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• W530613 abstract "1. During second World War, when he was just setting out to build Faulkner's reputation into national monument it has since become, Malcolm Cowley placed Absalom, Absalom! realm of romances, with Sutpen's Hundred taking place of haunted castle on Rhine, with Colonel Sutpen as Faust Charles Bon as Manfred. (1) By now one is aware of so many louder literary echoes, so many prototypes conventions Faulker assimilated into his most ambitious novel, one hesitates to single out vein once again. What if Leslie Fiedler does call it the most gothic of Faulkner's books? He has found a Goth hiding under bed of practically every virgin in American literature, I cannot agree with him it is form that has been most fruitful in hands of our best writers. (2) Rather I tend to share Cleanth Brooks's annoyance when he calls this Faulkner's greatest work insists it is a great deal more than Gothic sauce to spice up our preconceptions about history of American society. He cites as a typical misreading one preface starts off, It is a terrible sequence of events, a brooding tragic fable.... (3) Undaunted by these strictures critics nevertheless go on using epithet without defining it or explaining why it seems to them important. Thus Michael Millgate, considering Absalom more like Jane Eyre than Moby-Dick, finds Faulkner has resumed tradition from European sources, without saying what these are, what they signify, or how Faulkner came by them. (4) As Millgate observes, both Faulkner's Charlotte Bronte's plots are set in great houses which harbor secret inmates are set on fire by desperate females, who go up in flames. The Pequod House of Usher also harbor secret inmates go down in water, though Pequod is without desperate females. Are these significant likenesses--or distinctions? The question might rather be whether these are stately tragic endings or just melodramatic contrived. Insofar as they may be is it a virtue or a flaw? Concluding his essay Revaluation of Novel with an unusually warped summary of diseased disgusting world depicted in Sanctuary, Robert D. Hume decides it is indeed Gothic, hence offers no conclusions. It emphasizes psychological reaction to evil, he writes, and leads into a tangle of moral ambiguity for which no meaningful answers can be found. (5) To counter such a self-defeating pointless conclusion one must both redefine give some regard to corpus of Faulkner's work. For this purpose I think Absalom a more promising starting point than Sanctuary if only because segment of Faulkner's world it transects is more comprehensive with respect to human literary history than Sanctuary taken by itself. Here I propose to test Brooks's conclusion some others against my own reading to give element no more than its due in accounting for book's triumphs its shortcomings. 2. Any examination of a book with such a singular title must pause to consider relevance of title to author's intention. Faulkner could have picked one alluding to house of Sutpen or even house of Compson. Just as title of favorite earlier work which introduced Quentin recalls disintegration despair of Macbeth, so title of this sequel evokes anguish of David in his Pyrrhic victory over his rebellious son. In each case hero's soliloquy summarizes despair comes over him as his ambitious career passes in review before his eyes he sees himself diminished by punishment it has invited. What distinguishes Sutpen from David is he founds no line has no prophet like Nathan to point out enormity of his transgressions. Starting from humble, country-bred obscurity, both do achieve epic renown. …" @default.
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• W530613 date "1971-09-22" @default.
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• W530613 title "What Is Gothic about Absalom, Absalom!" @default.
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