
the work of a number of Native American authors, filmmakers, tribal
leaders, and historical figures. Faulkner and the Native South
brings together Native and non-Native scholars in a stimulating and
often surprising critical dialogue about the indigenous wellsprings
of Faulkner's creative energies and about Faulkner's own
complicated presence in Native American literary history.
The perfect book for every Mississippian who cares about the state,
this is a mammoth collaboration in which thirty subject editors
suggested topics, over seven hundred scholars wrote entries, and
countless individuals made suggestions. The volume will appeal to
anyone who wants to know more about Mississippi and the people who
call it home. The book will be especially helpful to students,
teachers, and scholars researching, writing about, or otherwise
discovering the state, past and present.The volume contains entries
on every county, every governor, and numerous musicians, writers,
artists, and activists. Each entry provides an authoritative but
accessible introduction to the topic discussed. The Mississippi
Encyclopedia also features long essays on agriculture, archaeology,
the civil rights movement, the Civil War, drama, education, the
environment, ethnicity, fiction, folklife, foodways, geography,
industry and industrial workers, law, medicine, music, myths and
representations, Native Americans, nonfiction, poetry, politics and
government, the press, religion, social and economic history,
sports, and visual art. It includes solid, clear information in a
single volume, offering with clarity and scholarship a breadth of
topics unavailable anywhere else. This book also includes many
surprises readers can only find by browsing.
William Faulkner's first ventures into print culture began far from
the world of highbrow New York publishing houses such as Boni &
Liveright or Random House and little magazines such as the
Double-Dealer. With that diverse publishing history in mind, this
collection explores Faulkner's multifaceted engagements, as writer
and reader, with the United States and international print cultures
of his era, along with how these cultures have mediated his
relationship with various twentieth- and twenty-first-century
audiences. These essays address the place of Faulkner and his
writings in the creation, design, publishing, marketing, reception,
and collecting of books, in the culture of twentieth-century
magazines, journals, newspapers, and other periodicals (from pulp
to avantgarde), in the history of modern readers and readerships,
and in the construction and cultural politics of literary
authorship. Several contributors focus on Faulkner's sensational
1931 novel Sanctuary to illustrate the author's multifaceted
relationship to the print ecology of his time, tracing the novel's
path from the wellsprings of Faulkner's artistic vision to the
novel's reception among reviewers, tastemakers, intellectuals, and
other readers of the early 1930s. Other essayists discuss
Faulkner's early notices, the Saturday Review of Literature,
Saturday Evening Post, men's magazines of the 1950s, and Cold War
modernism. With contributions by: Greg Barnhisel, John N. Duvall,
Kristin Fujie, Sarah E. Gardner, Jaime Harker, Kristi Rowan
Humphreys, Robert Jackson, Mary A. Knighton, Jennifer Nolan, Carl
Rollyson, Tim A. Ryan, Jay Satterfield, Erin A. Smith, and
Yung-Hsing Wu.
Between 1972 and 2001, Barry Hannah (1942-2010) published eight
novels and four collections of short stories. A master of short
fiction, Hannah is considered by many to be one of the most
important writers of modern American literature. His writing is
often praised more for its unflinching use of language, rich
metaphors, and tragically damaged characters than for plot. ""I am
doomed to be a more lengthy fragmentist,"" he once claimed. ""In my
thoughts, I don't ever come on to plot in a straightforward
way.""Conversations with Barry Hannah collects interviews published
between 1980 and 2010. Within them Hannah engages interviewers in
discussions on war and violence, masculinity, religious faith,
abandoned and unfinished writing projects, the modern South and his
time spent away from it, the South's obsession with defeat, the
value of teaching writing, and post-Faulknerian literature. Despite
his rejection of the label ""southern writer,"" Hannah's work has
often been compared to that of fellow Mississippian William
Faulkner, particularly for each author's use of dark humor and the
Southern Gothic tradition in their work. Notwithstanding these
comparisons, Hannah's voice is distinctly and undeniably his own, a
linguistic tour de force.
Contributions by W. Fitzhugh Brundage, Jordan Burke, Rebecca
Bennett Clark, James C. Cobb, Anna Creadick, Colin Dayan, Wai Chee
Dimock, Sarah E. Gardner, Hannah Godwin, Brooks E. Hefner, Andrew
B. Leiter, Sean McCann, Conor Picken, Natalie J. Ring, Calvin
Schermerhorn, and Jay Watson. William Faulkner remains a
historian's writer. A distinguished roster of historians have
referenced Faulkner in their published work. They are drawn to him
as a fellow historian, a shaper of narrative reflections on the
meaning of the past; as a historiographer, a theorist, and
dramatist of the fraught enterprise of doing history; and as a
historical figure himself, especially following his mid-century
emergence as a public intellectual after winning the Nobel Prize
for Literature. This volume brings together historians and literary
scholars to explore the many facets of Faulkner's relationship to
history: the historical contexts of his novels and stories; his
explorations of the historiographic imagination; his engagement
with historical figures from both the regional and national past;
his influence on professional historians; his pursuit of alternate
modes of temporal awareness; and the histories of print culture
that shaped the production, reception, and criticism of Faulkner's
work. Contributors draw on the history of development in the
Mississippi Valley, the construction of Confederate memory, the
history and curriculum of Harvard University, twentieth-century
debates over police brutality and temperance reform, the history of
modern childhood, and the literary histories of anti-slavery
writing and pulp fiction to illuminate Faulkner's work. Others in
the collection explore the meaning of Faulkner's fiction for such
professional historians as C. Vann Woodward and Albert Bushnell
Hart. In these ways and more, Faulkner and History offers fresh
insights into one of the most persistent and long-recognized
elements of the Mississippian's artistic vision.
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