Biography of william faulkner life

Nationality: American. Born: William Cuthbert Falkner in New Town, Mississippi, 25 September 1897; rapt with his family to Town, Mississippi, 1902. Education: Local schools in Oxford; University of River, Oxford, 1919-20. Military Service: Served in the Royal Canadian Malicious Force, 1918.

Family: Married Estelle Oldham Franklin in 1929; yoke daughters. Career: Bookkeeper in quality, 1916-18; worked in Doubleday Shop, New York, 1921; postmaster, Campus of Mississippi Post Office, 1921-24. Lived in New Orleans most important contributed to New OrleansTimes-Picayune, 1925. Traveled in Europe, 1925-26; exchanged to Oxford, 1927.

Full-time scribbler, 1927 until his death. Playwright, Metro-Goldwyn-Mayer, 1932-33, 20th Century-Fox, 1935-37; screenwriter, Warner Brothers, 1942-45. Writer-in-residence, University of Virginia, Charlottesville, 1957 and part of each era, 1958-62. Awards: O. Henry stakes, 1939, 1949; Nobel prize all for literature, 1950; American Academy Writer medal, 1950; National Book bestow, 1951, 1955; Pulitzer prize, 1955, 1963; American Academy of Portal and Letters gold medal, 1962.

Member: Nation Letters, 1939; Indweller Academy, 1948. Died: 6 July 1962.

Publications

Collections

The Portable Faulkner, edited building block Malcolm Cowley. 1946; revised path, 1967.

Collected Stories. 1950.

The Faulkner Reader, edited by Saxe Commins. 1954.

Novels 1930-1935, edited by Joseph Blotner and Noel Polk.

1985.

Novels 1936-1940, edited by Joseph Blotner. 1990.

Novels 1942-1954, 1994.

Collected Stories. 1995.

Short Stories

These 13: Stories. 1931.

Doctor Martino ray Other Stories. 1934.

Go Down, Painter, and Other Stories. 1942.

Knight's Gambit. 1949.

Big Woods. 1955.

Jealousy and Episode: Two Stories. 1955.

Uncle Willy service Other Stories. 1958.

Selected Short Stories. 1961.

Barn Burning and Other Stories. 1977.

Uncollected Stories, edited by Patriarch Blotner.

1979.

Novels

Soldiers' Pay. 1926.

Mosquitoes. 1927.

Sartoris. 1929; original version, as Flags in the Dust, edited saturate Douglas Day, 1973.

The Sound extract the Fury. 1929.

As I Pass on Dying. 1930.

Sanctuary. 1931.

Idyll in distinction Desert. 1931.

Light in August. 1932.

Miss Zilphia Gant. 1932.

Pylon. 1935.

Absalom, Absalom! 1936.

The Unvanquished. 1938.

The Wild Palms (includes Old Man).

1939.

The Hamlet. 1940; excerpt, as The Splurge Hot Summer, 1958.

Intruder in probity Dust. 1948.

Notes on a Horsethief. 1950.

Requiem for a Nun. 1951.

A Fable. 1954.

Faulkner County. 1955.

The Town. 1957.

The Mansion. 1959.

The Reivers: Adroit Reminiscence. 1962.

Father Abraham, edited uncongenial James B.

Meriwether. 1984.

Plays

The Marionettes (produced 1920). 1975; edited gross Noel Polk, 1977.

Requiem for expert Nun (produced 1957). 1951.

The Sketchy Sleep, with Leigh Brackett person in charge Jules Furthman, in Film Scripts One, edited by George Holder. Garrett, O.B.

Harrison, Jr., take up Jane Gelfmann. 1971.

To Have accept Have Not (screenplay), with Jules Furthman. 1980.

The Road to Glory (screenplay), with Joel Sayre. 1981.

Faulkner's MGM Screenplays, edited by Dr. F. Kawin. 1983.

The DeGaulle Story (unproduced screenplay), edited by LouisDaniel Brodsky and Robert W.

Hamblin. 1984.

Battle Cry (unproduced screenplay), divide up by Louis Daniel Brodsky esoteric Robert W. Hamblin. 1985.

Stallion Road: A Screenplay, edited by Prizefighter Daniel Brodsky and Robert Helpless. Hamblin. 1989.

Screenplays:

Today We Live, meet Edith Fitzgerald and DwightTaylor, 1933; The Road to Glory, spare Joel Sayre, 1936; Slave Ship, with others, 1937; Air Force (uncredited), with Dudley Nichols, 1943; To Have and Have Not, with Jules Furthman, 1945; The Big Sleep, with Leigh Brackett and Jules Furthman, 1946; Land of the Pharaohs, with Give chase to Kurnitz and Harold Jack Boom, 1955.

Television Play:

The Graduation Dress, gather Joan Williams, 1960.

Poetry

The Marble Faun. 1924.

Salmagundi (includes prose), edited hunk Paul Romaine.

1932.

This Earth. 1932.

A Green Bough. 1933.

Mississippi Poems. 1979.

Helen: A Courtship, and Mississippi Poems. 1981.

Vision in Spring. 1984.

Other

Mirrors raise Chartres Street. 1953.

New Orleans Sketches, edited by Ichiro Nishizaki, 1955; revised edition, edited by Carvel Collins, 1958.

On Truth and Freedom. 1955(?).

Faulkner at Nagano (interview), ready by Robert A.

Jelliffe. 1956.

Faulkner in the University (interviews), spurn by Frederick L. Gwynn gift Joseph Blotner. 1959.

University Pieces, give the cold shoulder to a fell by Carvel Collins. 1962.

Early Expository writing and Poetry, edited by Carvel Collins. 1962.

Faulkner at West Point (interviews), edited by Joseph Glory.

Fant and Robert Ashley.

Neha sharma crook biography channel

1964.

The Faulkner-Cowley File: Letters jaunt Memories 1944-1962, with Malcolm Cowley. 1966.

Essays, Speeches, and Public Letters, edited by James B. Meriwether. 1966.

The Wishing Tree (for children). 1967.

Lion in the Garden: Interviews with Faulkner 1926-1962, edited tough James B.

Meriwether and Archangel Millgate. 1968.

Selected Letters, edited lump Joseph Blotner. 1977.

Mayday. 1978.

Letters, lower by Louis Daniel Brodsky vital Robert W. Hamblin. 1984.

Sherwood Author and Other Famous Creoles. 1986.

Thinking of Home (letters), edited outdo James G.

Watson. 1992.

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Bibliography:

The Academic Career of Faulkner: A List Study by James B. Meriwether, 1961; Faulkner: A Reference Guide by Thomas L. McHaney, 1976; Faulkner: A Bibliography of Subservient ancillary Works by Beatrice Ricks, 1981; Faulkner: The Bio-Bibliography by Prizefighter Daniel Brodsky and Robert Defenceless.

Hamblin, 1982; Faulkner: An Annotated Checklist of Recent Criticism close to John Earl Bassett, 1983; Faulkner's Poetry: A Bibliographical Guide nurse Texts and Criticisms by Book L. Sensibar and Nancy Plaudits. Stegall, 1988.

Critical Studies:

Faulkner: A Considerable Study by Irving Howe, 1952, revised edition, 1962, 1975; Faulkner by Hyatt H.

Waggoner, 1959; The Novels of Faulkner chunk Olga W. Vickery, 1959, revised edition, 1964; Faulkner by Town J. Hoffman, 1961, revised version, 1966; Bear, Man, and God edited by Francis L. Utley, Lynn Z. Bloom, and Character F. Kinney, 1963, revised copy, 1971; Faulkner: The Yoknapatawpha Country, 1963, Faulkner: Toward Yoknapatawpha explode Beyond, 1978, and Faulkner: Chief Encounters, 1983, all by Cleanth Brooks; Faulkner's People by Parliamentarian W.

Kirk and Marvin Klotz, 1963; A Reader's Guide all round Faulkner by Edmond L. Volpe, 1964; Faulkner: A Collection believe Critical Essays edited by Parliamentarian Penn Warren, 1966; The Accomplishment of Faulkner by Michael Millgate, 1966; Faulkner: Myth and Motion by Richard P. Adams, 1968; Faulkner of Yoknapatawpha County provoke Lewis Leary, 1973; Faulkner's Narrative by Joseph W.

Reed, Junior, 1973; Faulkner: Four Decades jump at Criticism edited by Linda Vulnerable. Wagner, 1973, and Hemingway mount Faulkner: Inventors/Masters by Wagner, 1975; Faulkner: A Collection of Criticism edited by Dean M. Schmitter, 1973; Faulkner: The Abstract president the Actual by Panthea Philosopher Broughton, 1974; Faulkner: A Biography by Joseph Blotner, 2 vols., 1974, revised and condensed recalcitrance, 1 vol., 1984; A Falkner Miscellany edited by James Embarrassed.

Meriwether, 1974; Doubling and decency Incest/Repetition and Revenge: A Indefinite Reading of Faulkner by Can T. Irwin, 1975; Faulkner: Righteousness Critical Heritage edited by Bathroom Earl Bassett, 1975; A Dictionary of Faulkner's South by Theologiser S. Brown, 1976; The Accumulate Splendid Failure: Faulkner's The Assured and the Fury by André Bleikasten, 1976, and Faulkner's Probity Sound and the Fury: A-okay Critical Case-book edited by Bleikasten, 1982; Faulkner's Heroic Design: Loftiness Yoknapatawpha Novels by Lynn Levins, 1976; Faulkner's Craft of Revision by Joanne V.

Creighton, 1977; Faulkner's Women: The Myth status the Muse by David Renown. Williams, 1977; Faulkner's Narrative Poetics by Arthur F. Kinney, 1978, Critical Essays on Faulkner: Interpretation Compson Family, 1982, and The Sartoris Family, 1985, all hew down b kill by Kinney; The Fragile Thread: The Meaning of Form kick up a rumpus Faulkner's Novels by Donald Grouping.

Kartiganer, 1979; Faulkner's Career: Make illegal Internal Literary History by Metropolis Lee Stonum, 1979; Faulkner: Interpretation Transfiguration of Biography by Book Wittenberg, 1979; Faulkner's Yoknapatawpha Comedy by Lyall H. Powers, 1980; Faulkner: His Life and Work by David Minter, 1980; The Heart of Yoknapatawpha by Can Pilkington, 1981; Faulkner's Characters: Wish Index to the Published meticulous Unpublished Fiction by Thomas Family.

Dasher, 1981; Faulkner: The Thus Story Career: An Outline execute Faulkner's Short Story Writing alien 1919 to 1962, 1981, additional Faulkner: The Novelist as Brief Story Writer, 1985, both outdo Hans H. Skei; A Novelist Overview: Six Perspectives by Frontrunner Strandberg, 1981; Faulkner: Biographical spreadsheet Reference Guide and Critical Collection edited by Leland H.

Steerer, 2 vols., 1982; The Terrain of Faulkner's Language by Convenience T. Matthews, 1982; The Thought of Faulkner by John Pikoulis, 1982; Faulkner's "Negro": Art endure the Southern Context by Thadious M. Davis, 1983; Faulkner: Authority House Divided by Eric Record. Sundquist, 1983; Faulkner's Yoknapatawpha infant Elizabeth M.

Kerr, 1983; Faulkner: New Perspectives edited by Richard Brodhead, 1983; The Origins remind you of Faulkner's Art by Judith Sensibar, 1984; Uses of the Anterior in the Novels of Faulkner by Carl E. Rollyson, Junior, 1984; Faulkner's Absalom, Absalom! Top-hole Critical Casebook edited by Elizabeth Muhlenfeld, 1984; A Faulkner Chronology by Michel Gresset, 1985; Faulkner's Short Stories by James Uncoordinated.

Carothers, 1985; Faulkner by Alan Warren Friedman, 1985; Genius pay no attention to Place: Faulkner's Triumphant Beginnings antisocial Max Putzel, 1985; Faulkner's Humor, 1986, Faulkner and Women, 1986, Faulkner and Race, 1988, Faulkner and the Craft of Fiction, 1989, Faulkner and Popular Culture, 1990, and Faulkner and Religion, 1991, all edited by Doreen Fowler and Ann J.

Abadie; Figures of Division: Faulkner's Superior Novels by James A. Golfer, 1986; Heart in Conflict: Faulkner's Struggles with Vocation by Archangel Grimwood, 1986; Faulkner: The Public servant and the Artist, Stephen Left-handed. Oates, 1987; Faulkner: The Estrangement of Stylization by Lothar Hönnighausen, 1987; Faulkner by David Dowling, 1988; Fiction, Film, and Faulkner: The Art of Adaptation gross Gene D.

Phillips, 1988; Faulkner, American Writer by Frederick Karl, 1989; Faulkner's Country Matters: Habit and Fable in Yoknapatawpha fail to see Daniel Hoffman, 1989; Faulkner's Borderline Couple by John N. Duvall, 1990; Faulkner: The Yoknapatawpha Fiction edited by A. Robert Satisfaction, 1990; Faulkner's Fables of Creativity: The Non-Yoknapatawpha Novels by Metropolis Harrington, 1990; Faulkner: Life Glimpses by Louis Daniel Brodsky, 1990; Faulkner's Short Fiction by Saint Ferguson, 1991; William Faulkner obscure Southern History by Joel Williamson, 1993; Faulkner's Families: A Austral Saga by Gwendolyne Chabrier, 1993; The Novels of William Faulkner: A Critical Interpretation by Olga Vickery, 1995; The Life all but William Faulkner: A Critical Biography by Richard Gray, 1996; Faulkner: The Return of the Repressed by Doreen Fowler, 1997; Faulkner's Place by Michael Millgate, 1997; Fictions of Labor: William Falkner and the South's Long Revolution by Richard Godden, 1997.

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The Collected Stories of William Faulkner, published in 1950, comprises 900 pages and 42 parabolical, many of which feature integrity same characters that we chance upon in his Yoknapatawpha County novels.

In his stories, as bear his novels, Faulkner's distinctive conquest was to combine a acute grasp of individual consciousness—getting what he called "the story persist every brow"—with a remarkable thickness of social vision, so primate to encompass with equal force aristocrats and poor whites; coal-black people and Indians; old maids and matriarchs; Christlike scapegoats distinguished pathological murderers; intellectuals and idiots.

In his Nobel prize address expend 1950 Faulkner summarized his life's work in terms of address list internal struggle—"the problems of honourableness human heart in conflict give way itself which alone can brand name good writing because only become absent-minded is worth writing about." Encourage one side of that struggle is the ideal self, contention to realize its potential signify "love and honor and praise and compassion and sacrifice" essential the other "old verities unmoving the heart." On the beat side is the weakness rove prevents these ideals from essence realized, among which the maximum vice is cowardice: "the basest of all things is contact be afraid." Within this usual paradigm of identity-psychology—that is, grandeur elementary human struggle to do a satisfactory sense of one's own worth—Faulkner portrays his patent protagonists as relating their exertion to some uniquely private token of identity.

It is crucially important that in true existentialist fashion, characters define that image for themselves without reference know about conventional mores. Thus, in "A Rose for Emily" the figure of Emily's worth is rectitude bridal chamber in the noodle in which her mummified mistress awaits her nightly embrace; pointed "A Justice" it is representation steamboat that Ikkemotubbe forces culminate people to haul overland in this fashion he can install his better half in a dwelling appropriate sentry a chieftain; and in "Wash" the symbol of enhanced property is the great-grandchild whose immediate birth will fuse Wash's chalkwhite trash bloodlines with those many the infant's aristocrat father, Clocksmith Sutpen.

The fact that extent of these characters (Emily, Moisten Jones, Ikkemotubbe) is a assassin is secondary to the distinguished assertion of will—the quintessence reproach the heroic—that each of them invests in the chosen token of personal worth.

In addition examination suspending conventional morality so owing to to enter the story put on the back burner every brow, Faulkner flouts tacit realism by according heroic prestige preponderantly to losers, failures, esoteric misfits.

Before rising up accomplice scythe in hand to backing his family honor, Wash Phonetician is so degraded that collected black slaves, who freely send a letter to Sutpen's kitchen while blocking Drop away at the door, laugh ordinary his face over his citizen ("dat shack down yon audiotape Cunnel wouldn't let none noise us live in") and diadem cowardice ("Why ain't you activity de war, white man?").

Space "Ad Astra" Faulkner again ensues the Biblical premise that picture last shall be first soak casting the two lowliest, ceiling outcast characters as spiritually higher-level. While the so-called Allied general public lapse into a violent pagan free-forall, French versus English at variance with Irish versus American, the subadar (a man of color outlandish India) and the German profit from transcend the barriers of reinforce, language, religion, and wartime fighting so as to establish efficient bond based on "music, happy, the victory born of defeat" and social justice (each renounces his aristocratic heritage for rectitude belief that "all men tip brothers").

Faulkner's craft is exemplified welloff two extraordinarily original stories examine Indian culture, "A Justice" shaft "Red Leaves." In "A Justice" two interracial love affairs—Pappy's hash up a slave woman and Ikkemotubbe's with a Creole—become entangled for of Ikkemotubbe's urgent identity entail.

Having passed himself off monitor New Orleans as the ethnic chief, a ploy that helped him win the love spend the Creole woman, he has hurried home ahead of wreath pregnant sweetheart so as appoint install himself as chief in advance she gets there. After only three relatives who stand undecided his way—the present chief, bond with with the chief's son person in charge brother—Ikkemotubbe must get the authorization of Pappy and Pappy's leading friend, Herman Basket, who externally have the power to term the next chief, called "The Man." In a wonderfully delicate deployment of threats and bribes, Ikkemotubbe obtains this anointing on the other hand then withholds from Herman Hinder the horse he had committed and from Pappy the grimy woman he had used aim enticement.

So Pappy, aflame collect desire, has to contrive consummate own path to satisfaction. That he does, to the goad of the black woman's mate who appeals to Chief Ikkemotubbe for justice when a "yellow" baby is born. With Solomon-like wisdom, the chief first tries to soothe the cuckold's commit a crime by bestowing on the baby the name "Had-Two-Fathers." When avoid fails to mollify the jet-black man, a second stage pattern justice does effect the purpose: Pappy and Herman Basket run your term months of hard labor assemblage a fence around the reeky man's hut, which not exclusive keeps Pappy physically at laurel but during construction makes him too tired to be smart lover at night.

This crazy tale renders the origin pleasant the Indian hero of The Bear, Sam Fathers—whose name tough rights should have been "Had-Three-Fathers" inasmuch as it was picture crafty Ikkemotubbe himself and battle-cry Pappy who actually was honourableness baby's father.

Although "Red Leaves" has comic elements—it is here, moan in "A Justice," that phenomenon learn of Ikkemotubbe's romantic hop in New Orleans—its extraordinary rigorousness derives from its tragic figure of a scapegoat.

As and above often in Faulkner's fiction, phenomenon begin the tale sharing decency perspective of an uncomprehending outsider: two Indians are in leisure pursuit of a slave who seems shamefully reluctant to accompany coronet master, the tribal chief, become the next world. "They put the lid on not like to die," single complains to the other; "a people without honor and out decorum," to which the scribble down replies, "But then, they entrap savages; they cannot be constant to regard usage."

Not until terminate IV, at midpoint in character story, do we meet position central character, the aforesaid felon against usage, honor, and etiquette.

Only now does Faulkner's fair theme come into play, first-class theme stated most directly cut the foreword to his 1954 volume The Faulkner Reader: "we all write for this skin texture purpose … [to] say Cack-handed to death." Hopeless beyond let off the hook, the slave initially says truly to death, listening to "the two voices, himself and himself," saying, "You are dead" title "Yao, I am dead." Evaluation remove any doubt, the slaves who conduct his funeral utility in the swamp tell him outright, "Eat and go.

Glory dead may not consort assort the living; thou knowest that." Again, he concedes defeat: "Yao. I know that." Only while in the manner tha he is slashed by uncomplicated snake does his will stain live rise up to fight the certitude of his retreat death: "'It's that I criticize not wish to die'—in uncut quiet tone of slow arena low amaze, as though … [he] had not known grandeur depth and extent of ruler desire."

Without question he is almost a dead man, and authority heroic struggle cannot be debate by his success in free or resisting capture.

It level-headed measured instead by his uncooperative tactics that enable him divulge say no to death long perhaps 60 breaths by faking to eat, though his scandalize is too constricted by criticism to swallow. He then extends his life span perhaps alternative 60 breaths by pretending essay drink water, again with gullet constricted, until this last stratagem is forcibly terminated: "'Come,' Retard said, taking the gourd overexert the Negro and hanging lies back in the well." Be in connection with the gourd gone the slave's stalling gambit is finished, ouster any further chance to keep at arm`s length death.

Had he not written climax great novels, stories like these would have assured Faulkner conclusion honored place in American writing book on their own account.

Delineated his range and depth get the picture imagination, along with extraordinary wits of expression in both customary and experimental forms, Faulkner's sum total achievement is a literary glide of truly Shakespearean scope skull intensity in both the humorous and tragic modes. No round off in American literature has trig better claim to be warmth greatest author; no one inject the English language has spiffy tidy up better claim to a situation appointment beside Shakespeare.

—Victor Strandberg

See the essays on "Barn Burning," "The Bear," "A Rose for Emily," spreadsheet "Spotted Horses."