William Faulkner Collection of short Story

Introduction

William Faulkner (1897-1962), American novelist was born in September 25, 1897 in New Albany (Mississippi pieces). Faulkner's father kept the livery of Oxford, and the future writer was growing up in an atmosphere of "noble poverty". After finishing junior high school Faulkner worked largely independently.

After the war he returned to Oxford and continued his studies at the University for sometime also he lived in the bohemian quarter of New Orleans and later moved to New York, then to Europe and from there returned to Oxford. Finally, under the influence of S. Anderson, with whom he met in New Orleans Faulkner began writing prose (Blotner, Joseph, and P.12-15).

Novel Absalom, Absalom! (Absalom, Absalom!, 1936) is ranked top along with the noise and fury to the highest achievements of Faulkner, the story of the rise and collapse of the lush and pursued rock family Satpenov. Among the many stories of Faulkner's most famous are the Bear (The Bear), published in the book Go down, Moses. Faulkner also owns collections of short stories “The Knight, Doctor Martino” and Other Stories. The Collected Stories and the Great Forest were the stories Faulkner wrote on his own and co-authored several films. Several of his works were filmed and were liked by many people. Faulkner died in Oxford, July 6, 1962, but still has a good image in many people's mind (Blotner, Joseph. P.23-25)

Thesis Statement

The comparison of Absalom, Absalom! And Go down Moses, highlights both the literary impact of these poems on contemporary literature. Faulkner has emerged as one of the most influential literary figure of his times.

William Faulkner's Absalom, Absalom!

Although often considered William Faulkner's it is an understatement to say that such a resistance to working through trauma resides in Faulkner's writing about race and southern history and especially in Absalom, Absalom! And Go Down, Moses. This resistance makes itself felt at all levels of these texts, but especially in the repetitious quality of the act of wounding and being wounded. Further, in these two texts, acting out, in the sense that LaCapra means the term, paradoxically both contains and elongates trauma. Clearly these narratives do not evoke any conveniently therapeutic trajectory of working through trauma to the effect that the trauma of race and the history of southern slavery become a repetitive wounding. I want to suggest also that this repetitive wounding may indeed be heard to cry out in a discursive equivalent of the middle voice, a project of address that speaks from the site of wounding but, as in Tasso's story, lodges in neither its subject nor its object. Yet its displacement does not in any way diminish or mitigate its intensity but instead enlarges it. I am certainly not asserting that there is not a complex field of voices and speakers in either text, but suggesting that there is another voice that is systemic, connected to trauma itself in its original sense, a wound to the tissues of the body, the wound itself being systemic to ...