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• W2091220743 abstract "LIVING WITHIT: THE COMIC VALEDICTORIES OF FAULKNER AND O'NEILL, AH, WILDERNESS! AND THE REIVERS Eleanor Heginbotham Concordia University, St. Paul All but one ofthe Reivers' complicated, almost slapstickjokes have been played out; Colonel Linscomb and the assembled white men, awed and befuddled, try to sort out how a borrowed car was traded for a stolen horse that had some fishy source of speed. Ned, the stowaway manipulator of plot, explains, Everybody got kinfolks that aint got no more sense than Bobo. Ned's is wisdom that links disparate works by Faulkner and O'Neill. Such wisdom allows my apparently incorrect title. These strangely warm, nostalgic ascents from the darkness by Nobel laureates noted for their tragic visions, these valedictions forbidding mourning, may be considered parallel Comic Valedictories— parallel in origin, in reception, and in pattern, just as in ways largely unexplored, their creators led somewhat parallel lives. Strictly speaking, of course, neither The Reivers nor Ah, Wilderness ! is a Valedictory. As Judith Wittenberg points out,1 Faulkner didn't know that the book he himself called one of the funniest books I ever read would be his last,2 nor did O'Neill intend that this play, which surprised him by coming so easily that I'm scared ofit, a play for which he told his son, I have an immense affection,3 would be a final word—and indeed, it was not. After Wilderness came five major plays, including Long Day's Journey Into Night, which is the Janus side of Ah, Wilderness!4 Although both Edmond Volpe's label ofFaulkner's novel as a didactic fairy tale andMichael Manheim's conclusion that O'Neill is determined to trowel honey over bitterness in his play seem pejorative if not reductive,5 readers may acknowledge that both honored valedictorians, ifyou will, use their comic vehicles to ladle out more overt advice, especially advice to the young, than they were wont to do elsewhere. Curiously pious advice as it might be, it nevertheless resonates to the patterns of romance delineated by Northrup Frye. From James J. Kibler and Cleanth Brooks in the sixties to Judith Wittenberg and Susan Tuck more recently, readers have traced possible influences of O'Neill in Faulkner's work;6 certainly Faulkner's 102Eleanor Heginbotham 1922 article in The Mississippian is proofthat Faulkner read and probably saw early O'Neill. Through mutual editors at Random House (Saxe Commins and Bennett Cerf) and through Hollywood connections (collaborator Dudley Murphy had directed Emperor Jones) he also knew more thanjust the work ofthe playwright, who was only nine years his senior. What O'Neill did with fatally feuding New England farmers acting out their desires under elms, Faulkner did with Snopeses and Sartorises. What O'Neill did with the intra-family greed, jealousy, and sexual desire ofthe Mammons, Faulkner did with Sutpens; what O'Neill created ofthe masculine solidarity borne of lonely stretches in sailors' watches, Faulkner brought to the wilderness of Ike McCaslin and Sam Fathers. Both interrogate the savage effects of race and gender; compare Emperor Jones and Red Leaves. Both reflect the continuing pressure of history, particularly the Civil War (Mourning Becomes Electra and Absalom! among so many others). Both get inside the skin of titanic and mad characters and into the simple minds of those who, as Anna Christie says, are all poor nuts, and things happen, and we just get mixed in wrong, that's all or the people who, as The Mansion's Gavin Stevens says just do the best they can ... the poor sons ofbitches.7 Those who have commented on the Faulkner-O'Neill connection point particularly to their uses of the plots and devices of classic tragedy. Unremarked are the parallel uses of the plots and devices of comedy, and the nearly parallel ironic disjunction between text, whether novel or play, and subtext—the not-so-idyllic family life of these laureates. While Faulkner's novel of course allows far more characters, more playfully meandering side-trips, more subtlety, and more time to engage the reader, it shares much with O'Neill's play ofthirty years before . Written with zest in the full maturity of men who had lost their..." @default.
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• W2091220743 date "2000-01-01" @default.
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• W2091220743 title "Living With It: The Comic Valedictories of Faulkner and O'Neill, Ah, Wilderness! and The Reivers" @default.
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• W2091220743 doi "https://doi.org/10.1353/saf.2000.0012" @default.
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