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• W927419625 abstract "I Jealously as he defended the privacy he considered his birthright, William Faulkner made his writing life an open book. He loved to tell tall tales about it, but left the record to speak for itself, what I think must be the most uncensored collection of working papers any major writer save Boswell ever left behind. However much manuscript may have found its way into his wastebasket, what now abides our question betrays no intention to conceal even the first faltering tracks of the novice. And so, while his drafts tell us by no means all we should like to know about the mystery of inspiration, they can teach us much more than we yet know about William Faulkner the working writer. * Often the drafts flatly refute accounts he himself gave of his methods, especially while struggling to master fundamentals. His introduction to the 1932 Modern Library edition of Sanctuary is case in point--one of many. Every sheet of manuscript and typescript contradicts the pose of nonchalance and meretricious haste he there puts on. Critics have already competently demolished the legend that this fine novel was founded, as its author claims, on a cheap idea ... deliberately conceived to make money. (1) But when one sees in his own hand phrase tirelessly polished to the high finish of Popeye's vicious depthless quality of stamped tin, (2) or an early chapter moved four times, with all the shuffling of detail that implies, or finds on one sheet four canceled versions of paragraph or eighteen crossed-out folio numbers, one can only marvel at the sprezzatura with which he blandly asserts he wrote it in three weeks and forgot all about his mss. once he had sent it off. (3) One marvels, too, at the credulous who persist in taking Faulkner's word for it that he wrote As I Lay Dying in six weeks, changing word. Doubtless he often forgot after work was published just what he had done to make it publishable, but he cannot have meant to fool anyone for long. One could always go to the evidence and see for oneself. It shows that during the years 1919 through 1929 Faulkner developed ever so slowly, then with astonishing, increasing bursts of speed, first set of personae capable of articulating his vision of mankind, next series of incidents to give them play, and lastly climate and locale to project their feelings and place them in the natural world. Persons and incidents were often repeated with significant changes; the thoughts and feelings were sometimes his own, though craftily masked. But all from the first had an historic dimension: he learned to move his figures around in time, as he once told Jean Stein; and this motility gave complex philosophic substance and depth to his creations. Among the working papers now available to scholars who visit the Alderman Library at the University of Virginia are at least dozen still unpublished pieces, nine of them very early. (4) In general, Faulkner kept on hand many unsold works, including the unfinished and canceled drafts of early stories. Some he reworked. Some came out years later in collections or magazines or under separate imprint. Others he drew upon in later published novels. Hence the material to which I call attention here is of particular interest for what it reveals of the unfolding process leading to mature work of the first magnitude. Several manuscripts suggest that Faulkner's imaginative process began with the conception of character modeled on someone he knew or knew about. Father Abraham and Dry September, for instance, start with extended portraits. Since the latter of these resulted in finished story, its textual history helps us visualize the process. A key figure is elaborated in great detail without any hint of the incident in which she will play role. Once the incident has crystallized, this germinal central character may be subordinated or (though not in this instance) may even be left out altogether. …" @default.
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• W927419625 date "1973-03-22" @default.
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• W927419625 title "Evolution of Two Characters in Faulkner's Early and Unpublished Fiction" @default.
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