课程首页 | 作者简介 | 教学指导 | 课程内容 | 学习资源 | 综合测试
Section Six. Southern Literature and Faulkner
I. Southern Literature:
  The American South includes the southeastern states and the southern states along the Gulf of Mexico. This is a unique region where people have their distinctive culture, viewpoint and history. In the southern history, the southern whites kept slaves since 1621 until the end of Civil War. So the south had quite special tradition different from the north. First, the southerners have a strong sense of the past, a strong feeling of history. They had high opinions on family tie. And the southerners are also known as a hot-blooded people, because they had more interest in guns and hunting. They are usually considered as violent people. Besides violence, they firmly believed in revision. The south is known as the Bible Belt. Finally, the south is a land of oratory. Those great American speakers were all from the south.
In fact, southern literature can find its origin in Edgar Allan Poe. The early expressions of the 20th century southern literature came from James Branch Cabell, Ellen Glasgow and Erskine Caldwell who denounced the wicked nature of southern aristocracy. Many women writers represent the realist tradition of the southern literature.  They are Katherine Anne Porter, Eudora Wetly and Flannery 0’Connor.
Southern Literature reached its peak with the appearance of the two giants: Thomas Wolfe (1900-1938) and William Faulkner (1897-1962).
Although southern writers focus their literary creation on the southern society with southern setting, southern characters, and southern subject matters, they are not just concerned with the South but the human situation in general. The spiritual deterioration which characterizes modern life stems directly from the loss of love and want of emotional response. Southern writers use the South as a microcosm, a miniature world for exploring problems of America, as well as the universe itself.
The basic features of Southern Literature can be summarized as: (1) love of south. All the writers show their affection and concern for the region they come from and write about. (2) a sense of history. They have ambivalent feelings toward their history and also describe southern people’s decision and hesitation in front of social change. (3) creation of Gothic world in human heart.
Ⅱ.William Cuthbert Faulkner (1987-1962)
1. Life: Faulkner was born on September 25 in New Albany, Mississippi, and brought up in nearby Oxford. He came from an old, white upper class family. It was from his own family history that Faulkner drew the material for most of his fiction. His family history represented the typical southern region’s characteristics of white social status, racial violence, honor codes, and tradition moral values.
In 1925, Faulkner went to New Orleans where some of his early poems, articles and sketches were published and where he came in touch with Freud’s psychology and James Joyce’s fiction.
2. Literary Career: Faulkner’s first novel Soldier’s Pay was accepted by the publishers in 1926.The story tells about the return of a soldier disabled in World War I. His second novel Mosquitoes is a satirical story about a group of southern artists and intellectuals. During the time from 1929to 1942, Faulkner produced a lot of literary works, including The Sound and the Fury (1929) and As I Lay Dying (1930). And those novels are made powerful but difficult by the use of convoluted sentences, strange vocabulary and other extraordinary elements of composition.
In 1950, Faulkner was awarded the Nobel Prize for his literary achievement. And in 1940s and 1950s, his works won a popular readership as well as critical appreciation. In 1955, he received the National Book Award and the Pulitzer Prize for A Fable.
His major works took Yoknapatawpha County and Jefferson town as setting, which resembled his native Oxford in Lafayette county, Mississippi. These works include Sartoris (1929), The Sound and the Fury (1929), As I Lay Dying (1930), Sanctuary (1931) Light in August (1932) Absalom, Absalom19361! and Go down, Moses (1942), which are characterized by a series of events and activities as well as families that appear as the central focus in one novel, but as a minor plot in another. In this sense, Faulkner made his novels reflect the whole process of southern development on different levels.
The imaginary place of Yoknapatawpha functions as an allegory  or a parable of the South. In this mythical kingdom, Faulkner explored the society on different levels, from plantation owners to the blacks, the townspeople, the poor whites and even the native Indians. He presented conflicts between generations, classes, races, man and environment, and man and himself. He believed that in the long run the brotherhood of man would triumph.
Faulkner, as the foremost southern writer of the 20th century altogether produced nineteen novels, four collections of about seventy short stories, and two volumes of poetry. He depicted the bitterness of southern history with poetic expression. His important subjects are childhood, families, sex, obsessions, the past and the modern southern memory, myth and reality, race and alienation.
3. Features:
Faulkner used the South to embody all human beings in terms of the violence and evil. He presented setting and characters in rather ambiguous way. He stressed on symbolic approach to literature in order to discover the truth of human heart. There are three emphases in Faulkner’s writing: history and race; folk humor of the South; horror, violence and the abnormal to cause moral outrage.
Faulkner was a great experimenter. He successfully applied some modern literary techniques. He used the device of stream of consciousness. He also used the floating or multiple point of view and circular form which make it difficult for the reader to reach a true judgment. He stressed authorial transcendence to avoid authorial intrusion in narration. He applied an original narrative method giving confusing information. The violation of chronology in the narrative structure is combined with a violation of everyday language habits. His prose varies from colloquial, regional to formal diction and cadences of American speech.
Faulkner also probed the inner lives of the southerners when he provided the reader with external events. He created images to convey the mood, atmosphere of his fictional world. His artistic techniques include the exploration of psychological reality, the nature of time, and the relation of the past to the present. He also created the anti-hero, who was weak and ineffective.    
    The Sound and the Fury is a good example to illustrate Faulkner’s concern in creative writing. The novel is a complex account of the breakdown of the once distinguished and honored Compson family. Mr. Compson is disenchanted with life and the society he lives in. Unable to find meaning in the moral verities he was brought up with, he escapes into alcoholism and cynicism. Mrs.Compson is spiritually effete and has little love to spare for her children. Of the four children, Caddy is the only one capable of loving, but she loses her virginity. The youngest brother, Benjy, is an idiot, a curse on the family. Another, Quentin, lives in the ideal world of his youth with his dreams of love, honor, and integrity, and, when he fails to keep off the intrusion of the“loud, harsh world,”he destroys himself. The life of the eldest brother, Jason, is empty and meaningless. Love is alien to him, and so are other traditional humanistic values. The book is divided into four sections, largely reliant on stream of consciousness. The first section (April 7, 1928) is narrated by Benjy, the youngest member of the family. Like his brothers Quentin and Jason, he is chiefly preoccupied with his sister Caddy. For Benjy, her disappearance amounts to the loss of the center of his universe. The second section is told by Quentin, a Harvard freshman, on the day (July 2, 1910) he commits suicide. In the third section (April 6, 1928) Jason, the eldest son, reveals his bitterness and anger at the opportunities he has lost because of the irresponsibility and selfishness which he feels predominate in his family. The final section (April 8, 1928, Easter Sunday) concentrates on the Compsons’ black servant, Dilsay, and her grandson, Luster. This section provides some objective information to unify the previous subjective narrations into an organic entity.
  The Sound and the Fury tells a story of deterioration from the past to the present. The past is idealized to form a striking contrast with the loveless present. There is in the book an acute feeling of nostalgia toward the happy past. Quentin’s section offers a good illustration. A miserable creature in the modern world, Quentin frequently casts a backward glance at the time of his childhood when life was innocent, romantic, and secure. He just cannot bring himself to come to terms with the present, which is, to him, purposeless, futile, and devoid of the values which make life worth living. His suicide offers an example of a complete negation of the present. In a sense, Quentin’s value system may represent Faulkner’s own idea of an ideal way of life, that of an ante-bellum society. The face that Benjy’s section begins the book is not a haphazard arrangement on the part of the author, for it is Benjy who feels most keenly the loss of love. Benjy lives on the emotional support of love. Although an idiot with no sense of time, he knows who loves him best. When Caddy is gone, his world of love vanishes with her; and nobody can take her place, not even Dilsey. Thus this section helps to dramatize the theme of loss from the very beginning of the story. With the story of Jason whose life embodies all the vices of the modern world, the contrast between the ante- bellum society and the present one is brought out in the most poignant manner possible, The triumph of rationalism over feeling and compassion is best illustrated in this sterile and loveless individual.
Reference Book:
1. Booz, Elizabeth. A Brief Introduction To Modern American Literature, Shanghai: Shanghai        Foreign   Language Education Press,1982.
2. 吴定柏编著:《美国文学大纲》, 上海外语教育出版社,1998。
3. 李宜燮、常耀信主编:《美国文学选读》(下册), 南开大学出版社,1991。


 

东北师大外语学院版权所有