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VINTAGE CLASSICS' AMERICAN GOTHIC SERIES Spine-tingling,
mind-altering and deliciously atmospheric, journey into the dark
side of America with nine of its most uncanny classics. A landmark
in American fiction, Light in August explores Faulkner's central
theme: the nature of evil. Joe Christmas - a man doomed,
deracinated and alone - wanders the Deep South in search of an
identity, and a place in society. After killing his perverted
God-fearing lover, it becomes inevitable that he is pursued by a
lynch-hungry mob. Yet after the sacrifice, there is new life, a
determined ray of light in Faulkner's complex and tragic world.
This Norton Critical Edition includes: The authoritative text of
Absalom, Absalom!, established by Noel Polk in 1986 and accompanied
by Susan Scott Parrish's introduction and explanatory footnotes.
Two maps and five other images. A rich selection of background and
contextual materials carefully arranged to draw readers into the
American South of William Faulkner's imagination. Topics include
"Contemporary Reception," "The Writer and His Work," and
"Historical Contexts." Seventeen critical essays on the novel's
major themes, from classic literary critiques to recent scholarship
on, among other topics, race, gender, and the environment. A
chronology and a selected bibliography.
Faulkner examines the changing relationship of black to white and of man to the land, and weaves a complex work that is rich in understanding of the human condition.
This Norton Critical Edition is based on the 1985 corrected text
and is accompanied by newly updated and expanded explanatory
annotations and an introduction by Michael Gorra. "Backgrounds and
Contexts" is divided into three sections, each of which includes a
concise introduction by Michael Gorra that carefully frames the
issues presented, with particular attention to As I Lay Dying's
place in Faulkner's literary life. "Contemporary Reception"
includes a selection of seven reviews, including those by Julia K.
W. Baker, Henry Nash Smith, and Valery Larbaud. "The Writer and His
Work" examines Faulkner's own claims regarding the composition of
the novel and his changing opinions over time, sample pages from
the manuscript, his Nobel Prize address, and additional writings by
Faulkner on Yoknapatawpha County. "Cultural Context" reprints seven
essays and advertisements-three selections new to the Second
Edition-along with other materials that address questions of
Southern motherhood, Agrarianism, and the Southern grotesque.
"Criticism" begins with the editor's introduction to As I Lay
Dying's critical history and scholarly reception. Eleven critical
essays are included-five new to the Second Edition-by Olga W.
Vickery, Cleanth Brooks, Eric Sundquist, Doreen Fowler, Dorothy J.
Hale, Patrick O'Donnell, John T. Matthews, John Limon, Richard
Godden, Susan Scott Parrish, and Erin E. Edwards. A chronology and
a selected bibliography are also included.
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Knight's Gambit (Hardcover)
William Faulkner; Edited by John N Duvall
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R681
R560
Discovery Miles 5 600
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Originally published in 1949, William Faulkner's Knight's Gambit is
a collection of six stories written in the 1930s and 1940s that
focus on the criminal investigations of Yoknapatawpha's long-time
county attorney, Gavin Stevens?a man more interested in justice
than the law. All previous and current editions of Knight's Gambit
have been based on the first edition, which is fraught with a
number of problems. Since tear sheets of the five previously
published stories were used in setting the first edition, the
original Knight's Gambit is a hodgepodge of various magazines?
house styles with no consistency in punctuation and spelling
conventions from story to story. Far greater issues arise, however,
from the substantive (and sometimes substantial) changes magazine
editors made to Faulkner's prose. These changes were made variously
for concision, propriety, or magazine design. Sometimes northern
editors removed the southernness of Faulkner's stories, either out
of ignorance of the South or in order to appeal to a mass audience.
Using four previously unknown Faulkner typescripts, along with
other manuscript and typescript evidence, John N. Duvall presents
an edition of Knight's Gambit that restores over four thousand
words that editors cut from the stories. Also included is an
introduction by Duvall discussing the role of detective fiction and
popular magazines in creating a different kind of postwar
readership for Faulkner that paves the way for the eventual
republication of Faulkner's modernist masterpieces. The new edition
enables readers to reevaluate the stories of Knight's Gambit and
their place in Faulkner's career as a short story writer.
In 1925 William Faulkner began his professional writing career
in earnest while living in the French Quarter of New Orleans. He
had published a volume of poetry ("The Marble Faun"), had written a
few book reviews, and had contributed sketches to the University of
Mississippi student newspaper. He had served a stint in the Royal
Canadian Air Corps and while working in a New Haven bookstore had
become acquainted with the wife of the writer Sherwood
Anderson.
In his first six months in New Orleans, where the Andersons were
living, Faulkner made his initial foray into serious fiction
writing. Here in one volume are the pieces he wrote while in the
French Quarter. These were published locally in the
"Times-Picayune" and in the "Double Dealer."
The pieces in "New Orleans Sketches" broadcast seeds that would
take root in later works. In their themes and motifs these sketches
and stories foreshadow the intense personal vision and style that
would characterize Faulkner's mature fiction. As his sketches take
on parallels with Christian liturgy and as they portray such
characters as an idiot boy similar to Benjy Compson, they reveal
evidence of his early literary sophistication.
In praise of "New Orleans Sketches," Alfred Kazin wrote in the
"New York Times Book Review" that "the interesting thing for us
now, who can see in this book the outline of the writer Faulkner
was to become, is that before he had published his first novel he
had already determined certain main themes in his work."
In his trail-blazing introduction, Carvel Collins often called
"Faulkner's best-informed critic," illuminates the period when the
sketches were written as the time that Faulkner was making the
transition from poet to novelist.
"For the reader of Faulkner," Paul Engle wrote in the "Chicago
Tribune," "the book is indispensable. Its brilliant introduction .
. . is full both of helpful information . . . and of fine
insights." "We gain something more than a glimpse of the mind of a
young genius asserting his power against a partially indifferent
environment," states the "Book Exchange" (London). "The long
introduction . . . must rank as a major literary contribution to
our knowledge of an outstanding writer: perhaps the greatest of our
times."
The story of the dissolution of the once aristocratic Compson family, told through the minds of three of its members, including the imbecilci Benjy - 'the tale told by an idiot'. In very different ways they prove inadequate to their own family history, unable to deal with either the responsibility of the past or the imperatives of the present . The structure of the book - three monologues followed by an objective account of the family history - operates in the same way as a classical symphony, as each 'movement' reacts against, enlarges and qualifies the others. The title implies a tale 'signifying nothing', but this is a ruse - Faulkner's vision is tragic in the full sense of the word. His honesty and his craft separate us from the fate of his characters - by teaching us to understand them he gives us a chance to prevail.
William Faulkner's provocative and enigmatic 1929 novel, The Sound
and the Fury, is widely acknowledged as one of the most important
English-language novels of the twentieth century. This revised and
expanded Norton Critical Edition builds on the strengths of its
predecessors while focusing new attention on both the novel's
contemporary reception and its rich cultural and historical
contexts. The text for the Third Edition is again that of the
corrected text scrupulously prepared by Noel Polk, whose textual
note precedes the novel. David Minter's annotations, designed to
assist readers with obscure words and allusions, have been
retained. "Contemporary Reception," new to the Third Edition,
considers the broad range of reactions to Faulkner's extraordinary
novel on publication. Michael Gorra's headnote sets the stage for
assessments by Evelyn Scott, Henry Nash Smith, Clifton P. Fadiman,
Dudley Fitts, Richard Hughes, and Edward Crickmay. New materials by
Faulkner ("The Writer and His Work") include letters to Malcolm
Cowley about The Portable Faulkner and Faulkner's Nobel Prize for
Literature address. "Cultural and Historical Contexts" begins with
Michael Gorra's insightful headnote, which is followed by seven
seminal considerations-five of them new to the Third Edition-of
southern history, literature, and memory. Together, these works-by
C. Vann Woodward, Richard H. King, Richard Gray, William Alexander
Percy, Lillian Smith, William James, and Henri Bergson-provide
readers with important contexts for understanding the novel.
"Criticism" represents eighty-five years of scholarly engagement
with The Sound and the Fury. New to the Third Edition are essays by
Eric Sundquist, Noel Polk, Doreen Fowler, Richard Godden, Stacy
Burton, and Maria Truchan-Tataryn. A Chronology of Faulkner's life
and work is newly included along with an updated Selected
Bibliography.
At the heart of this 1930 novel is the Bundren family's bizarre journey to Jefferson to bury Addie, their wife and mother. Faulkner lets each family member--including Addie--and others along the way tell their private responses to Addie's life.
One of Faulkner’s most admired and accessible novels, Light in August reveals the great American author at the height of his powers. Lena Grove’s resolute search for the father of her unborn child begets a rich, poignant, and ultimately hopeful story of perseverance in the face of mortality. It also acquaints us with several of Faulkner’s most unforgettable characters, including the Reverend Gail Hightower, who is plagued by visions of Confederate horsemen, and Joe Christmas, a ragged, itinerant soul obsessed with his mixed-race ancestry.
Powerfully entwining these characters’ stories, Light in August vividly brings to life Faulkner’s imaginary South, one of literature’s great invented landscapes, in all of its impoverished, violent, unerringly fascinating glory.
This edition reproduces the corrected text of Light in August as established in 1985 by Noel Polk.
The story of Thomas Sutpen, an enigmatic stranger who came to Jefferson in the early 1830s to wrest his mansion out of the muddy bottoms of the north Mississippi wilderness. He was a man, Faulkner said, "who wanted sons and the sons destroyed him."
From the Trade Paperback edition.
From the Modern Library's new set of beautifully repackaged
hardcover classics by William Faulkner--also available are "Snopes,
As I Lay Dying, The Sound and the Fury, Light in August, "and
"Absalom, Absalom "
William Faulkner was a master of the short story. Most of the
pieces in this collection are drawn from the greatest period in his
writing life, the fifteen or so years beginning in 1929, when he
published "The Sound and the Fury." They explore many of the themes
found in the novels and feature characters of small-town
Mississippi life that are uniquely Faulkner's. In "A Rose for
Emily," the first of his stories to appear in a national magazine,
a straightforward, neighborly narrator relates a tale of love,
betrayal, and murder. The vicious family of the Snopes trilogy
turns up in "Barn Burning," about a son's response to the
activities of his arsonist father. And Jason and Caddy Compson, two
other inhabitants of Faulkner's mythical Yoknapatawpha County, are
witnesses to the terrorizing of a pregnant black laundress in "That
Evening Sun." These and the other stories gathered here attest to
the fact that Faulkner is, as Ralph Ellison so aptly noted, "the
greatest artist the South has produced."
First published in 1929, Faulkner created his "heart's darling," the beautiful and tragic Caddy Compson, whose story Faulkner told through separate monologues by her three brothers--the idiot Benjy, the neurotic suicidal Quentin and the monstrous Jason.
From the Trade Paperback edition.
In New Orleans in 1937, a man and woman embark on a headlong flight in to the wilderness of illicit passion, fleeing her husband and the temp tations of respectability. In Mississippi ten years earlier, a convict sets forth across a flooded river, risking his one chance at freedom to rescue a pregnant woman. From these separate stories Faulkner compo ses a symphony of deliverance and damnation, survival and self-sacrifi ce, a novel in which elemental danger is juxtaposed with fatal injurie s of the spirit.
One of William Faulkner's finest novels, As I Lay Dying was originally published in 1930, and remains a captivating and stylistically innovative work. The story revolves around a grim yet darkly humorous pilgrimage, as Addie Bundren's family sets out to fulfill her last wish: to be buried in her native Jefferson, Mississippi, far from the miserable backwater surroundings of her married life. Told through multiple voices, it vividly brings to life Faulkner's imaginary South, one of the great invented landscapes in all of literature, and is replete with the poignant, impoverished, violent, and hypnotically fascinating characters that were his trademark.
This edition reproduces the corrected text of As I Lay Dying as established in 1985 by Noel Polk.
Successive episodes in the death and burial of Addie Bundren are recounted by various members of the family circle, principally as they are carting their mother's coffin to Jefferson, Mississippi, in order to bury her among her people. As the desires and fears and rivalries of the family are revealed in the vernacular speech of the South, the author builds up an impression as epic as the old Testament, as earthly and comic as Chaucer, as American as HUCKLEBERRY FINN.
The story of Thomas Sutpen, an enigmatic stranger who came to Jefferson in the early 1830s to wrest his mansion out of the muddy bottoms of the north Mississippi wilderness. He was a man, Faulkner said, "who wanted sons and the sons destroyed him."
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