{"title":"Yoknapatawpha’s Rhyming Events","authors":"Stephen Railton","doi":"10.1353/fau.2020.a918222","DOIUrl":"https://doi.org/10.1353/fau.2020.a918222","url":null,"abstract":"Abstract: This essay by the creator of the Digital Yoknapatawpha project explores a category of intertextual events that it calls “rhyming” –events that involve different characters, locations and dates in Yoknapatawpha’s larger history but are nonetheless closely linked together by various kinds of echoes. This pattern has two major claims on our attention: for what it reveals about Faulkner’s willingness, or perhaps his need, to keep recreating Yoknapatawpha each time he returned to it as the site of his long struggle to come to terms with the legacy of the Southern past; and for what it implies about the potential limitations of digital humanities projects like Digital Yoknapatawpha .","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"23 35","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141226799","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Abbreviations for Texts to be Cited in The Faulkner Journal","authors":"","doi":"10.1353/fau.2020.a918226","DOIUrl":"https://doi.org/10.1353/fau.2020.a918226","url":null,"abstract":"","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"357 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141228167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Past: In Tribute to William Faulkner","authors":"Father Gerard Garrigan","doi":"10.1353/fau.2020.a918218","DOIUrl":"https://doi.org/10.1353/fau.2020.a918218","url":null,"abstract":"","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"5 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141227875","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Faulkner, Aviation, and Modern War by Michael Zeitlin (review)","authors":"Donald M. Kartiganer","doi":"10.1353/fau.2020.a918223","DOIUrl":"https://doi.org/10.1353/fau.2020.a918223","url":null,"abstract":"","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"25 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141226752","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Narrative Order in William Faulkner","authors":"William Nelles, Linda Williams","doi":"10.1353/fau.2020.a918221","DOIUrl":"https://doi.org/10.1353/fau.2020.a918221","url":null,"abstract":"Abstract: Faulkner scholars have assembled chronologies for several of his novels and short stories as guides for readers attempting to untangle their frequently convoluted temporal structures. The data underlying those chronologies may be repurposed to produce “time maps,” graphs that chart the disparity between the order of events as they occurred in the fictional world (story order) and the order in which they are related in the narrative discourse (text order). These maps reveal a distinctive series of recurring patterns in Faulkner’s handling of narrative order, allow for comparisons of Faulkner’s characteristic techniques with those of other authors, and suggest that this methodology could be extended to provide time maps for his entire Yoknapatawpha corpus.","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"8 18","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141226125","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Debts of Honor, Narrative Authority, and Southern Manhood in “Knight’s Gambit”","authors":"John N. Duvall","doi":"10.1353/fau.2020.a918219","DOIUrl":"https://doi.org/10.1353/fau.2020.a918219","url":null,"abstract":"Abstract: This essay considers how a particular trace of Faulkner’s 1942 short-story draft of “Knight’s Gambit,” which he failed to place in any mass-market magazine, clarifies the stakes of his final 1949 novella with the same title. In the draft, the key motive for Max Harriss’s attempted murder of Gualdes (Gualdres in the published version) involves the repayment of a gambling debt. In revising, Faulkner recognized the weakness of the original motive. But while the novella completely changes Max’s motive, it does not erase male gambling debts as much as it displaces them throughout the narrative. While chess is the central metaphor in “Knight’s Gambit,” poker is nevertheless a crucial element in Gavin Stevens’ mentoring of his nephew, Chick Mallison. Learning the complementary narrative structures of chess (gambits) and poker (gambling), Chick achieves something unusual in the Faulkner canon: a young white Southern male’s successful movement into manhood.","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"30 41","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141226832","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"On Faulkner, Racism, and Life in (the) Ruins","authors":"A. Abdur-Rahman","doi":"10.1353/fau.2019.0025","DOIUrl":"https://doi.org/10.1353/fau.2019.0025","url":null,"abstract":"The impetus, or aspirational motivation, behind the production of this special issue of The Faulkner Journal, which focuses on race, racism, and the work (or, perhaps, simply the possibility) of antiracism in William Faulkner’s oeuvre, was the murder of George Floyd in 2020. It was in the evening on a Monday in May of that year when the 911 call came in from an employee at the CUP convenience store in south Minneapolis. The store clerk alleged that an African American patron, later identified as 46-year-old George Floyd, had used a counterfeit $20 bill to purchase cigarettes. Four police officers arrived and attempted to arrest Floyd, who was distressed and who struggled. Despite his numerous and panicked cries of anxiety, discomfort, and, eventually, of being unable to breathe, Floyd was forcibly handcuffed and pinned face-down to the ground. While a fourth officer stood by to prevent horrified bystanders from intervening in the murder they were witnessing, three police officers held George Floyd on the ground. One officer, Derek Chauvin, kept his knee pressed into Floyd’s neck for approximately nine minutes—as Floyd complained of being unable to breath, as his body went limp, as he was asphyxiated to death, as paramedics arrived to attempt resuscitation. Within twenty minutes of the arrival of the police, George Floyd was dead. It is noteworthy that he was killed during those terrifying, early months of the Covid-19 pandemic. The country was in lockdown. In fact, Floyd had lost his job due to pandemic layoffs. By the time of his murder, there had been nearly 100,000 Covid-related deaths, and only a week prior the World Health Organization had received reports of more cases within a 24-hour timeframe than at any point during the outbreak. It was a disastrous time in all the world. And yet people took to the streets—en masse, across the globe. Certainly, this was not the first time that Black murder had been caught on camera, nor was it the first time that Black death had gone viral. In fact, since the time of ritual lynching, Black people dying gruesomely has been coextensive with spectatorship and with technologies","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116242524","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"Free to Be Me\": Reformulating Blackness in Absalom, Absalom!, Remembering the Legacy of Sr. Thea Bowman in Faulkner Studies","authors":"Riché Richardson","doi":"10.1353/fau.2019.0027","DOIUrl":"https://doi.org/10.1353/fau.2019.0027","url":null,"abstract":"You ask why I, a black woman from Mississippi, am interested in William Faulkner? Faulkner has helped me understand my state. And it is my state. My people, as Faulkner records, helped build it, clearing wilderness, tilling land, building with brick and wood and water. And raising those children, and not just the black children. Faulkner has helped me to appreciate my state, both the glory and the shame of it. Faulkner also helped me to understand white folks, their ways of thinking and feeling and responding. And as a black child born in Mississippi, and as a black woman living in America, or anywhere, I need to understand white folks.","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130342369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lucas Beauchamp's Black Modernity: Agonistic Identities and the Ethics of Sympathy in Intruder in the Dust","authors":"Bernard Joy","doi":"10.1353/fau.2019.0021","DOIUrl":"https://doi.org/10.1353/fau.2019.0021","url":null,"abstract":"Faulkner’s heroes take many forms. We see an archetype of an adventurous, ruggedly individualist, though ambiguous, nineteenth-century heroism in the Sartoris family. There are also the Bundrens who, to lesser and greater degrees, struggle to maintain contact with the land and their poor white traditions when the modernity of the big town beckons, and Ike McCaslin, who rejects his corrupt patrimony. There is heroic nobility in Joe Christmas’s attempts to forge a personal identity outside the racist social norms that seek to delimit and dehumanize his being, in Tomey’s Turl’s intransigent rebellion against plantocracy codes, and in Eunice’s valiant suicide. However, Lucas Beauchamp epitomizes a particularly Faulknerian vision of heroism and nobility. Lucas provides, I argue, the closest thing to a consummation of the emancipatory labors of his Black predecessors. His success derives from the way he draws upon and activates his Black modernity, the traditions preceding him out of what Paul Gilroy has named the Black Atlantic that work to reveal the plurality of his own agonistic identity together with that of the society he inhabits. Lucas as a figure shines a light on the constructed nature of racial identity, on the irreducible pluralities that materially constitute persons and geographies. Once revealed, these perspectives entirely belie the myth of unitary essence and so, in bringing them to light, Lucas discomforts the white societies of his time. The simple evidence of his plurality unseats the racial hierarchies and the codes of white belonging upon which those societies are based and in defense of which they are willing to reinforce Black subjugation and white supremacy via ritualized acts of violence. Not despite but because of the white discomfort Lucas inspires, in those white people less invested in racial supremacy and their own whiteness he is also able to trigger an investment in an ethics of sympathy by which charac-","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122971422","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"\"(Obvious now)\": Forgetting How Race Works in Requiem for a Nun","authors":"Garrett Bridger Gilmore","doi":"10.1353/fau.2019.0022","DOIUrl":"https://doi.org/10.1353/fau.2019.0022","url":null,"abstract":"Two recent volumes of Faulkner scholarship, Michael Gorra’s monograph The Saddest Words and the edited collection Faulkner and Slavery, have relatively little to say about Requiem for a Nun. To those familiar with Faulkner studies this is likely not a surprising state of affairs, as Requiem is typically regarded as a curious dud of an attempt at narrative experimentation. Many of the extended critical accounts of the relationship between slavery, race, and Faulkner’s fiction that I find most fruitful, Thadious Davis’s Faulkner’s Negro, Richard Godden’s Fictions of Labor and An Economy of Complex Words, Edouard Glissant’s Faulkner, Mississippi, and the smattering of references to Faulkner contained across Hortense Spillers’s writing as collected in Black, White and In Color, likewise have little or nothing to say about Requiem for a Nun. Further complicating matters, most extended discussions of Requiem for a Nun have little to say about slavery. Noel Polk, for example, calls slavery’s presence in Jefferson “ominous” without much elaboration (44). These silences strike me as odd given the fact that Requiem contains perhaps the single most comprehensive account of the political and economic history of Yoknapatawpha County and one of Faulkner’s most straightforward attempts to do legibly racially liberal work by confronting and undermining, “demystifying” in Deborah Barker’s account, the racist cultural trope of the Mammy in his depiction of Nancy Mannigoe (71). One might conclude from the preponderance of critical attention that Requiem is not particularly suited for thinking slavery, and therefore not fit for a certain contemporary iteration of “the work of anti-racism.” In this essay I read Requiem as an anxious and regressive rewriting of the historical contradictions contained under what Hortense Spillers calls “the sign of race” previously worked through in Faulkner’s earlier and more critically prominent novels (348). “‘Race’ alone bears no inherent meaning,” Spillers writes, “even though it reifies in personality, but gains its","PeriodicalId":208802,"journal":{"name":"The Faulkner Journal","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126033018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}