William Faulkner- "Mimicking the Confusion of Life"

Faulkner's early sprightliness was played out almost entirely in the South. He was married in 1929 and began to slowly earn his way as a writer. When he was offered the Nobel prize for literature in 1950 he was ecstatic, and his Speech of borrowing earned him world-wide fame. From 1957-58 he was "Writer-in-Residence" at the University of Virginia, and before that had spent cartridge holder in Japan, being used by the State part as a migrating ambassador for peace and good earth relations. His goal in 1958 was to go on writing for some other 30 years, hardly his death in 1962 stilled that goal. The actual as yetts of his life served as some of his most unusual and amusing stories indoors his works.

Faulkner's plots be always deeply layered, and as confusing as he can make them. He seems to be mimicking the awe of life, as he, on every page, makes us keep conjecture what has happened, or to whom. For example, in Light In August we are informed that Lena is swelling with child, but it is two hundred pages much before the culprit's identity in that misfortune is revealed. Repeated flashbacks give the axe chronology, past and present are combined as contemporary forces, and the current time period is explained by the past, which is further lit by an incident from an earlier past. His style is as unconventional as are his people and as confounding as his plots. It is a hurried style, piling comma upon comma, phrase upon phrase, and cardinal sentence can s

Inge, M. Thomas. A Rose For Emily. Columbus, OH: Charles E. Merrill Publishing, 1970.

Webb, James W. William Faulkner at Oxford. Baton Rouge, LA: atomic number 57 State U P, 1965.

Brodsky, Louis D., & Hamblin, Robert W. Faulkner: A comprehensive Guide To The Brodsky Collection. Jackson, MS: U of Jackson P, 1985.

Faulkner longed for a place and time when decisions just about one's life would not be complicated by swell upheavals in society. He longed for some affaire which did not exist, in other linguistic communication. Yet, even if he realized men were not made for utopia, he still gave woman a gentler time. He has good words for Narcissa and Miss Jenny in Sartoris.

for Addie Bundren and Dewey Dell in As I Lay Dying, for Lena Groves and Joanna Burden in Light In August, and even for Eula and Linda Snopes in Intruder In The Dust. Underneath any the confusion and mystery in living, it seems Faulkner felt women were at least, if not an oasis men could understand, an oasis nonetheless. Perhaps his brother's comments on the precedent even further express Faulkner was searching for the simple at bottom the chaos of life, "The glory and all that didn't mean a thing to Bill Faulkner, he just wanted to be onetime(a) Bill. He would have been as contented in a forest" (Webb 68).

Faulkner used many of his themes repetitiously in his different works. He repeats them, with the effect of reinforcing other parts, emphasizing others, almost like pass off strains in a musical composition. For example, in "Delta Autumn" and "Go Down Moses" of Faulkner's Go Down Moses, Faulkner furthers some of the major themes contained in "The Bear". He shows man's progress and its consequences upon nature and the land. Also he reveals a religiousness, a spirituality that man has for nature but even that is subject to deterioration. He relates the concept of "sin" which has permeated the McCaslin family finished this progression of time. Faulkner also shows man's need to return to his roots or to a situation
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