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<p>Notes on Contributors viii</p> <p>Acknowledgments xiv</p> <p>Introduction 1<br /> <i>Richard C. Moreland</i></p> <p><b>PART I Contexts 5</b></p> <p>1 A Difficult Economy: Faulkner and the Poetics of Plantation Labor 7<br /> <i>Richard Godden</i></p> <p>2 "We're Trying Hard as Hell to Free Ourselves": Southern History and Race in the Making of William Faulkner's Literary Terrain 28<br /> <i>Grace Elizabeth Hale and Robert Jackson</i></p> <p>3 A Loving Gentleman and the Corncob Man: Faulkner, Gender, Sexuality, and The Reivers 46<br /> <i>Anne Goodwyn Jones</i></p> <p>4 "C'est Vraiment Dégueulasse": Meaning and Ending in A bout de souffle and If I Forget Thee, Jerusalem 65<br /> <i>Catherine Gunther Kodat</i></p> <p>5 The Synthesis of Marx and Freud in Recent Faulkner Criticism 85<br /> <i>Michael Zeitlin</i></p> <p>6 Faulkner's Lives 104<br /> <i>Jay Parini</i></p> <p><b>PART II Questions 113</b></p> <p>7 Refl ections on Language and Narrative 115<br /> <i>Owen Robinson</i></p> <p>8 Race as Fact and Fiction in William Faulkner 133<br /> <i>Barbara Ladd</i></p> <p>9 "Why Are You So Black?" Faulkner's Whiteface Minstrels, Primitivism, and Perversion 148<br /> <i>John N. Duvall</i></p> <p>10 Shifting Sands: The Myth of Class Mobility 165<br /> <i>Julia Leyda</i></p> <p>11 Faulkner's Families 180<br /> <i>Arthur F. Kinney</i></p> <p>12 Changing the Subject of Place in Faulkner 202<br /> <i>Cheryl Lester</i></p> <p>13 The State 220<br /> <i>Ted Atkinson</i></p> <p>14 Violence in Faulkner's Major Novels 236<br /> <i>Lothar Hönnighausen</i></p> <p>15 An Impossible Resignation: William Faulkner's Post-Colonial Imagination 252<br /> <i>Sean Latham</i></p> <p>16 Religion: Desire and Ideology 269<br /> <i>Leigh Anne Duck</i></p> <p>17 Cinematic Fascination in Light in August 284<br /> <i>Peter Lurie</i></p> <p>18 Faulkner's Brazen Yoke: Pop Art, Modernism, and the Myth of the Great Divide 301<br /> <i>Vincent Allan King</i></p> <p><b>PART III Genres and Forms 319</b></p> <p>19 Faulkner's Genre Experiments 321<br /> <i>Thomas L. McHaney</i></p> <p>20 "Make It New": Faulkner and Modernism 342<br /> <i>Philip Weinstein</i></p> <p>21 Faulkner's Versions of Pastoral, Gothic, and the Sublime 359<br /> <i>Susan V. Donaldson</i></p> <p>22 Faulkner, Trauma, and the Uses of Crime Fiction 373<br /> <i>Greg Forter</i></p> <p>23 William Faulkner's Short Stories 394<br /> <i>Hans H. Skei</i></p> <p>24 Faulkner's Non-Fiction 410<br /> <i>Noel Polk</i></p> <p>25 Faulkner's Texts 420<br /> <i>Noel Polk</i></p> <p><b>PART IV Sample Readings 427</b></p> <p>26 "By It I Would Stand or Fall": Life and Death in As I Lay Dying 429<br /> <i>Donald M. Kartiganer</i></p> <p>27 Faulkner and the Southern Arts of Mystifi cation in Absalom, Absalom! 445<br /> <i>John Carlos Rowe</i></p> <p>28 "The Cradle of Your Nativity": Codes of Class Culture and Southern Desire in Faulkner's Snopes Trilogy 459<br /> <i>Evelyn Jaffe Schreiber</i></p> <p><b>PART V After Faulkner 477</b></p> <p>29 "He Doth Bestride the Narrow World Like a Colossus": Faulkner's Critical Reception 479<br /> <i>Timothy P. Caron</i></p> <p>30 Faulkner, Latin America, and the Caribbean: Infl uence, Politics, and Academic Disciplines 499<br /> <i>Deborah Cohn</i></p> <p>31 Faulkner's Continuance 519<br /> <i>Patrick O'Donnell</i></p> <p>Index 528</p>

<p><b>Richard C. Moreland</b> is Professor and former Chair of English at Louisiana State University. His previous publications include <i>Faulkner and Modernism: Rereading and Rewriting</i> (1990) and <i>Learning from Difference: Teaching Morrison, Twain, Ellison, and Eliot</i> (1999).</p>

Arguably the greatest novelist yet to emerge from the United States, William Faulkner received the Nobel Prize for Literature and the Pulitzer Prize, among other awards, for his narrative reconstructions of life in the US South. Since his death in 1962, scholarly interpretations of Faulkner’s work have flourished. This comprehensive <i>Companion</i> reflects the current dynamic state of Faulkner studies. <p>Written by leading scholars, the text is designed to guide readers through the plethora of critical approaches to Faulkner. The volume is divided into five sections focusing on: studies of the contexts of Faulkner’s work; key questions addressed in Faulkner criticism; the genres and forms Faulkner encountered and altered; sample readings of particular works; and responses to Faulkner’s writing by publishers, film-makers, writers and others. Each contribution both exemplifies current Faulkner scholarship and critically reflects on previous interpretations.</p>

<p>“Recommended.”—<i>Choice</i></p>

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