Non-Chronological Narration Technique Used in Faulkner’s The Unvanquished
The novel The Unvanquished is a about a young boy’s coming of age story, as seen through the eyes of the grown man that he is to become. The great advantage of this form of narration is the ability it grants Faulkner to be able to reach forward and backward through time unrestrained in order to pull the type of significance and lesson from this boy’s story that can only be seen upon reflection. Despite surely being a technique borrowed from the author James Joyce, William Faulkner was arguably the first to realize what this disregard for chronology could offer to a story of values of masculinity. By looking back on what it means to be a man, as opposed to forward, William keeps the lessons of manhood clear and concise, as opposed to the vague and confused path a boy must in actuality take.
From the very first lines we see the stark contrast between protagonist and narrator, and the important role it plays. The story opens with the two youthful friends, Ringo and Bayard, fantasizing about the battle in Vicksburg they believed their hero and Bayard’s father, Colonel Sartoris, was fighting. As they stage their own imitation though, the narrator’s tone is completely opposite of the idolatry of the children. He says of their mock Vicksburg landscape, that it was “possessing even in miniature that ponderable though passive recalcitrance of topography which outweighs artillery, against which the most brilliant of victories and the most tragic of defeats are but the loud noises of a moment.” In this way the narrator has completely laid bare the naivety of the children in getting caught up in the passions of their limited and ultimately insignificant struggles, and even more importantly, the ignorance of the man whom they attempt to emulate. While the story is one of confederate pride, embodied in spirit by the character of Bayard’s father, the narrator is the voice of tempered reflection. He describes the futility of the south’s plight through the metaphor of the children playing. He says of their miniature battle of Vicksburg,
“[It was] the very setting of the stage for conflict a prolonged and wellnigh hopeless ordeal in which we ran, panting and interminable, with the leaking bucket between wellhouse and battlefield,… to join forces…against…time, before we could engender between us and hold intact the pattern of recapitulant mimic furious victory like a cloth, a shield between ourselves and reality, between us and fact and doom.
William Faulkner tells his novel The Unvanquished through the eyes and ears of Bayard, the son of Confederate Colonel John Sartoris. The author’s use of a young boy during such a turbulent time in American history allows him to relate events from a unique perspective. Bayard holds dual functions within the novel, as both a character and a narrator. The character of Bayard matures into a young adult within the work, while narrator Bayard relays the events of the story many years later.
The novel starts with a preamble that actually pace sets the panorama for the proceeding actions and is split into two sections. The first section defines two different kinds of armies. They are armies of Northern Virginia that are headed by Robert Lee and managed to go through Potomac which was located at Williamsport and attacked the Northern areas. All this occurred in the year 1863. The major objective of the attack was to dare the Union army into a war and defeat it. Towards the end of June that year, the Potomac army and Union army that had at least eighty thousand men decided to advance northward on the heels of the rebels who had somehow stopped at Gettysburg. In the next section, a description of the main characters is done. On the confederate side, Robert Edward Lee, James Longstreet, George Pinkett, Richard Ewell, Ambrose Power Hill, Lewis Armistead, Richard Brooke Garnett, J.E.B. Stuart, Jubal Early are mentioned. On the union side, Joshua Lawrence Chamberlain, John Buford, John Reynolds, George Gordon Meade, Winfield Scott Hancock are also named.
War and Grief in Faulkner’s Shall Not Perish and The Unvanquished. It is inevitable when dealing regularly with a subject as brutal as war, that death will occur. Death brings grief for the victim’s loved ones, which William Faulkner depicts accurately and fairly in many of his works, including the short story “Shall Not Perish” and The Unvanquished.
War slowly begins to strip away the ideals these boy-men once cherished. Their respect for authority is torn away by their disillusionment with their schoolteacher, Kantorek who pushed them to join. This is followed by their brief encounter with Corporal Himmelstoss at boot camp. The contemptible tactics that their superior officer Himmelstoss perpetrates in the name of discipline finally shatters their respect for authority. As the boys, fresh from boot camp, march toward the front for the first time, each one looks over his shoulder at the departing transport truck. They realize that they have now cast aside their lives as schoolboys and they feel the numbing reality of their uncertain futures.
The narrator’s father is being freed from slavery after the civil war, leads a quiet life. On his deathbed, the narrator’s grandfather is bitter and feels as a traitor to the blacks’ common goal. He advises the narrator’s father to undermine the white people and “agree’em to death and destruction (Ellison 21)” The old man deemed meekness to be treachery. The narrator’s father brings into the book element of emotional and moral ambiguity. Despite the old man’s warnings, the narrator believes that genuine obedience can win him respect and praise.
Growing up in Mississippi in the late Nineteenth Century and the early part of the Twentieth Century, young William Faulkner witnessed first hand the struggles his beloved South endured through their slow progression of rebuilding. These experiences helped to develop Faulkner’s writing style. “Faulkner deals almost exclusively with the Southern scene (with) the Civil War … always behind his work” (Warren 1310. His works however are not so much historical in nature but more like folk lore. This way Faulkner is not constrained to keep details accurate, instead he manipulate the story to share his on views leading the reader to conclude morals or lessons from his experience. Faulkner writes often and “sympathetically of the older order of the antebellum society. It was a society that valued honor, (and) was capable of heroic action” (Brooks 145) both traits Faulkner admired. These sympathetic views are revealed in the story “A Rose for Emily” with Miss Emily becoming a monument for the Antebellum South.
...s, demonstrated through the author's talent, are denouncing the authority figures who were supposed to guide his generation into adulthood but instead turned the youth against each other in the pursuit of superficial ideals. The soldiers were simply the victims of a meaningless war.
The reader is put in the middle of a war of nerves and will between two men, one of which we have grown up to learn to hate. This only makes us even more emotional about the topic at hand. For a history book, it was surprisingly understandable and hard to put down. It enlightened me to the complex problems that existed in the most memorable three months this century.
Brooks, Cleanth. "William Faulkner: Visions of Good and Evil." Faulkner, New Perspectives. Ed. Richard H. Brodhead. Englewood Cliffs, New Jersey : Prentice-Hall, 1983.
Sheetz 1 Sarah Sheetz Ms. Rosenberger English 4 October 17, 2016 Faulkner’s Self Help Book In “Barn Burning,” Faulkner illustrates a boy’s coming to age story, including his struggle in choosing whether to stand by in the midst of his father’s destructive cycle of spiteful burning or stand up for his own belief in civic duty. While most readers do not relate to having a father that habitually burns others’ belongings in a strange power scheme, readers relate to the struggle between blood ties and their own values. Taking the theme even broader, readers relate to any struggle with making a decision. Through imagery, reoccurring motifs, and diction, Faulkner creates an intense pressure which enhances readers understanding of Sarty, his struggle,
Leadership at times can be a complex topic to delve into and may appear to be a simple and graspable concept for a certain few. Leadership skills are not simply acquired through position, seniority, pay scale, or the amount of titles an individual holds but is a characteristic acquired or is an innate trait for the fortunate few who possess it. Leadership can be misconstrued with management; a manager “manages” the daily operations of a company’s work while a leader envisions, influences, and empowers the individuals around them.
In the beginning of the novel, it becomes known that the narrator is a black boy living in the south. He is discriminated against by everybody around him. He is seen as nothing. The narrator is chosen to take part in the Battle Royal, which is a fight between ten black boys used to entertain the white men of the town. The narrator describes this experience by saying “But now I felt a sudden fit of blind terror. I was unused to darkness. It was as though I had suddenly found myself in a dark room filled with poisonous cottonmouths. I could hear the bleary voices yelling insistently for the battle royal to begin” (21). This quote explains that the narrator is being put in a position that he does not want to be in. He is being treated like he is less than all of the men gathered to watch the fight. Once the fight begins, the narrator also explains “Blindfolded, I could no longer control my motions. I had no dignity. I stumbled about like a baby or a drunken man” (22). This quote states that the narrator feels humiliated. He is being treated like he is nothing. The fight is discouraging and humiliating for the narrator to ha...
By reading closely and paying attention to details, I was able to get so much more out of this story than I did from the first reading. In short, this assignment has greatly deepened my understanding and appreciation of the more complex and subtle techniques Faulkner used to communicated his ideas in the story.
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.
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.