How William Faulkner Constructs His Characters in Absalom, Absalom!
Who says what - and how and when - may be the most compelling way William Faulkner constructs his characters in Absalom, Absalom! Storytelling is not just an act in which the saga of the Sutpens is recounted, revised, and even recreated; it is a gesture of self-disclosure. Each revelation about the past provides a glimpse into the present state of the narrating character's mind. The rhetoric, the digressions, the strange (and often obsessive) fixations of each character's account are the products of a range of personalities and view points, unable to agree on a definitive version of the story.
There are, to be sure, overlaps; these are the events in the stories that transcend the proclivities of each narrator and are probably, though not certainly, the basic facts of what happened. We know there was a man named Thomas Sutpen; who came to Jefferson, Missippi; who married Ellen Coldfield; who had two children with his wife; whose son befriended and later killed a man named Bon; whose daughter was Bon's betrothed; who fought in the Civil War; and who longed for a male heir to carry on the Sutpen legacy. The passion of the storytellers makes us forget that these are the only uniformly corroborated elements of the story. Neither Bond's identity nor Sutpen's mysterious past, though they seem so essential to our understanding of the novel, are indisputable. It is not impossible, indeed, that they are inventions of the narrators, perhaps unconscious embellishments of the story in order to do away with all its troublesome lacunae. Like the reader, the characters have had to infer and imagine a great deal to arrive at a plausible rendering of how things really happened.
These discrepancies, as bewildering as they often are, do not exist to indict the narrators for taking creative liberties with history. Faulkner does not see them as liars or manipulators and we should not either. Indeed, there is no "authentic" version of the Sutpen story, and so, within the bounds of the basic facts we have established, there can be no wrong version. This is not objective reporting; what we have instead are personal interpretations. What we also have are expressions of personality. The story Quentin tells says as much about Quentin Compson as it does about the Sutpens and their travails. He brings his own ...
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...ve involvement in the story, Quentin and Shreve overcome both narrative and temporal convention and finally, after much exhaustion, bring the story a close. At least, that is, for now.
Quentin is very little comforted by the end of his and Shreve's narrative. Shreve, retreating back to his ironic, macho posturing of before, chases the post-story silence away by exclaiming, "The South. Jesus. No wonder you folks all outlive yourselves by years and years and years." Quentin retains his brooding, pensive silence, lying rigidly in the cold dorm room and thinking to himself "Nevermore of peace. Nevermore. Nevermore. Nevermore." The story of the Sutpens has ended, but there has not been (nor will there be) any sort of resolution. Miss Rosa, Mr. Compson, Sutpen, Quentin and Shreve have all tried to bend the story into the shape they most desire, be it a gothic romance, a classical tragedy, a heroic epic, a mystery, or a Southern farce. It is pliable enough, but the story cannot resist being "re-bent" by any narrator who happens upon it. The story, alas, will never be in the exact shape of history. It can, however, be a very close approximation of the patterns of the narrator's mind.
The characters in this story are some very interesting people. They each lead their own way of life, and have their own interests at heart. Some of the main characters in this novel are: Sarny, Lucy, Miss Laura, Bartlett, Stanley, and Sarny's two children Little Delie, and Tyler. Sarny is the central character in this book. She is clever and knows exactly what to even in the worst of times. She is very emotional though, and can break down and cry when the slightest of things happens. This is perhaps from what she has experienced as a slave earlier on in her life. Sarny is fond of teaching people, as a friend named Nightjohn once taught her. Lucy is Sarny's close friend. She is also quite wise, but is a bit too optimistic at times. She never stops smiling and is very friendly. However, she does help Sarny find her lost children. Miss Laura is a middle-aged woman who lives a very luxurious life. She gives Sarny and Lucy a place to live and offers them employment. She also finds Sarny's children for her. Bartlett works for Miss Laura as well. He is a quiet and patient man who is helpful and quite kind. He was however castrated as a young slave boy, and cannot have children. Stanley is Sarny's second husband, for her first died from being worked to death on the plantation. Stanley is a gentle, big, fun-loving man, but is not intimidated by anything. This leads him to his death when he gets mad at a white man, and is confronted by the Ku Klux Klan. Little Delie and Tyler are Sarny's lost children. After she recovers them, and they grow up, Little Delie starts to like business, while Tyler wants to become a doctor.
Moreover, Wideman ends up having difficulties trying to represents what his brother is “saying” because he ends up writing his own personal opinions and thoughts. Although it was something he was trying to avoid considering it would be a manipulation of the story. Throughout the essay, the reader can observe how Wideman analyzes his past experiences with Robby, and how their relationship has transformed over the years. For instance, the author conveys the bonds he had with his brother in order to express that after all this years they still shared “common history, values, and style developed within the tall stockade of family, and that was enough to make us care about each other” (Wideman 674). In addition, he tells the reader how he wanted Robby to know that he was thinking about “Our shared roots and destiny” (Wideman 674) and how that thinking was getting him closer to Robby.
There was little trouble in starting a fire in comparison to obtaining a gun or knife. As a result The American Fire Insurance Company on February 17, 1820 refused to insure homes in slave states.3 The possibility of arson by slaves was used to advocate curfew laws and the establishment of night watches.3Arson occurred frequently during the Civil War, setting a fire the property of patrol men and the official residence of prominent figures such as then President of the Confederate States of America Jefferson Davis in 1864.3 Furthermore in North America running away was popular. Slaves could run to Florida where Spanish offered them freedom. Saint Domingue following the Haitian Revolution offered refuge for slaves. Also slaves would run away to nearby maroon communities. Likewise slaves would integrate into Native American territories such as the Blue Ridge Mountains in South
...ntity in 'There Was a Queen.'." In Faulkner and Gender: Faulkner and Yoknapatawpha, 1994. Ed. Donald M. Kartiganer and Ann J. Abadie. Jackson: University Press of Mississippi, 1996. 160-180. Rpt. in Short Story Criticism. Ed. Jelena O. Krstovic. Vol. 92. Detroit: Gale, 2006. Literature Resource Center. Web. 2 July 2011.
William Faulkner is widely considered to be one of the great American authors of the twentieth century. Although his greatest works are identified with a particular region and time (Mississippi in the late nineteenth and early twentieth centuries), the themes he explores are universal. He was also an extremely accomplished writer in a technical sense. Novels such as The Sound and the Fury and Absalom, Absalom! Feature bold experimentation with shifts in time and narrative. Several of his short stories are favorites of anthologists, including "A Rose for Emily." This strange story of love, obsession, and death is a favorite among both readers and critics. The narrator, speaking for the town of Jefferson in Faulkner 's fictional Yoknapatawpha
Faulkner, William. The Sound and The Fury: The Corrected Text with Faulkner's Appendix. Norton, 1994.
Alexis Bunten based her information on personal experience such as working as a staff member for Tribal Tours in Sitka. She is able to provide information about how the tour guides are not at primitive as the tourist may think. Most of what the tour guides are doing is entertainment, which requires them to use commodified personas. Commodified personas can be defined as changing your character into what may be perceived by others. In the article she talks about a storyteller who is a native of Sitka who works as a tour guide. He tells a story but due to having to please the tourist he has added things in and changed the way the story is told. According to the reading “ the tourism worker expresses free choice
William Faulkner’s short story "An Odor of Verbena" is the tale of a young, Southern man, Baynard Sartoris, who must come to terms with his father’s sudden (but not entirely unexpected) murder. Because this murder takes place in the decade following the Civil War, young Baynard is faced with the South’s ancient honorary code. This code dictates that, as the only son of his father, he must avenge this death. Should Baynard fail to retaliate on his father’s behalf by confronting the murderer, Redmond, who once was his father’s business partner, both Baynard and his family would lose face within their community.
“He heard what Sutpen said, and something seemed to stop dead in him before going on” (1). In the story “Wash” by William Faulkner, Faulkner writes about a man who slowly begins to go crazy and goes to great lengths to kill his family and Colonel Sutpen, a man he once respected. Faulkner creates interesting characters along with riveting conflicts to support his central theme of the story.
Already in the first chapter, the reader begins to gain a sense of the horrors that have taken place. Like the ghost, the address of the house is a stubborn reminder of its history. The characters refer to the house by its number, 124. These digits highlight the absence of Sethe’s murdered third child. As an institution, slavery shattered its victims’ traditional family structures, or else precluded such structures from ever forming. Slaves were thus deprived of the foundations of any identity apart from their role as servants. Baby Suggs is a woman who never had the chance to be a real mother, daughter, or sister. Later, we learn that neither Sethe nor Paul D knew their parents, and the relatively long, six-year marriage of Halle and Sethe is an anomaly in an institution that would regularly redistribute men and women to different farms as their owners deemed necessary.
Brooks, Cleanth. "William Faulkner: Visions of Good and Evil." Faulkner, New Perspectives. Ed. Richard H. Brodhead. Englewood Cliffs, New Jersey : Prentice-Hall, 1983.
This story follows the typical format and is narrated in the third person. In the exposition, Faulkner’s skill as a writer is demonstrated through the way that he uses detail to draw the readers into the story. Also, in the first paragraph we are introduced to the main character and protagonist in the story, Sarty. The setting in which Sarty’s conflict is established is a trial. In the trial, the justice asks Sarty, “ I reckon any boy named for Colonel Sartoris in this country can’t help but tell the truth, can they” (qtd. in...
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.
It is true that most entrepreneurs typically have a flair for the creative and a lot of energy. They are born with it. But having these characteris...