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The sequel to Faulkner’s most sensational novel Sanctuary, was written twenty years later but takes up the story of Temple Drake eight years after the events related in Sanctuary. Temple is now married to Gowan Stevens. The book begins when the death sentence is pronounced on the nurse Nancy for the murder of Temple and Gowan’s child. In an attempt to save her, Temple goes to see the judge to confess her own guilt. Told partly in prose, partly in play form, Requiem for a Nun is a haunting exploration of the impact of the past on the present.
"This sequel to Faulkner's most sensational novel, 'Sanctuary', was written twenty years later but takes up the story of Temple Drake eight years after the events related in 'Sanctuary'. Temple is now married to Gowan Stevens. The book begins when the death sentence is pronounced on the nurse Nancy for the murder of Temple and Gowan's child. In an attempt to save her, Temple goes to see the judge to confess her own quilt. Told partly in prose, partly in play form, 'Requiem For A Nun' is a haunting exploration of the impact of the past on the present"--Publisher's description.
William Faulkner’s Requiem for a Nun revisits Sanctuary’s Temple Drake, now married to Gowan Stevens and the mother of two young children. On the eve of an execution, Temple is forced to confront her past as she explores how earlier violent events influenced the murder of her infant child by its nurse, Nancy. Beginning with the judgement of Nancy’s death sentence, Faulkner’s taut narrative focuses on how one’s past can impact the future of an entire family. Published in 1950, 19 years after Sanctuary, Requiem for a Nun is unique for Faulkner’s use of both prose and play narrative. It was adapted for theater in 1956 by Albert Camus, who also wrote the preface to the French translation of the novel. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.
Book The Index of Self-Destructive Acts Description/Summary:
“A significant novel, beautifully crafted and deeply felt. Beha creates a high bonfire of our era's vanities. . . .This is a novel to savor.”- Colum McCann Through baseball, finance, media, and religion, Beha traces the passing of the torch from the old establishment to the new meritocracy, exploring how each generation’s failure helped land us where we are today. What makes a life, Sam Waxworth sometimes wondered—self or circumstance? On the day Sam Waxworth arrives in New York to write for the Interviewer, a street-corner preacher declares that the world is coming to an end. A data journalist and recent media celebrity—he correctly forecast every outcome of the 2008 election—Sam knows a few things about predicting the future. But when projection meets reality, life gets complicated. His first assignment for the Interviewer is a profile of disgraced political columnist Frank Doyle, known to Sam for the sentimental works of baseball lore that first sparked his love of the game. When Sam meets Frank at Citi Field for the Mets’ home opener, he finds himself unexpectedly ushered into Doyle’s crumbling family empire. Kit, the matriarch, lost her investment bank to the financial crisis; Eddie, their son, hasn’t been the same since his second combat tour in Iraq; Eddie’s best friend from childhood, the fantastically successful hedge funder Justin Price, is starting to see cracks in his spotless public image. And then there’s Frank’s daughter, Margo, with whom Sam becomes involved—just as his wife, Lucy, arrives from Wisconsin. While their lives seem inextricable, none of them know how close they are to losing everything, including each other. Sweeping in scope yet meticulous in its construction, The Index of Self-Destructive Acts is a remarkable family portrait and a masterful evocation of New York City and its institutions. Over the course of a single baseball season, Christopher Beha traces the passing of the torch from the old establishment to the new meritocracy, exploring how each generation’s failure helped land us where we are today. Whether or not the world is ending, Beha’s characters are all headed to apocalypses of their own making.
“Full of the kind of swift and lusty writing that comes from a healthy, fresh pen.”—Lillian Hellman, New York Herald Tribune A delightful surprise, Faulkner’s second novel introduces us to a colorful band of passengers on a boating excursion from New Orleans. This engaging, high-spirited novel—which Faulkner wrote “for the sake of writing because it was fun”—offers a fascinating glimpse of Faulkner as a young artist.
Book Faulkner on the Color Line Description/Summary:
A study of William Faulkner's final phase as a period in which he faced up to America's rigid protocols of racial ideology This study argues that Faulkner's writings about racial matters interrogated rather than validated his racial beliefs and that, in the process of questioning his own ideology, his fictional forms extended his reach as an artist. After winning the Nobel Prize in 1950, Faulkner wrote what critics term "his later novels." These have been almost uniformly dismissed, with the prevailing view being that as he became a more public figure, his fiction became a platform rather than a canvas. Within this context Faulkner on the Color Line redeems the novels in the final phase of his career by interpreting them as Faulkner's way of addressing the problem of race in America. They are seen as a series of formal experiments Faulkner deliberately attempted as he examined the various cultural functions of narrative, most particularly those narratives that enforce American racial ideology. The first chapters look at the ways in which the ability to assert oneself verbally informs matters of individual and cultural identity in both the widely studied works of Faulkner's major phase and those in his later career. Later chapters focus on the last works, providing detailed readings of Intruder in the Dust, Requiem for a Nun, the Snopes trilogy, A Fable, and The Reivers. The book examines Faulkner as he confronted the vexing questions of race in these novels and assesses the identity of Faulkner as the Nobel Prize winner who claimed on many occasions that he was "tired," maybe "written out." In his decision not to speak in the identity of the black people represented in his fiction, in his decision to write instead about the complexities of all racial constructions, he produced a host of characters suffering within the rigid protocols on race that had been enforced in America for centuries. As a private, white individual, he could never be other than what he was. Rather than attempt to reconcile Faulkner the public man with the private one, however, this study concludes that through his fiction Faulkner the artist questioned himself and came to understand others across the color line. Theresa M. Towner is Associate Dean for Undergraduate Studies in the School of Arts and Humanities at the University of Texas in Dallas.
From the beginning, William Faulkner's art was consciously self-presenting. In writing of all kinds he created and "performed" a complex set of roles based in his life as he both lived and imagined it. In his fiction, he counterpoised those personae against one another to create a written world of controlled chaos, made in his own protean image and reflective of his own multiple sense of self. In this groundbreaking book, James Watson draws on the entire Faulkner canon, including letters and even photographs, to decipher the complicated ways in which Faulkner put himself forth through written performances and displays based in and expressive of his emotional biography. The topics Watson treats include the overtly performative aspects of The Sound and the Fury and related manuscripts and privately written records of Faulkner's life; the ways in which his complicated marriage and his relationships to male mentors underlie recurring motifs in his fiction such as marriage and fatherhood; his reading of Melville, Hawthorne, and Thoreau, and his working out through them the problematics of authorial sovereignty; his presentation of himself as "Old Moster," the artist-God of his fictional cosmos; and the complex of personal and epistolary relationships that lies behind novels from Soldiers' Pay to Requiem for a Nun.
Book Faulkner and the Native South Description/Summary:
Contributions by Eric Gary Anderson, Melanie R. Anderson, Jodi A. Byrd, Gina Caison, Robbie Ethridge, Patricia Galloway, LeAnne Howe, John Wharton Lowe, Katherine M. B. Osburn, Melanie Benson Taylor, Annette Trefzer, and Jay Watson From new insights into the Chickasaw sources and far-reaching implications of Faulkner's fictional place-name "Yoknapatawpha," to discussions that reveal the potential for indigenous land-, family-, and story-based methodologies to deepen understanding of Faulkner's fiction (including but not limited to the novels and stories he devoted explicitly to Native American topics), the eleven essays of this volume advance the critical analysis of Faulkner's Native South and the Native South's Faulkner. Critics push beyond assessments of the historical accuracy of his Native representations and the colonial hybridity of his Indian characters. Essayists turn instead to indigenous intellectual culture for new models, problems, and questions to bring to Faulkner studies. Along the way, readers are treated to illuminating comparisons between Faulkner's writings and the work of a number of Native American authors, filmmakers, tribal leaders, and historical figures. Faulkner and the Native South brings together Native and non-Native scholars in a stimulating and often surprising critical dialogue about the indigenous wellsprings of Faulkner's creative energies and about Faulkner's own complicated presence in Native American literary history.
This is the second volume of Faulkner’s trilogy about the Snopes family, his symbol for the grasping, destructive element in the post-bellum South. Like its predecessor The Hamlet, and its successor The Mansion, The Town is completely self-contained, but it gains resonance from being read with the other two. The story of Flem Snopes’ ruthless struggle to take over the town of Jefferson, Mississippi, the book is rich in typically Faulknerian episodes of humor and of profundity.
The story of the making of To Have and Have Not (1944) is an exciting and complex one, ranging from the widely reported romance between its stars, Humphrey Bogart and the unknown nineteen-year old Lauren Bacall, to one of the more subtle developments in the wartime alliance between the United States and the Batista regime in Cuba. Bruce F. Kawin's substantial and informed introduction reflects this excitement while explaining the complexities, helping all film scholars, students, and buffs to gain a fuller appreciation of one of Hollywood's most memoriable melodramas. This is a story also of a collaboration amoung four important writers: Ernest Hemingway, Howard Hawks, Jules Furthman, and William Faulkner.