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• W2764648479 abstract "On June 2, 1910 a confused nineteen-year old Mississippian, two six-pound flat irons in his suit pockets, plunged into Charles River near Harvard campus. Compson left one suicide note before taking his life: for Shreve McCannon, his Harvard roommate. Its contents remain unknown. All we know of Quentin's motivation emanates from his monologue in The Sound and Fury: anxiety over his sister's promiscuity, his father's alcoholic and acquiescently pessimistic weltanshauung, and his own ineffectual attempts to impose moral order on a changing world. Understanding Quentin, however, demands an understanding of social and historical conditions which produced this half-baked Galahad. Quentin's time and place exposed him to two powerful leavens which consumed his thoughts and helped destroy him: Lost Cause and his father's cynicism. Of these, least explored in critical writing is Lost Cause's impact upon young man. [U]nlike nation, South has known defeat and failure, wrote historian C. Vann Woodward in 1968, periods of frustration and poverty, as well as human slavery and its long aftermath of racial injustice. These travails produced the South's un-American experience of (Woodward 229, 231). This disparity between American and Southern experiences looms dramatically in fifty years following Civil War, when living testimony to antebellum and Civil War South walked streets of such towns as Jefferson, Mississippi. The Lost Cause evolved from antebellum South and came of age in decades after Appomattox. It glorified wartime sacrifices and antebellum social mores. The Lost Cause represented Southern efforts to come to terms with defeat and new American nation which rose from ashes of war. Defeated on battlefield, Southerners prepared for a battle of ideas in reconstructed nation. A post-war regional identity condensed around tradition, becoming a cult of public memory, a component of region's cultural system, supported by various organizations and rituals. The enthusiastic celebration of Confederate past did not begin until late 1880s, but gained momentum and power during last decade of 19th Century. Though most scholarship on Lost Cause argues that its influence faded with passing of Confederate generation, it is instructive to realize that Confederate memory proved remarkably adaptable and influential in society and politics. This new identity, so heavily based upon a dead one, provided social unity to Southern whites in a time of political and social upheaval brought on by demise of yeomanry and challenges to Democratic dominance. In later social upheavals--the debate over civil rights for example--the residuals of Lost Cause ethic blossomed into symbolic resistance. According to Gaines Foster, Lost Cause's practitioners endorsed a deferential society based upon white supremacy, social order, and moral purity. This social neurosis infected most of those living in South; it provided identity, stability, and clear moral definitions for deep into Twentieth Century (Wilson 7-8; Foster 4-6, 194-96). Both Faulkner and Compson were born in this period; both testified of its excesses and its impacts on their lives. Faulkner admitted: Ishmael is witness in Moby Dick as I am in The Sound and The (Zender 18, 62). Jackson Benson forcefully argues that represents an emotional self-portrait of William Faulkner. Quentin appears to have been created out of mixed feelings, and relationship of Faulkner to his central character seems to involve both distance and identification, Benson writes. Faulkner recognized and identified with Quentin's investment in Southern society, even as he himself grew beyond its narrow confines. Moreover, Faulkner recognized significance of history behind The Sound and The Fury in an unpublished introduction written in 1933: [T]he South . …" @default.
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• W2764648479 date "1997-09-22" @default.
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• W2764648479 title "Case Study in Social Neurosis; Quentin Compson and the Lost Cause" @default.
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