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Books on the topic 'Absalom! (Faulkner, William)'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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1

Urgo, Joseph R. Reading Faulkner: Absalom, Absalom! : glossary and commentary. Jackson: University Press of Mississippi, 2010.

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2

Sutpen's design: Interpreting Faulkner's Absalom, Absalom! Charlottesville: University Press of Virginia, 1990.

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3

Johnson, Carol Siri. William Faulkner's Absalom, Absalom! Piscataway, N.J: Research & Education Association, 1996.

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4

Ragan, David Paul. William Faulkner's Absalom, Absalom!: A critical study. Ann Arbor: UMI Research Press, 1987.

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5

Absalom Absalom By William Faulkner. Salem Press, 2011.

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6

Reading Faulkner Absalom Absalom. University Press of Mississippi, 2010.

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7

1943-, Hobson Fred C., ed. William Faulkner's Absalom, Absalom!: A casebook. Oxford, [U.K.]: New York, 2003.

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8

Langford, Gerald. Faulkner's Revision of Absalom, Absalom!: A Collation of the Manuscript and the Published Book. University of Texas Press, 2015.

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9

Lurie, Peter. Seeing in the Dark Houses. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199797318.003.0002.

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This chapter uses historicist criticism of William Faulkner to suggest a limit to even the best approaches to this deeply historical writer. Attending to what his novels cannot say—or—see about history and racial understanding, I draw on Maurice Blanchot’s philosophy of language to show the category error that scholars make when assuming that Faulkner’s texts yield the historical secret lodged in the imagined structures and complicated texts Absalom, Absalom! and Light and August, each of which bore the title “Dark House” in manuscript form. The chapter shows the more meaningful aporias and lacunae surrounding race and racial meaning in each novel and the U.S. south—problems attendant on language and the effort to name. It offers a model for historical knowledge drawn from Blanchot and from film theory of fascination, a spellbound, rapt sense of wonder before traumatic events, one that elements of Absalom evoke in readers and posits in Quentin Compson.

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10

Muhlenfeld, Elisabeth. William Faulkner’s Absalom, Absalom! Routledge, 2017. http://dx.doi.org/10.4324/9781315146430.

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11

Harold, Bloom, ed. William Faulkner's Absalom, Absalom! New York: Chelsea House Publishers, 1987.

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12

William Faulkner's 'Absalom, Absalom!: A Critical Casebook. Taylor & Francis Group, 2017.

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13

Faulkner, William. William Faulkner's Absalom, Absalom!: A Casebook (Casebooks in Criticism). Oxford University Press, USA, 2003.

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14

Hobson, Fred. William Faulkner's Absalom, Absalom!: A Casebook (Casebooks in Criticism). Oxford University Press, USA, 2003.

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15

Ragan, David Paul. William Faulkner's "Absalom, Absalom!": A Critical Study (Studies in Modern Literature No. 85). Books on Demand, 1989.

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16

Lawrence, Jeffrey. Uncommon Grounds. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690205.003.0004.

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This chapter turns from a historical account of the development of the US literature of experience and the Latin American literature of reading to a textual analysis of the US and Latin American historical novel. Hemispheric/inter-American scholars often cite William Faulkner’s Absalom, Absalom! (1936), Gabriel García Márquez’s One Hundred Years of Solitude (1967), and Toni Morrison’s Song of Solomon (1977) as exemplifying instances of literary borrowing across the North–South divide. As I demonstrate, however, each of the later texts also realigns its predecessor’s historical imaginary according to the dominant logics of the US and Latin American literary fields. Whereas the American works foreground experiential models of reconstructing the past and conveying knowledge across generations, García Márquez’s Latin American novel presents reading as the fundamental mode of comprehending and transmitting history.

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17

Redfield, Marc. Shibboleth. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823289066.001.0001.

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In the Book of Judges, the Gileadites use the word shibboleth to target and kill members of a closely related tribe, the Ephraimites, who cannot pronounce the initial shin phoneme. In modern European languages, shibboleth has come to mean a hard-to-falsify sign that winnows identities and establishes and confirms borders; it has also acquired the ancillary meanings of slogan or cliché. The semantic field of shibboleth thus seems keyed to the waning of the logos in an era of technical reproducibility—to the proliferation of technologies and practices of encryption, decryption, exclusion and inclusion that saturate modern life. In the context of an unending refugee crisis and a general displacement, monitoring and quarantining of populations within a global regime of technics, Paul Celan’s subtle yet fierce reorientation of shibboleth merits scrupulous reading. Building on Jacques Derrida’s Shibboleth: For Paul Celan, but following its own itinerary, this book interprets the episode in Judges together with texts by Celan, passages from William Faulkner’s Absalom! Absalom!, and Doris Salcedo’s 2007 installation Shibboleth at the Tate Modern, pursuing the track of a word to which no language can properly lay claim—a word that is both less and more than a word, that signifies both the epitome and the ruin of border control technology, and that thus, despite its violent role in the Biblical story, offers Celan a locus of poetico-political affirmation.

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