William Faulkner y su narrador temprano: La voz de Quentin en Ese sol del atardecer

Este artículo analiza las principales características del narrador en la literatura de William Faulkner a partir de la mirada de uno de sus personajes más recurrentes, Quentin Compson, en Ese sol del atardecer. Dicho texto formó parte de Estos trece, un libro compuesto por los cuentos más exitosos del autor, escritos durante un momento crucial de su carrera, previo a la publicación de sus novelas más conocidas (Santuario, El sonido y la furia y Mientras agonizo). Se trata de un momento bisagra en la búsqueda de Faulkner por un estilo propio que refleja la verdadera naturaleza y la voz poética del sur. La proximidad con la muerte, el racismo estructural y los conflictos identitarios del sur postbellum están tematizados en el estilo y las imágenes con que Quentin narra esta historia. Involucrado emocionalmente en los hechos pero con suficiente distancia crítica como para narrarlos, el joven Quentin es un ejemplo de la complejidad narrativa diseñada por Faulkner

Psychological Analysis of Emily Grierson in Short Story A Rose for Emily by William Faulkner

Literature is something that always accompanied our life, they may be fiction or non-fiction. However, both have the same intrinsic and extrinsic elements. One of the intrinsic elements is character. The characters in a story are an intriguing thing, each characters have different personality. The personality created by internal and external factors that influence the psychological condition of the character. This study entitled Psychological Analysis of Emily Grierson in Short Story A Rose for Emily by William Faulkner, mainly discuss about Emily psychological condition. Specifically, on her living environment’s influence on her psychology also her psychological reason in killing and keeping her lover and/or husband. This study used a descriptive qualitative method in analyzing the collected data. The theory used is theories of personality from Feist & Feist (2008), specifically Karen Horney’s psychoanalytic social theory. There is also historical background theory used to determines the living environment’s influence. The result of this study is Emily living environment greatly influence her psychological condition, especially due to her identity as a fallen aristocratic lady and her family’s lack of man to protect her. As for her reason for killing and keeping her lover and/or husband, it is because of her fear being alone and needing other people in her live that she approaches him and end in her feeling that he is hers. Thus, him leaving her, end in the tragedy of him losing his life and being keep as a means to satisfy her possessive desire.

Gabriel García Márquez and the Remaking of the World Canon

Given the central role played by One Hundred Years of Solitude in determining what today is understood as postcolonial literature, it may surprise readers of his memoirs or, for that matter, of his early journalism, to discover that Gabriel García Márquez’s literary role models were almost exclusively European or North American. For the young García Márquez, authors who today constitute the core of the modernist canon, in particular Franz Kafka, James Joyce, Virginia Woolf, and William Faulkner, shaped his vision of what narrative should be like. However, in this admiration and appropriation of modernism, García Márquez was not alone. For instance, his younger contemporary Mario Vargas Llosa has also acknowledged the central influence of Faulkner on his works. As Pascale Casanova has noted, both García Márquez and Vargas Llosa belong to the myriad of twentieth-century novelists who found in modernist writers and, in particular, Faulkner, a “temporal accelerator” that made their novels seem contemporaneous to those produced in Europe and North America and therefore understandable by critics and general readers in those countries. However, in a twist that serves as proof of García Márquez’s literary success, his particular reinterpretation of Faulkner’s and other modernists’ writings in turn served as a model for many other writers from the so-called Global South. This article studies the manner in which García Márquez’s “magical realism,” derived from his readings of the modernist canon, became a new “temporal accelerator” that made the experiences of the Global South understandable by readers in the North.

Magic Realism and Experimental Fiction

In 1934, Argentinian editor and writer Victoria Ocampo commissioned Jorge Luis Borges the translations of Virginia Woolf’s A Room of One’s Own and Orlando, to be published in 1935 and 1937, respectively, under the auspices of the intellectual circle ‘Sur’ (‘South’). These translations would inspire generations of writers, appealed by Woolf’s subversive strategies to trespass physical and psychological boundaries, and by her innovative conception of time, history, and gender, which anticipated what came to be later known as ‘magic realism’. This essay explores the ways in which Woolf’s influence affects the construction of alternative ontological realms that both coexist with and transcend identifiable historical sites in the work of Jorge Luis Borges, Gabriel García Márquez, William Faulkner, Toni Morrison, Michèle Roberts, and Jeanette Winterson. The chapter further examines the different strategies these writers use to unsettle received assumptions pertaining to history and to propose alternative rewritings of it in Woolf’s wake.

“It Aint Nothing But Jest Another Snopes”

This chapter investigates how William Faulkner presented poor whites and white trash across his oeuvre, with particular emphasis on his fairly unheralded Snopes trilogy. The chapter charts how poor whites are presented in different eras of his writings, from As I Lay Dying until the final Snopes novel published shortly before his death. While Faulkner is well known for his attempts at discussing the evolving racial situation in the South since the end of the Civil War, most critics have considered his depiction of whiteness as fairly homogeneous, a fact that this chapter's sustained focus on the Snopeses seeks to complicate. In short, while the Snopeses are frequently villainous characters, they are still met with language that stigmatizes them as a racial other, and as an inferior form of whiteness to the more well-to-do denizens of Yoknapatawpha.