Tag: William Faulkner

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The Dixie Limited: Faulkner’s Influence Around the World

With The Dixie Limited, M. Thomas Inge fills a crucial academic niche in work on the Faulkner canon. Arranged chronologically from over the last eight decades in a collection of essays, articles, reviews, letters, and interviews by Faulkner’s contemporaries and their successors.

In his introduction Inge refers to a paper presented by Thomas L. McHaney at the 1979 Faulkner and Yoknapatawpha Conference at the University of Mississippi, “Watching for the Dixie Limited: Faulkner’s Impact upon the Creative Writer,” later published in Fifty Years of Yoknapatawpha (University Press of Mississippi: 1980), edited by Dr. Doreen Fowler and Ann Abadie. McHaney stated that “writers seem to have more in common with one another than with their own native literary establishments.” He continues to say that “the literary establishment, especially in the sense that it constitutes the best-seller and the major book-reviewing media, did not have as much to do with him . . . as did the other creative writers in English. His impact on them was immediate and sustained . . .” Inge’s thesis echoes—and subsequently amplifies—this assessment: “The novel has certainly not been the same since Faulkner, that much seems clear, and the intent here is to document some of the reasons by surveying the exact nature of what Faulkner has meant to his colleagues both in the United States and abroad.”

The title references a famous quote by Flannery O’Connor that first appeared in a paper she read in 1960 at Wesleyan College in Macon, Georgia. The subject of the speech, “Some Aspects of the Grotesque in Fiction,” notes a tendency to the grotesque in the “Southern situation” as well as the “prevalence of good Southern writers.” She then states, “The presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down.” Inge notes that O’Connor took heed of her own advice, and developed an original vision and distinctive style of spiritual and gothic austerity. Eudora Welty also cultivated her own talents in Faulkner’s looming shadow. “It was like living near a big mountain, something majestic—it made me happy to know it was there, all that work of his life,” she wrote. “But it wasn’t a helping or hindering presence.” She also said—with characteristic modesty—that “[Faulkner] wrote about a much vaster world than anything I ever contemplated in my own work.” She was not intimidated by Faulkner; she learned from him.

We often lose sight of Faulkner’s earlier works, situated as they are behind the towering edifices of his Yoknapatawpha novels, but he attracted the attention of other writers at the beginning of his career. The Fugitive poet and future Agrarian Donald Davidson found Soldiers’ Pay (1926) the product of “an artist in language, a sort of poet turned into prose,” and considered Mosquitoes (1927) grotesque, too heavily influenced by Joyce, yet admirable “for the skill of the performance.” Lillian Hellman read the manuscript of Mosquitoes (for publisher Boni & Liveright) and in an enthusiastic review for the New York Herald Tribune likewise found Faulkner at his worst under the influence of Joyce in overwritten passages, but the novel demonstrated to her a genius “found in the writings of only a few men.”

Following the publication of The Sound and the Fury (1929), As I Lay Dying (1930), Sanctuary (1931), Light in August (1932) and Absalom, Absalom! (1936), nobody with an eye to the landscape of American literature could ignore the emergence of William Faulkner as a dominant if not to say dominating presence. Sherwood Anderson, writing in an essay for The American Mercury in 1930—sixteen years after the editor, H. L. Mencken, published his searing denunciation of the state of southern literature, “The Sahara of the Bozart” in the New York Evening Mail—set the stage for the century’s most celebrated literary rivalry by saying, “The two most notable young writers who have come on in America since the war, it seems to me, are William Faulkner and Ernest Hemingway.” This comparison became even more unavoidable as the two barreled down, traveled the same track, or —in a perhaps more apt Hemingwayesque metaphor—faced off in the same ring.

As the century wore on, more and more writers, playwrights, and poets found it contingent upon them to weigh in on Faulkner’s looming stature. His impact in Britain was impressive, though mixed, with Rebecca West and George Orwell, who, as a champion of lucid style, condemning The Hamlet in 1940 as “fatiguing” and “certainly not worth a second reading to understand it.” Somewhat predictably, considering Faulkner’s own indebtedness to Proust in both style and theme, his reception in France was both spectacular and profound. Sartre declared in 1946 that Faulkner had “evoked a revolution” through his innovations in perspective, tonal monologues, and changing the “chronological order of the story” in behalf of “a more subtle order, half logical, half intuitive.” In a letter to Malcolm Cowley, Sartre wrote, “Pour la jeune France, Faulkner c’est un dieu.”

Inge delineates Faulkner’s deep impression on the literature of South America, saying, “By liberating these writers, and many others, from the traditional themes and methods of narration, and paving the way for new techniques in dealing with time and history and modern tragedy, Faulkner helped generate what may be the most vital writing in the world at the century’s end,” even going so far as to say, “It is indeed arguable that [Gabriel García] Márquez’s 1967 masterpiece, Cien años de soledad (One Hundred Years of Solitude), could not have been possible without Faulkner’s fiction to serve as inspiration and master instruction.” Inge also describes Faulkner’s global impact with contributions from writers in South Africa, Japan, and China.

In addition to the two above-mentioned, Dixie Limited includes a generous portion of women writers: Kay Boyle, Dorothy Parker, Elizabeth Spencer, Lee Smith, and others. Excruciatingly appropriate on several levels are selections from black writers: Ralph Ellison, Chester Gaines, James Baldwin, Toni Morrison, and Faulkner’s fellow Mississippian Richard Wright. Faulkner’s impact—and lack thereof—on political and social issues features prominently in Baldwin’s essay, “Faulkner and Desegregation,” and it’s also the theme of perhaps the most endearing essay in the collection, Roark Bradford’s “The Private World of William Faulkner” (1984).

Faulkner’s critics are not ignored. In addition to Orwell, you’ll find disparaging statements—in varying degrees and often at different stages in their own careers—from Ellen Glasgow, Booth Tarkington, F. Scott Fitzgerald, Thomas Wolfe, Katherine Ann Porter, John Barth, Truman Capote, John Steinbeck, and Vladimir Nabokov, as well as a generous helping of bile from Hemingway. Inge includes “one of the most damning assessments perhaps ever written about Faulkner” from Irish short story writer Sean O’Faolain, who concluded in a1953 address at Princeton University, that Faulkner demonstrated “More genius than talent.”  You’ll find most of these in Inge’s remarkable introduction, which deserves reading and re-reading for only for those includes these poison pen remarks, but also for and also paeons from the likes of Katherine Anne Porter, Carson McCullers, William Styron, Shelby Foote, and Walker Percy, along with illuminating observations from Richard Ford and John Grisham.

Though The Dixie Limited is an academic work, it is important for the lay scholar as well, particularly those of us who grew up in the same milieu as that of the man many consider the most important writer of the Twentieth Century. Our proximity to Faulkner seems to have bred in us a nonchalant acceptance of his stature. This book provides us with perspectives for a more balanced appreciation of a literary figure of global stature who just happened to have been born in the wilds of North Mississippi.

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Keepers of the House

In the summer of 1855, Miss Anna Sheegog died upstairs in the house in which I write. No token of hers remains, not even a hair ribbon; the grief at her passing was eased and forgotten long ago. Yet she is still fooling around up there, after al this time, and no wonder—she was only 16 and not ready to be done with life.

Something is always stirring in old houses, for they murmur in their sleep as people do. So much happens, and none of it wants to leave; it is laid up in the walls, left to leak out now and then when someone is listening. Ghosts, we call it, though it is really only memory. I have listened here—in all weathers, in the bright noon and deep watches of the night—longer than Miss Anna was alive, and I know something of the memory of houses.

This one is called Rowan Oak, for Mr. William Faulkner called it that, and he lived here longer than anybody. Because he lived here it is a literary shrine of sorts; for 20-odd years pilgrims have been coming up the walk to see what lies in the white house.

I, too, was a pilgrim once, come by a long road begun in a railroad yard. One night a switchman, Frank Smith, pressed on me a book, of all things, a paperback, greasy and bent to the shape of his blue jeans pocket. “Read this,” he said. In the yard office after the train was gone, I opened it and began to read, and the world was never the same again.

Years later, when I was curator of Mr. William Faulkner’s house, I happened on a page of manuscript behind a drawer in the library. I knew right away what it was; lines from The Hamlet, written in this very house. It was no small thing to meet, and as the morning light fell through the tall library windows, I remembered another light; the glow of Frank Smith’s lantern on that vanished summer night, when he put his copy of The Hamlet in my hand.

Ghosts again, and, always, time. In Mr. Faulkner’s house, time is the sum of all senses. It is in the light, in all seasons softened to twilight by the trees. Time lies in the creak of a shutter, rain in the downspouts, in a step half-heard in the empty rooms above. It is in the very smell of the place, which is the smell of all grandmother’s houses, made of dust and mildew, old books and years of fried chicken—and that almost palpable memory that will not go away. It is the smell of time.

No wonder pilgrims sometimes speak in whispers here. No wonder children often cling shyly to their parents’ legs, flirting with something only they can see. Time conjures them all, as it conjures us, who are stewards of time.

There have not been many of us. Dr. James Webb, the first and best curator, will always be chief. In the early years Dr. George Street was here, and Bev Smith. I have worked with Danny Toma, Terrell Lewis, Keith Fudge. Winfred Ragland was the first groundskeeper, and then Isiah McGuirt, whom I watched rake the leaves of 15 autumns.

These were all Southern men who knew not just Mr. Faulkner and his work, but also what it means to love an old house and earth whence it came. They were all pilgrims, come here by their own long roads, each to find his own doorway to the past.

Once, on one of those days when the sky is deep blue and every leaf sharp and clear and shadows haunt the fence corners—once, on such a day, Isaiah walked out in the north pasture to work his turnips and Dany went along to swap lies. I wandered out by myself by and by and leaned on the fence and watched them. On the whole place there were only three of us. Their voices drifted to me across the morning. Now and then, an acorn rattled on the tin roof of the cookhouse, the loft door creaked, the house drowsed white and solid in the sun.

I should not have been surprised to find Mr. Faulkner at my elbow, leaning on the fence with his pipe, nor to see Miss Anna in the kitchen door—for the streams of time had come together once more, the old proper rhythms of life were in cadence, and all that ever happened on this place narrowed to an old man and a boy in the pasture, talking quietly under the autumn sky.

Occasionally, folks ask me what it is like to work at Rowan Oak. I do not know how to tell them about Frank Smith or Dr. Webb or Danny or the day Isiah went out to hoe his greens, but sometimes I try, and they are almost always satisfied. It is a good thing for pilgrims to carry away into the world waiting for them beyond the gate, for in that world ghosts are silly and magic is only for children. I don’t believe so myself, and neither does Miss Anna—but then, she is only 16, after all.

Howard Bahr lives in Oxford, Mississippi

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Mrs. Faulkner’s Wedding

In this foreword to her son Malcolm Franklin’s Bitterweeds: Life with William Faulkner at Rowan Oak, Estelle Oldham (Franklin) Faulkner recounts her life before and wedding to her second husband, written at least five years before the publication of the book in 1977, the year of Franklin’s death.

For those who may be interested in Malcolm’s story of his close association of William Faulkner, I, his mother, feel compelled to write an unsolicited, explanatory forward. My son has written his own preface, as well as the text with follows—I use the word “text” advisedly, because fiction—imagination and literary embellishments—is completely foreign to his factual way of thinking.

Malcolm was born in Shanghai, the son of my first husband, Judge Cornell Franklin. We also had a daughter, Victoria (called Cho-Cho by her Japanese nurse-maid, and eventually by everyone but her father), a few years older than Malcolm. We were living in Hawaii when she was born, and she was still quite a mall child when Judge Franklin decided to move to China and go into the private practice of law in this flourishing international city of the Orient. A few years later Cornell and I agreed on an amicable divorce, and I brought the two children back to Mississippi.

It is not my intention to write a biography, but I feel the necessity of establishing the fact that our divorce did in no way alienate the deep affection of my former husband’s family in Columbus bestowed upon me. Visits by both families between Columbus and Oxford became frequent, mainly, perhaps, on account of the children. The train trip from Oxford to Columbus was particularly irksome—a change, and a long wait in a town called Winona. This is how Judge Franklin’s family met, and got to know, William Faulkner so well, for Bill would often drive us over, and he was very reluctant to forgo their hospitality. Their welcome was all too sincere. “Gran” (Victoria’s and Malcolm’s Franklin-side grandmother) was a charming and admittedly romantic woman, and it was she who approved and applauded my marriage to Bill. She also unhesitatingly upbraided my father for coldly insisting that I’d married a wastrel.

All this brings me to what I’ll wager was the strangest of honeymoons—one even a novelist would hesitate to invent: the groom a bachelor, the bride a divorcee with two children, and all of us having a gay, carefree time in a tumble-down old house on the Gulf of Mexico, with a colored cook loaned to us by my first husband’s mother.

It was late afternoon, the twentieth of June, 1929. My sister, Dorothy, had gone with us to College Hill, a village several miles from Oxford where there was a beautiful old Presbyterian church and an elderly minister whom we all knew, and who gladly performed the simple ceremony. At times I’ve wondered if Dr. Hedleston welcomed us to the church and married us out of pure Godly love and understanding, or was he thumbing his nose at the Pharisaical laws imposed upon divorce by the Episcopal Church? I’ll never know the answer.

Bill and I had talked over our plans for the honey-moon at some length. A friend of his had turned over a big old beach house for our use—unrentable, because at that time Pascagoula wasn’t a fashionable Gulf resort. Victoria was in Columbus with Gan, so Bill insisted that Malcolm be picked up with all our luggage, and dropped in Columbus till we’d gotten settle in our borrowed summer home. How simple it all sounded! I had left a note with Mama about taking Malcolm with us, so I thought that all we had to do was to take Dot home, gather Mac (Malcolm, jly) and the luggage, and take off for Gran’s. She was expecting us.

Mac was still such a baby that I had a nurse for him. Ethel Ruth was a fine playmate, but couldn’t read or write, or even tell the time by a clock with Roman numerals. So when Bill steered the car into our drive way, we found the child dirty, grass-stained and generally unkempt. Bill laughed, thrust Malcolm in the car, stowed our many bags, said good-bye to Dot and headed east toward Columbus.

By then it was late afternoon. We drove as far as Tupelo, and got rooms in the only hotel. I bathed Mac and gave him supper while Bill telephoned Gan that it would be impossible to travel further that night—to expect us for dinner the next day.

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Faulkner’s Marble Faun

According to Fred Smith, appraiser for Mississippi State University’s archives and former proprietor of Choctaw Books in Jackson, “When it comes to the ‘Holy Grail’ of Mississippi book collecting, Faulkner’s The Marble Faun is it.”

“For one thing, he’s the most important literary figure this state has ever produced, and this book of poems is his first work,” Smith explained. “Faulkner thought he wanted to be a poet, and Phil Stone had it printed or helped him to get it printed. Stone bought many of the unsold copies and stored them in the attic at his home in Oxford, but they were destroyed when the house burned. I’ve only had one copy in my 31 years in business, and it wasn’t in good shape; the spine was really fragile, and the binding had come off. Whatever the print run was, and I’m sure it wasn’t big, a lot of the original copies didn’t survive.”

“Signed copies are worth tens of thousands of dollars,” Smith said. “The absolute best copy came up for sale at Christie’s, a copy he had inscribed to his mother and father. Ole Miss has a couple of copies, and someone donated one to Mississippi College a few years ago. But that book is one thing that I’ve kept searching for all these years. I did buy one from a lady in Oxford some twenty years ago, but because of its poor condition it wasn’t worth a lot then. I think I sold it for $750, but if I had one to resell now, it would bring ten times that much, probably up to ten thousand, because there just aren’t any around.”

The Christie’s first edition of Faulkner’s The Marble Faun (Four Seas Press: Boston, 1924) sold for $95,600 in October, 2002. In the lot description, Christie’s adds:

“Four Seas agreed to issue Faulkner’s collection of poems in 1923, provided he pay for the manufacturing costs (their standard arrangement). They offered him a royalty arrangement, but Faulkner declined to proceed, at the time not having enough money to carry the costs. Within six months, though, he’d received the encouragement and financial support of Phil Stone and the twenty-seven year old Faulkner contracted for the printing of 500 copies of The Marble Faun. The book sold poorly and quickly was remaindered. No records survive detailing the number of copies Four Seas actually sold prior to disposing the stock on the remainder market, but an early estimate suggested 100 copies. William Boozer, in William Faulkner’s First Book: The Marble Faun (Memphis, 1975), specifically located 56 copies. Boozer considered the existence of other floating copies for a total of near 70, and has since found more, but his total is still short of the 100 copies initially assumed.”

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Sea Lord Faulkner: A Nautical Memory by Howard Duvall, Jr.

If memory serves me correctly, the expedition to locate and raise Mr. Faulkner’s sailboat took place in the spring of 1953. For some reason Mr. Bill had left the boat at anchor at Cole’s Camp on the Sardis Reservoir during the winter months; and in the early spring, it was discovered to have drifted out into the cove and sunk in about eighteen feet of water. The recovery of the boat would not have presented any great problem had Mr. Faulkner called Memphis for a professional diver and rig; however, this would have been too conventional and commercial for his adventuresome mind. Therefore, he chose to make use of local talent, which I’m sure he felt would provide for a much more interesting day on Sardis Lake.

On the appointed morning Billy Ross Brown, a neighbor and close friend of the Faulkners, and I reported for salvage duty at Mr. Bill’s home. Also along was the Browns’ houseboy, Isom Cillum, who would act as all-round handyman for the project, as we were sure that we were in for some heavy work ahead. Upon arriving, we were surprised to find that a new member had been added to the party. His name was V. P. Ferguson; he was a student at Ole Miss, and I think it would be safe to say the “Veep,” as he was locally known, was something of a character. Billy Ross and I were quite familiar with the kimono-wearing, Koran-reading orchestra leader from the University, but we were admittedly quite surprised to see him here primed for the occasion. We were later to learn that V. P., upon hearing of the sinking of the sailboat, had called Mr. Faulkner and offered his services in recovering it. He explained to Mr. Bill that he was preparing for a summer excursion to the Caribbean to dive for black pearls, and that the Sardis outing would be good experience. I’m sure Mr. Bill discounted much of this story, but I’m also sure that he saw possibilities for an interesting day on the lake, and so invited him along. (Whoever says Faulkner had no sense of humor should have been along that day.)

The chief preparation for the outing seemed to have been the securing of enough food to satisfy the appetites of the would be salvage crew. Miss Estelle was in charge of this department and she had already sent Norfleet, the Faulkners’ Negro houseboy, out into the side yard with a large picnic basket of food. With the picnic basket safely secured in the Faulkner family station wagon, the five of us set forth to the Sardis Dam to begin salvage operations, To look over the crew-a Nobel Prize-winning author, two young college friends, a would-be pearl diver, and the faithful Negro houseboy—one could wonder about the prospects for the success of the mission. The route carried us through the University campus out Highway 6 West some eighteen miles, and then about seven miles up a gravel road to Sardis Dam. Our plan was to board the houseboat anchored at the dam and then to travel up the reservoir about five miles to Cole’s Camp, where the sailboat, as has been previously mentioned, lay some eighteen feet below the surface.

I think it would be well to pause here to say a few words about the houseboat which would be our base of operations for the day. Contrary to the general principle of shipbuilding (or in this case, boatbuilding), this vessel was built in the side yard of Colonel Hugh Evans of Oxford, many miles from any body of water. Being a neighbor and friend of Colonel Evans, Mr. Bill became inter ested in the boat and soon was a full-time partner in its construction. Two other families were involved in this venture, namely the Ross Browns and the Ashford Littles. After the completion of the boat came the problem of getting the rather large craft through the narrow streets of Oxford and out the main highway to Sardis Lake without tying up traffic for hours. It was decided to hire a professional mover from Memphis to undertake the task, and at the appointed time the boat was transferred by night to the lake. That morning the owners, their families and interested friends gathered at Sardis to watch her slide down the ways, and down she went, only to bob like a cork on a fishing line. It was quite evident that the boat was riding much too high in the water. The propeller screw did not reach the proper depth. Mr. Bill and his friends put their heads together and the solution was soon reached: put concrete in the bottom of the boat. Concrete was then placed in the hold, and the Minmagary set forth on her maiden voyage to reign as queen of the Sardis Reservoir for many years.

Mr. Bill was indeed master of his ship as we pulled out of the inlet onto the main body of water. After estimating the time of arrival at about an hour, and with Mr. Bill at the wheel, Billy Ross and I settled back in the deck chairs to enjoy the spring morning, I think we were doubly enjoying it because we were cutting classes at the University in order to make the trip. I know, too, that Mr. Bill was relaxed in his khaki pants and military-style khaki shirt, sitting at the wheel and smoking his favorite briar. In sailing and boating on Sardis, he seemed to find the peace and privacy that was more and more of a struggle to obtain after receiving the Nobel Prize.

V. P., always the nervous type, soon tired of watching the shore line go by and asked Mr. Bill if he could take over the wheel. Offering no objection, Mr. Bill let him have it and then joined us on the back deck to relax and discuss the problems of getting to the sailboat. Presently we were interrupted by the clanging of the deck bell and sharp commands being issued by the “Veep” sitting hard by the wheel.

“Full steam ahead; we are approaching the salvage area. We must have more steam,” he shouted into an imaginary tube that led to an equally imaginary engine room. The only person available to heed his commands was Isom, our houseboy turned cabin boy for the occasion, and he was thoroughly mystified by the whole proceeding. I’m quite certain that Isom thought Mr. Ferguson was “tetched in the head,” for he came back to me and said, “Mr. Howard, you know we don’t have no engine room down there, only that 75 marine engine and there sho ain’t nobody down there to hear him.”

It seems that V. P. had just finished some popular novel of the day concerning the rescue of a British submarine down in the South China Sea with all hands aboard, and through his imagination we were the crew pushing full steam ahead to make the res. cue. I believe Mr. Bill thoroughly enjoyed the fantasies of the “Veep” and he was soon resting again in his deck chair, probably assuring himself that he had made the right decision in bringing along Mr. Ferguson.

As we approached the entrance to the cove that led to Cole’s Camp, Mr. Bill took over the wheel again and steered us into position near the sunken boat. There was no real problem in finding the boat because of a safety line that was still attached from the sunken hull to a tree on shore. The plan of action was for us to take down a steel cable attached to a winch on the bow of the houseboat and hook it through an iron ring in the bow of the sail boat. After securing the hook, the idea was to crank the winch, thus pulling the boat to the surface. When this was accomplished, Mr. Bill planned to move the houseboat with the sailboat in tow to a nearby boat ramp, where we could wade in to maneuver the sailboat onto a boat trailer which would be backed into the water, The station wagon would be used to pull boat and trailer out and to Mr. Bill’s backyard drydock for repairs and overhaul.

All of this seemed relatively simple except for the fact that V. P. began complicating things from the start. For example, after his first dive he came up on deck, bowed in true Arabian Night style before Mr. Bill and exclaimed, “Oh, Captain Ahab, there is an octopus down below guarding the boat. Do you happen to have a machete aboard that might afford me some protection?”

Much to our surprise, Mr. Bill, with his usual composure, dis appeared below deck, came up with a machete and gave it to Ferguson, who immediately dived over the side with the weapon and disappeared below the surface while Isom stood by in wide-eyed wonder.

Just before noon, the hook was finally secured to the sailboat, but “Captain Ahab” decided to wait until after lunch to bring it to the surface. Isom broke out the picnic basket and began serving the food, keeping one eye, I’m sure, over the side for any sign of the octopus. Snakes were no problem for Isom, but an octopus was something else!

About halfway through lunch we heard the sound of someone on the other side of the lake trying to get our attention, and before any of us could answer, V. P. jumped upon the top deck and began wigwagging signals with a couple of towels. Before anyone knew what was going on, we observed an appreciable number of slightly disreputable looking fellows approaching, and within a short time the houseboat was boarded by what turned out to be the entire membership of V. P.’s dance band. It seems that V. P. had made slight mention of the expedition to his colleagues, and had in fact invited them to join him for lunch. They made short work of the contents of the picnic basket, and then they spread out all over the boat for an afternoon of sunbathing. I must say, at this point, that for a man who enjoyed his privacy, Mr. Bill seemed to take the whole affair in a very calm and understanding manner. The taciturn Nobel Prize-winner, in quiet and sly fashion, maintained his aplomb while V. P. all but took command of the situation.

The rest of the afternoon went by somewhat uneventfully with only the routine of securing the sailboat to the side of the houseboat and loading it on the trailer as described earlier. At dusk the sailboat was placed on the trailer and towed to its drydock in Faulkner’s backyard.

Some several days later Mr. Faulkner invited the group down to his house for a lawn supper, and I remember that the highlight of the evening was Mr. Bill’s dancing the soft shoe with Paul Pittman, one of the Ole Miss students.

William Faulkner spent many hours of sheer pleasure in the little sailboat that went to the bottom off Cole’s Landing and that was raised to sail again by Faulkner and a group of college students on that happy and carefree day. He usually referred to it as “the sloop.”

One afternoon while he, Miss Estelle, Hunter Little, and I were cruising, dark clouds appeared in the northwest and it was soon obvious that a squall was imminent. Fishermen, we observed, were scurrying shoreward. Faulkner calmly dismissed the idea of a squall and was maneuvering the sloop down the lake when a gust hit the craft and almost upset it. Life preservers were passed around. Faulkner declined his. Another gust took his hat, and Hunter went overboard to retrieve it and was almost drowned. After he was pulled aboard and matters were as much in hand as circumstances allowed, Faulkner called to me, “Howard, hand me a preserver. I am getting a bit chilly.”

In looking back over the years to the event just related, it becomes more apparent that the people who knew Faulkner best, outside of his own family, were the young people who grew up around the Faulkner home, as children playing with Jill, his daughter, later dancing and eating at her parties, and sharing many carefree moments with the man we all knew as Mr. Bill.

 

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Ars Voces: Howard Bahr–A Precise Lyricism

When I was a little kid, I’d write stories and my mother would type them up on her Royal Standard typewriter. Writing those stories, I never supposed I’d become serious. I used to use a manual typewriter, my own 1953 Royal standard, a beautiful machine that I loved dearly. Then I got a computer, and I use that now. The thing about the computer is that it makes it so easy to revise. Stepping off into the blank page is scary, and it’s much easier to go back and revise what you’ve already written than to make up something new, so I have to watch myself with that. I only work at night; drink beer, smoke my pipe and try to write a couple of pages. It’s kind of a ritual.

When I first became really interested in writing, when I was working on the railroad, my friend Frank Smith introduced me to William Faulkner.  I’d heard of Faulkner, but I had never read him. Frank and I were talking about writing, thinking, sort of coming out of ourselves and finding out things. When he gave me some Faulkner books to read, I became just totally involved in Faulkner’s world. It was a world I thought I would have loved to have lived in; the 1890s, the turn of the century, the South of the 1920s. I was fascinated by his style, so I began to unconsciously imitate it. If I had any of my early writings, you would see that I was a very poor copier of William Faulkner, but an imitator nevertheless. Parenthetically, Shelby Foote did the same thing, you read Foote’s early novels and they are a poor imitation of Faulkner’s style. Then I read Joseph Conrad, and I began to imitate him, his cadences, then I read Scott Fitzgerald and I tried to imitate his beautiful, musical lines. Every person I read, I would imitate. Many years later, when I read Lonesome Dove, that book put echoes in my head. Out of all that came my own style.

That’s how I learned to write, by reading other writers, imitating and finding my own voice, and that’s what I recommend for any writer, to not be afraid to imitate a number of writers, because eventually you’ll find your own style. That’s what Faulkner himself did; he imitated A.E. Housman, a number of stylists until he came up with his own. By the time I came to Rowan Oak as a caretaker, I was sick and tired of William Faulkner, I was sick of his baroque sentences, he had begun to annoy me with his coy, almost willful obscurity, so I lost interest in his writing for that reason. Oddly enough, the presence of William Faulkner at Rowan Oak was very small. The boys who worked with me there I think would agree. We all wrote stories and wrote things in the house, but there was no inspiration or magical breath that came down the stairs. It was like writing in a hotel room. Although we talked about him, kept the house as he and his family had, the house really had a life of its own. To us, it was always the house that was more alive to us than Faulkner. Wherever Mr. Faulkner’s ghost is, it is at rest.

I never go to a lecture unless I’m giving it. I say that kind of tongue-in-cheek, but there’s also some truth in it, too. I go to a writers’ conference to speak or read, and I look out over the auditorium and they’ve all got their pads and their pencils are poised to write down The Secret as if there must be some secret to this. They would be better off spending that time reading other writers and writing for themselves. Edgar Allen Poe never went to a writers’ conference; William Faulkner never attended classes at Bread Loaf. The great writers learn to write by reading and imitating and by working their asses off day and night. You’ve always got to be working on something, whether it’s going to amount to anything or not. You can ask any writer if he is working on anything now, and he will say yes. He may be staring at the blank page, but he’s still working.

Don’t preach. You want to write a story. Faulkner said, and I think he’s quite right, that a writer should not have an agenda, that he should not preach; his business is to tell the story of the human heart, to tell it well in all of its lights and shadows, and out of that telling, if you do it true enough and honest enough, if you don’t make fun of your characters and create a real world that your reader can move around in, if you do all that and tell the story, then the meaning, the preaching, whatever you’re trying to say will come out. The Black Flower is not about North versus South; it’s not about the Yankees and the Rebels; it’s about how horrible and unspeakable war is. That’s what it preaches about, not through the voice of the author but through the actions and reactions of the characters and the things they see in the world around them. The reader gets the message without being button-holed. What is wrong with preaching is that you begin to move away from the story, away from the work, and into the writer. And the writer doesn’t matter. If the writer has a message, it needs to come out in the work.

I think that my course has run as a writer. I don’t think that I’ll be publishing any more books. I think that the time has come for me to be a teacher of writing. But having said that, I still write all the time, I’m still paying attention. The literary world is a landscape that I don’t recognize any more, I don’t understand it; I don’t know what’s going on. I don’t think anyone would be interested in publishing anything else I write, but if I ever finish something, I’ll send it in, see what happens.

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Theroux at Rowan Oak

Coming to Mississippi, enigmatic to others and even more so to us who live here, is objective enough for writers seeking an exotic locale within the United States (as such Theroux joins the ranks of V.S. Naipaul, Bill Bryson and Richard Grant), and without exception they each have paid homage to the one strong and often strident–if not always distinct–clarion that sounds from the center of Lafayette County across the world.

Theroux reserves a passage for “The Paradoxes of Faulkner”, in which he provides a thorough analysis of the man and his works as well as observations on peripheral matters such as Blotner’s biography. The paradox of his title refers to Faulkner’s writing itself, which Theroux describes as either falling or flying, a critical encapsulation that might well describe any major writer with a significant volume of work, and Faulkner’s oeuvre spans generations.

Theroux is a thorough writer, meaning he is considerate to detail, often to excess, as is evident throughout Deep South: Four Seasons on Back Roads, which includes much that we should be grateful to have on record from a writer with an exceptional eye. It’s good to read the words others write about us, and it’s important that we read what others have to say about Faulkner’s twisted, frayed, and, yes, fallen South, however better perceptible by far in his own assessment than by any others’.

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Christmas at Rowan Oak

This is an excerpt from Malcolm Franklin’s Bitterweeds:  Life with William Faulkner at Rowan Oak (1977) Born in Shanghai in 1923, Franklin was the son of Cornell and Lida Estelle Franklin. After what’s most often described as a “cordial” divorce, Estelle married William Faulkner in 1929, and he began living in Oxford, Mississippi. Franklin served as a medic during World War II, studied medicine and herpetology. He died in Charleston, South Carolina, in 1977.

Of all the holidays at Rowan Oak, Christmas was the most festive. An air of great excitement prevailed everywhere, even in Chrissie’s and Andrew’s little cabin.

I recall one cold, crisp December mid-afternoon, when the various members of the family gathered in the library in preparation for the expedition to get the Christmas Tree. This was the very beginning of Christmas, when the tree was found and cut.

Each was bundled up against the cold. This year there was Jill, Pappy, Victoria’s husband Bill Fielden, myself, Mama, and Andrew bearing the axe. It was Pappy who chose the tree-a cedar that had less of a chance to become a large tree. In making his choice he was also careful to thin out the woods properly, leaving extra growing space for the ones not cut, for our Christmas Tree always came from Bailey’s woods on Rowan Oak’s grounds.

After the tree was felled, Andrew and Pappy spread the khaki-colored tarp smoothly on the ground. Then the tree was carefully wrapped in the tarp, leaving an area at the base free so that Pappy and Andrew and all of us could take turns pulling it through the woods to Rowan Oak. This was done to protect the branches as the tree was pulled along, for it was far too heavy to carry.

The tedious chore of getting the tree up and ready for trimming was then completed. By then it was late afternoon and a cold sharp light came in through the living room windows. The trimming was left to the ladies with the men offering a suggestion now and then. Boxes of ornaments lay open on the floor. Tinsel lay heaped on the parlor table. When the decorations had found their way onto the delicate outer branches and the tinsel, sparkling and clear, reached to the very top ornament, the tree was a beautiful sight to behold. Across the hall the library door stood open. A roaring fire crackled in the fireplace. A bourbon bottle stood open on a silver tray. Cut glass waiting to be filled caught the reflection of the fire. (Christmas was preceded by trips for Christmas cheer to Memphis, seventy-odd miles away, the nearest place offering a wide selection of bourbon, wine, and of course champagne for the New Year.)

There were other trips to the woods for greens and decorations, all to be gathered before Christmas Eve. The gathering of the holly and mistletoe was quite a task. We had to drive almost eight miles out into the country to the place where it grew. This was an old Chickasaw Indian Boundary line, where the holly trees were used to mark the line running east and west. In the trees high above these hollies grew the mistletoe. So high up were they, that it was necessary to shoot the mistletoe out with a .22 rifle. Only a few berries were lost as the branches fell.

It was Christmas Eve morning. Pappy had taken Mama to Oxford in the old touring car to do last minute shopping. She had left instructions with Chrissie that if any packages or boxes should arrive while she was out, to just have them left in the house or on the verandah. Where I was at the time no one was sure. After all, it was Christmas Eve.

Toward the middle of the afternoon Chrissie was summoned by a sharp rap on the front door. It was the driver of the Railway Express van, with several large boxes for Mr. Franklin. Upon Chrissie’s instructions he and his crew neatly lined up three boxes on the verandah and drove off.

As the afternoon became colder and a grey sky brought early darkness, Mama and Pappy turned into the driveway, headed for the open fire and a drink. When Mama reached the top step on the verandah and saw those long boxes, all three of them, she was astounded. “Billy,” she called out, “What on earth do you suppose Malcolm’s receiving in these boxes?” As Faulkner reached the verandah he took one look at the boxes and called out loudly for me. **Buddy,” he said, “What on earth are these things? Come here!”

I had just come in by the back door and had not seen the boxes. I hurried through to the front verandah, took one quick look and knew. Dear God! They had sent out to me three cadavers meant for the Anatomy Department of the University!

When Mama found out what they were she took off for the library saying “Get rid of them! Get rid of them!”

I turned to Faulkner and explained. “Pappy,” I said, “I told Dr. Hogg that if anything was sent to the Anatomy Department during the holidays, the Express Company could call me and I would go over to the Department and let them in! I didn’t tell them to deliver cadavers here!”

“Well,” said Pappy. “We cannot have an array of cadavers gracing the verandah on Christmas Eve! You’d better phone Railway Express to pick these up immediately.”

Heading towards the telephone, shaken by the array of cadavers, I called back to Pappy. Please pour me a stiff drink while I make the call!

As the number was ringing the thought flashed through my mind that, as it was late Christmas Eve afternoon, there just might not be anyone there. But We had barely finished our drinks when the Railway Express van drove up again to the front Verandah. Faulkner then volunteered to drive me to the science building where I unlocked the door and made room for the Railway Expressmen to deliver the cadavers. As they emerged from the building Faulkner pulled from his pocket a pint bottle and passed it to each man.

When we arrived back, Rowan Oak was brightly lighted, and the glitter of the tree could be seen as the car came down the driveway and pulled up under the porte-cochere. Entering the library we headed toward the fire to warm up again. The aroma of various hot dishes drifted into the foyer from the dining room, where a buffet was being placed on the table. Norfleet appeared carrying a water pitcher. He bowed to Faulkner as he set the pitcher in place on the tray next to the bourbon decanter and glasses. For many friends would find their way up the cedar-lined driveway of Rowan Oak on Christmas Eve, leaving gifts or stopping by to say “Merry Christmas,” and perhaps sampling one of the hot dishes on the way to replenish a glass. This evening there were Dr. and Mrs. John Cully, Colonel and Mrs. Evans of ‘Minmagary” fame, Colonel Baker and his charmingly vivacious wife Kate, and many, many more.

The hour was a little past eleven, and younger members of the family were preparing to leave for the midnight service at St. Peter’s. A great flurry of activity could be glimpsed beyond the parlor door as coats were being held, gloves pulled on, and scarves flung across shoulders with an occasional impatient “Hurry or we’ll be late.” Older guests also began to disperse, leaving Pappy and Mama to go upstairs, where the stockings lay waiting in Mama’s room to be filled. Christmas Eve had suddenly become very quiet as Rowan Oak waited for the arrival of Santa. Even the dogs seemed somewhat subdued.

Daylight had hardly crept across the east lawn and touched the great cedars before young couples were astir in Rowan Oak. Jill’s and her young cousin Vicky’s were the first voices to be heard. Then there would be Pappy’s voice, trying to subdue the exuberant chatter as the girls headed for Mama’s room where the Christmas stockings hung waiting. Chrissie had already brought “Miss Estelle’s” coffee tray up, and was peeping from behind the door and saying “Christmas Gif,” and flashing her brilliant, warm smile. She caught Pappy on the stairs, tipping down to fix his own breakfast. Chrissie knew that Mr. Bill would be the only one to eat a proper breakfast: eggs, bacon, and grits covered with melted butter, topped off with hot coffee.

On Christmas Faulkner was always a fastidious dresser. To start the stocking-opening ritual in Mama’s room, he wore an elegant and ornate silk Chinese robe. In this he would have his breakfast. Even for the early part of the ceremony of the tree he would be so dressed, for by nine-thirty the young people were there beside the tree in the parlor. It was at this time that Mama would make her appearance wearing a lovely Chinese wrapper in soft, muted pastel shades.

The younger members of the family, including the colored servants, Broadus, Norfleet, Estelle, and others, gathered around the tree. Pappy in his colorful dressing gown officiated. He offered a prayer first. Then he picked up a package and called a name. That person stepped forward and received it. This continued until all the packages were passed out, amid a flurry of paper and ribbon the boxes were opened.

The time had now come for Faulkner to receive his gifts. These consisted of little bundles of pipe cleaners, some in assorted colors, others snow-white. There were all kinds of pipe cleaners in various bundles clinging precariously to the branches of the tree, each with its little tag. There was one package of Dill pipe cleaners, which Faulkner liked particularly. The tag on this read: “To Pappy, Love Buddy.” The next, a gaily colored mixture, said “To Pappy, Love Jill.”

For Faulkner would accept only pipe cleaners from the family with the exception of an occasional handkerchief from Mama. If he received any other gift, he would carefully take it to his office and there it would remain unopened.

Colored members of the family went merrily off to the kitchen to open their gifts. There were pints of bourbon for our colored friends: Henry Jones, Wade Ward, and Wallace, who hunted with Faulkner, and of course Andrew.

The dining room table had been made ready early that morning. The Christmas punch bowl glistened ruby red, the flowers were gracefully arranged. Punch cups were placed about the ornate lace table cover. The bowl could be glimpsed by members of the family as they made their way upstairs to dress for the day. This was a Christmas punch created by Faulkner for the holidays. It consisted of apples, bourbon, dry burgundy and soda water, chilled by a generous portion of ice chunks.

During the morning and through the day frequent knocks at the kitchen door were followed by shouts of “Christmas Gif!” and various folks that had worked for us during the year received in return a Christmas drink and cheerful word. This was the custom in Oxford and throughout Mississippi. Wallace, at the request of Faulkner, stood ready with a wagon to drive to their homes those who could no longer navigate.

During the early afternoon members of my mother’s family began to arrive. There was my mother’s sister Aunt Dot, and my grandmother Oldham, this time without my grandfather. He had passed away during the war. Then there was Mary Jenkins, Dr. John Cully’s surgical nurse, who lived at the Oldhams’, and had for years been almost a member of the family. She had on numerous occasions taken care of Faulkner during serious drinking bouts.

Miss Maud, Faulkner’s mother, never went out on Christmas, or attended dinner at the homes of any of her children. She preferred to have her sons and grandchildren drop in and visit her. After her husband, Mr. Murry, passed away in the early 1930’s Miss Maud never had a Christmas Tree. Instead, there were bouquets of holly, Christmas greens, and a holly wreath at the front door. About mid-afternoon Faulkner would leave for a visit with Miss Maud, usually staying an hour. Then he would return to dress for dinner.

The afternoon grew late. Faulkner, who had returned to Rowan Oak and dressed in the white tie and tails which he considered appropriate for the occasion, made his appearance in the parlor, suggesting as he did so that drinks were in order. He then headed for the library fire and a bourbon, soon to be followed by members of the family. Conversations over drinks rose and fell with merry outbursts of laughter. Ice clicked against chilled glasses as new toasts came up. Mama came gaily into the library, saying, “Billy, will you do the honors?” Those who were seated before the fire arose, and we all placed empty glasses on the tray as we passed the library table on the way to the dining room.

Faulkner was already standing at the head of the table as the members of the family reached the dining room. The long table was draped with its elegant linen cloth, and the lighted candelabra cast uneven shadows on the polished silver. Holly and Christmas greens in a low cut-glass vase formed the centerpiece. Silver goblets with crisp white linen napkins marked each place.

There were two small tables placed at graceful angles near the dining table. These were for the younger members of the family, for there were too many to be seated at one table. Small gumdrop trees were placed in the centers of these tables. Their dainty linen and lace tablecloths swept close to the floor.

Chairs were held for the ladies as Faulkner graciously designated where each was to be seated. Norfleet’s white coat flicked through the pantry as he made a smiling entrance carrying the huge serving platter and turkey. After Pappy said the blessing, the turkey was carved. Each plate was bountifully served as Norfleet held it for Faulkner. Boojack re-set Faulkner’s place as Norfleet removed the well-carved turkey, placing it on the long narrow serving table on Faulkner’s left just in front of the fireplace.

Faulkner, lifting a crystal wine glass, poured a small portion in the glass and tasted it. Then each glass was filled by Faulkner as he walked around the table. When every glass was filled, Fau toast appropriate to the occasion. Boojack entered carrying a heaping dish of rice. Just behind, Broadus appeared bearing a large bowl of giblet gravy. There was always a tremendous amount of giblet gravy prepared, for it was a favorite with rice on Christmas. Then came the broccoli with a cheese sauce, followed by a shallow dish of sliced buttered sweet potatoes. The ham was passed, and a final platter of broiled quail. The long serving table had very little room left as the dishes were placed on it.

It was Boojack who, sometime later, swung open the door carrying a large empty tray. She, with the help of Broadus, removed the dinner plates and placed the dessert plates beside Mama.

Norfleet appeared almost immediately bearing a large cut glass bowl of ambrosia, which he placed in front of Mama. Seeing the ambrosia reminded Faulkner of a story a good friend had told him. Faulkner repeated the story as the ambrosia was passed. This friend had a cook, and when she was asked if she would like to go to heaven when she died, she stood silent for a few minutes. Then, smiling broadly, she replied: “No Sir, I don’t believe I wants to go to heaven, cause all I’d be doing up there every day for Eternity is grittin’ up coconut for the white folks’ ambrosia.”

Boojack returned carrying fruitcake and a silver urn of after-dinner coffee and the cups. Norfleet placed in front of Faulkner a bottle of cognac and delicately patterned small brandy glasses. By the time the last refill of cognac had been offered and conversation become somewhat scattered it was time to leave the table. The sky was a deep black and night had come. Christmas was over.

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Sartoris Thanksgiving

In a his article “Cooked Books” (The New Yorker, April 9, 2007), Adam Gopnik points out that there are four kinds of food in books: “Food that is served by an author to characters who are not expected to taste it; food that is served by an author to characters in order to show who they are; food that an author cooks for characters in order to eat it with them; and, last (and most recent), food that an author cooks for characters but actually serves to the reader.”

Faulkner falls solidly into the second category, a writer who uses food to show who his characters are, as does (unsurprisingly) a French writer who influenced the Mississippian very much, Marcel Proust.  “Proust seems so full of food—crushed strawberries and madeleines, tisanes and champagne—that entire recipe books have been extracted from his texts,” Gopnik says. “Proust will say that someone is eating a meal of gigot with sauce béarnaise, but he seldom says that the character had a delicious meal of gigot with sauce béarnaise—although he will extend his adjectives to the weather, or the view. He uses food as a sign of something else.”

This is precisely what Faulkner does with the Thanksgiving meal at the Sartoris home in Flags in the Dust, his first novel to be set in Yoknapatawpha County (called “Yocona”). Written in 1927, the novel was rejected by his publisher, but it was released in a drastically edited version as Sartoris in 1929. The full manuscript was finally restored and published under the editorial direction of Douglas Day in 1973. The novel is set just after World War I and focuses on the once-powerful, aristocratic Sartoris in decline, clinging to the vestiges of affluence. Here Faulkner describes their Thanksgiving table:

. . . Simon appeared again, with Isom in procession now, and for the next five minutes they moved steadily between kitchen and dining room with a roast turkey and a cured ham and a dish of quail and another of squirrel, and a baked ‘possum in a bed of sweet potatoes; and Irish potatoes and sweet potatoes, and squash and pickled beets and rice and hominy, and hot biscuits and beaten biscuits and long thin sticks of cornbread and strawberry and pear preserves, and quince and apple jelly, and blackberry jam and stewed cranberries. Then they ceased talking for a while and really ate, glancing now and then across the table at one another in a rosy glow of amicability and steamy odors. From time to time Isom entered with hot bread . . . and then Simon brought in pies of three kinds, and a small, deadly plum pudding, and a cake baked cunningly with whiskey and nuts and fruit and treacherous and fatal as sin; and at last, with an air sibylline and gravely profound, a bottle of port.” (Flags in the Dust, Random House, 1973, p. 281)

The meal is lorded over by the family patriarch, Bayard Sartoris II, who is soon to die as well as his son, Bayard III, leaving the few remaining members of the once proud and powerful Sartoris family destitute.

Old Bayard’s attempts to maintain the family’s traditional high standards are exemplified by this meal, which is indeed a groaning board with plentiful meats and game, vegetables and breads, sweets and condiments. The inclusion of stewed cranberries, somewhat of a luxury item at the time, stands out. Towards the end, adjectives begin to cluster as they tend to do in Faulkner, and the final, “sibylline and gravely profound” presentation of port lends a dark, ceremonial  coda.

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‘Faulkner: The Past Is Never Dead”: A Review

With this first feature-length documentary on William Faulkner, Michael Modak-Truran sets a very high bar indeed. This triumphant film is a rich, detailed portrait framed by a penetrating, entertaining narrative, a work that radiates talent and professionalism.

“Faulkner: The Past Is Never Dead” is a many-paned portal for the discovery of Faulkner the man, his life and times, and his art. Modak-Truran calls his method a “hybrid documentary approach,” employing traditional interviews, archival media, animated sequences, and re-enacted scenes; the resulting quasi-stream-of-consciousness mélange seems intensely reflective of Faulkner’s own technique.

A select group of scholars examine themes such as race and feminism, consider Faulkner’s novels both in relationship to each other and their sequence in Faulkner’s career, and offer insights into how his characters and narratives relate to the man and his milieu. Archival photos, video, and documents provide buoyancy.

What Modak-Truran calls the “narrative arc” of the film is a series of beautifully re-enacted scenes derived from various sources, and this too reflects Faulkner’s own approach to narratives in works such as As I Lay Dying, The Sound and the Fury, and Absalom, Absalom!

“Faulkner: The Past Is Never Dead” establishes Modak-Truran as a director with a sure sense for the medium and a firm grasp on his material. The film also confirms Faulkner’s relevance and offers assurance that the power of his prose and insights into the human condition will indeed endure.