William Faulkner was the greatest American novelist of the twentieth century, yet he lived a life marked by a pervasive sense of failure. Throughout his career, he remained haunted by his inability t
The title refers to Song of Solomon , in which Guitar answers "What else but love?" when he identifies the emotion that fuels the most deliberate action he is capable of: racial revenge. The author i
Weinstein investigates the stories blacks and whites, men and women, tell about each other through the work of two quintessential American novelists: William Faulkner and and Toni Morrison. Exploring
This collection of essays explores Faulkner's widespread cultural import. Drawing on a wide range of cultural theory and written in accessible English, ten major Faulkner scholars examine the enduring whole of Faulkner's oeuvre. Bringing into focus the broader cultural context which lent its resonance to his work, the collection will be particularly useful for the student seeking critical introduction to Faulkner, while also serving the dedicated scholar interested in recent trends in Faulkner criticism. Together these essays map Faulkner's contemporary meaning by exploring his relation to modernism and postmodernism, to twentieth-century mass culture, to European and Latin American fiction, to issues of gender difference, and, above all, to the conflicted scene of United States race relations. Neither assuming in advance his literary 'greatness' nor insisting that his canonical status be revoked, they instead pose the question: what is at stake today in reading Faulkner?
This collection of essays explores Faulkner's widespread cultural import. Drawing on a wide range of cultural theory and written in accessible English, ten major Faulkner scholars examine the enduring whole of Faulkner's oeuvre. Bringing into focus the broader cultural context which lent its resonance to his work, the collection will be particularly useful for the student seeking critical introduction to Faulkner, while also serving the dedicated scholar interested in recent trends in Faulkner criticism. Together these essays map Faulkner's contemporary meaning by exploring his relation to modernism and postmodernism, to twentieth-century mass culture, to European and Latin American fiction, to issues of gender difference, and, above all, to the conflicted scene of United States race relations. Neither assuming in advance his literary 'greatness' nor insisting that his canonical status be revoked, they instead pose the question: what is at stake today in reading Faulkner?
Faulker's Subject: A Cosmos No One Owns offers a reading of William Faulkner by viewing his masterpieces through the lens of current critical theory. The book addresses both the power of his work and the current theoretical issues that call that power into question. Drawing on poststructuralist, ideological and gender theory, Weinstein examines the harrowing process of 'becoming oneself' at the heart of Faulkner's work, and suggests that the cosmos Faulkner called his own - the textual world he produced - emerges as a cosmos no one owns, a verbal territory generated and biased by the larger culture's discourses of gender and race.
Faulker's Subject: A Cosmos No One Owns offers a reading of William Faulkner by viewing his masterpieces through the lens of current critical theory. The book addresses both the power of his work and the current theoretical issues that call that power into question. Drawing on poststructuralist, ideological and gender theory, Weinstein examines the harrowing process of 'becoming oneself' at the heart of Faulkner's work, and suggests that the cosmos Faulkner called his own - the textual world he produced - emerges as a cosmos no one owns, a verbal territory generated and biased by the larger culture's discourses of gender and race.
