“That Evening Sun” is a short story written in 1931 by William Faulkner. Faulkner’s life in the South and family history has had a significant influence upon Faulkner’s writing style, in both content and its context, and his knowledge of southern culture and events in its history only add depth to his work. The events in “That Evening Sun”, like many of Faulkner’s stories, takes place in the fictional town of Jefferson. The story is narrated by Quentin Compson who was nine years old when the story takes place, but is now an adult recounting the events from fifteen years before. The story revolves around the Compson’s and their children’s relationship with the stories main character Nancy. Nancy is a Negro woman who is employed by Compson family. Nancy has got herself into a dilemma first by causing a disturbance by publicly demanding payment from the town banker and church deacon Mr. Stovall for sexual services and next by becoming pregnant with by him. Nancy’s pregnancy causes her husband Jesus to become angered; he then deserts her and leaves town. Nancy communicates to Mr. Compson, that she believes Jesus will soon return to kill her. The story relates to the reader the seriousness of Nancy’s situation and how and how it is taken without any seriousness by the Compsons’.
There are several literary terms which are significant to “That Evening Sun”. “That Evening Sun” is told from a third person point of view. The narrator of the story is Quentin Compson who is also a character in the story. He tells his story fifteen years after the events have passed looking back upon them as an adult. The setting of the story is in Jefferson, Virginia around 1902. The protagonist of the story is Nancy who is struggling with the fear that her ...
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...ed to the crucifixion of Christ where Peter denies him three times. When Nancy is taken to Jail and hangs herself, this can also be compared as a crucifixion. I am still at odds at whom or what is the heart of her suffering. One can also see how unaware the children are of the situation, only Quentin seems to know what Nancy is afraid of. Since it is Quentin who is narrating the story we do not know if his understanding happened at the time of the story or upon his retelling. Reading “That Evening Sun”, has inspired me to read The Sound and the Fury, which I believe has many of the same characters.
Works Cited
Faulkner, William. “That Evening Sun”. literaturesave2wordpress.com.N.p., N.d. Web. 04 February 2012.
Johnston, Kenneth G. “The Year of the Jubilee: Faulkner’s “That Evening Sun””www.jstor.org. Duke University Press. 1974. Web. 04 February 2012.
Faulkner, William. "Barn Burning." The Heath Anthology of American Literature. Ed. Paul Lauter. 3th ed. Boston: Houghton Mifflin, 1998. 1554-66.
Dusk. It is that darker side of twilight when the sun has just set, but the moon has yet to take full charge. It is a time of mergings, of vagueness and ambiguity, when an end and a beginning change places. The sun steps aside and lets the moon and stars take over for a while. As the most pervasive image in the first section of Jean Toomer's Cane, it is the time of day when "[t]he sky, lazily disdaining to pursue/The setting sun, too indolent to hold/ A lengthened tournament for flashing gold,/Passively darkens" ("Georgia Dusk," 15). It is also a reflection of the souls of the characters, like Karintha, "perfect as dusk when the sun goes down" (3). Dusk and its smoky, dreamlike derivatives form the connective imagery joining light and dark, day and night, black and white. It is the kind of imagery that most closely articulates what George Hutchinson called Toomer's dream of a new "American" race in his essay "Jean Toomer and American Racial Discourse" (227). He says, "Toomer's vision of a coming merging of the races makes perfect sense within the framework of the first section of Cane: the dystopia of the contemporary South implies a corresponding utopia" (234). While Hutchinson's theories rely heavily upon miscegenation and Toomer's use of racially mixed characters, the more compelling evidence seems to lie in the murkiness of both the mystic-like atmosphere of rural Georgia and the half created characterizations of its people. Through his distinctly modern use of imagery, Toomer creates a new iconography that defines a vision of the future where colors merge and race is no longer the harbinger of identity.
Faulkner has created a masterful piece of story telling in taking the reader through a suspenseful and captivating story. The effective use of foreshadowing does not diminish the climax of the story but rather enhance it by not giving out the details, but leaving it to the imagination of the reader. Through the organization of the structure of the storyline mixing with clever clues, Faulkner transforms Emily through the many tragic stages of her life and the ever-accompanying presence of death.
In the novel, A Light in August, William Faulkner introduces us to a wide range of characters of various backgrounds and personalities. Common to all of them is the fact that each is type cast into a certain role in the novel and in society. Lena is the poor, white trash southern girl who serves to weave the story together. Hightower is the fanatic preacher who is the dark, shameful secret of Jefferson. Joanna Burden is the middle-aged maiden from the north who is often accused of being a “nigger-lover”. And Joe Christmas is the epitome of an outsider. None of them are conventional, everyday people. They are all in some way disjointed from society; they do not fit in with the crowd. That is what makes them intriguing and that is why Faulkner documents their story.
Porter, Carolyn. "William Faulkner: Innocence Historicized." Seeing and Being: The Plight of the Participant Observer in Emerson, James, Adams, and Faulkner. Middletown, CT: Wesleyan University Press, 1981. Cited as rpt. in Bloom.
On September 25, 1897 in New Albany, Mississippi, a son was born to Murry Cuthbert and Maud Butler Faulkner. This baby, born into a proud, genteel Southern family, would become a mischievous boy, an indifferent student, and drop out of school; yet “his mother’s faith in him was absolutely unshakable. When so many others easily and confidently pronounced her son a failure, she insisted that he was a genius and that the world would come to recognize that fact” (Zane). And she was right. Her son would become one of the most exalted American writers of the 20th century, winning the Nobel Prize for Literature and two Pulitzers during his lifetime. Her son was William Faulkner.
654, line 1&2). The sunlight motion suggesting a “balance of upward and downward, rising and falling” (Harris, J. 2004), resplendent in nature and indirectly influences the reader spiritually and emotionally. Jane Kenyon’s Let Evening Come (1990), uses sunlight to project an image of a slow moving late afternoon sun, which will soon slip into the darkness of night. The light through the “chinks in the barn” (Kenyon, 1990, pg. 654, line 2), gives me the sense of an aging body and soul fading into the darkness.
The rise and industrialization of the South began with the end of the Civil War. This aided in the transition from Old to New South, from a time of poverty and slave labor to a more progressive time. The decline of the Old South was often unaccepted and ignored by southerners as they tried to cling to their past ways. Faulkner highlights the cultural shift from Old to New South through character relationships and personalities in his short stories “A Rose for Emily,” “That Evening Sun,” and “Red Leaves.”
Light in August, a novel written by the well-known author, William Faulkner, can definitely be interpreted in many ways. However, one fairly obvious prospective is through a religious standpoint. It is difficult, nearly impossible, to construe Light in August without noting the Christian parallels. Faulkner gives us proof that a Christian symbolic interpretation is valid. Certain facts of these parallels are inescapable and there are many guideposts to this idea.
Faulkner, William. The Sound and The Fury: The Corrected Text with Faulkner's Appendix. Norton, 1994.
---. Faulkner in the University. Ed. Frederick L. Gwynn and Joseph L. Blotner. Charlottesville: U of Virginia P, 1959.
Faulkner's style may give you trouble at first because of (1) his use of long, convoluted, and sometimes ungrammatical sentences, such as the one just quoted; (2) his repetitiveness (for example, the word "bleak" in the sentence just quoted); and (3) his use of oxymorons, that is, combinations of contradictory or incongruous words (for example, "frictionsmooth," "slow and ponderous gallop," "cheerful, testy voice"). People who dislike Faulkner see this style as careless. Yet Faulkner rewrote and revised Light in August many times to get the final book exactly the way he wanted it. His style is a product of thoughtful deliberation, not of haste. Editors sometimes misunderstood Faulkner's intentions and made what they thought were minor changes. Recently scholars have prepared an edition of Light in August that restores the author's original text as exactly as possible. This Book Note is based on that Library of America edition (1985), edited by Noel Polk and Joseph Blotner.
Literature: From Faulkner and Morrison to Walker and Silko, American Literature Readings in the 21st Century. New York: Palgrave MacMillan, 2008. Print.
Faulkner, William. “A Rose For Emily.” An Introduction to Fiction. 10th ed. Eds: X.J. Kennedy and Dana Gioia. New Yorkk: Pearson Longman, 2007. 29-34.
Light in August is a novel about human dilemmas par excellence in which Faulkner tries to account for the importance of childhood experiences in determining the character of individuals as adults. He also emphasizes the role played by society in defining the traits of it members as a result of the views and attitudes it imposes on them.