Cover

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Tittle Page, Copyright Page

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Contents

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p. v

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Introduction: Pleasure of the Texts

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pp. vii-xv

The essays in this collection derive from an abiding interest in the intense reciprocities between William Faulkner's life and his work, between his lived and his imaginative lives. Most of them explore his engagement with his psychic life, the last two his more...

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Where the Comma Goes: Editing William Faulkner

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pp. 3-21

Scholarly editing is the ultimate act of criticism, because it involves a wider range of issues than interpretation alone does, from macrocosmic ones like the author's meaning, to more mundane and practical microcosmic ones like where does the comma go? Dealing with...

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Children of the Dark House

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pp. 22-98

Faulkner's original title for both Absalom, Absalom! and Light in August was "Dark House."1 Why he abandoned the title, twice, is impossible to know. Perhaps its oblique allusion to Dickens' Bleak House was a different kind of weight than he wanted either novel...

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Trying Not to Say: A Primer on the Language of The Sound and the Fury

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pp. 99-136

Flower spaces that curl, a fence, a search, a table, a movable flag, and a pasture in which people are "hitting," all without any apparent relationship to one another, dot the visual landscape of the opening lines of The Sound and the Fury. And, as if the first paragraph...

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The Artist as Cuckold

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pp. 137-165

In order to believe that Thomas Sutpen rejects Charles Bon because he has black blood, readers have blithely been willing to do a good deal of fancy footwork around some significant obstacles. First, you have to believe that Sutpen is far more race-conscious than...

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Ratliff's Buggies

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pp. 166-195

The Hamlet begins with a blurring of geographical, temporal, and political boundaries. Though Frenchman's Bend lies "twenty miles southeast of Jefferson," it is "Hill-cradled and remote, definite yet without boundaries, straddling into two counties and...

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Woman and the Feminine in A Fable

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pp. 196-218

At almost the exact dead center of A Fable occurs one of those characteristic Faulknerian scenes that abrupt into the narrative, encounter one or more of the plot's central characters or elements, then disappear as abruptly. By 1954 this was so well-established an...

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Man in the Middle: Faulkner and the Southern White Moderate

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pp. 219-241

Faulkner wrote Intruder in the Dust in the winter and early spring of 1948, seasons during which the Mississippi Democratic party geared itself for a vital confrontation with the national Democratic party at the summer convention in Philadelphia over the...

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Faulkner at Midcentury

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pp. 242-272

There's a wonderful moment in the 1952 Omnibus television program about William Faulkner. Moon Mullins, Faulkner's old friend and the former editor of the Oxford Eagle, comes to Rowan Oak to tell Faulkner that he's won the Nobel Prize. The Omnibus...

Works Cited

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pp. 273-282

Index

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pp. 283-288