Southern Literature4 p) F, |$ |& n4 K" f
I. Heritage
/ B/ M8 q- V. p7 t5 R$ e American southern literature can date back to Edgar Allen Poe, and reach its summit with the appearance of the two “giants” – Faulkner and Wolfe. There are southern women writers – Katherine Anne Porter, Eudora Welty, and Flannery O’Connor.) P! V& p+ H5 T- }0 g
II. Southern Myths – guilt, failure, poverty
* V) w7 Z- v- D0 v 1. Chevalier heritage
5 z2 T9 J7 g9 o; N8 L 2. Agrarian virtue
% I1 g9 H% R/ l! o$ ^% i* U# Q- Z 3. Plantation aristocracy: @0 i' a* z5 E( a3 y0 w3 Z7 ~
4. Lost cause
. C8 | Q" T* U/ Z% `' C5 z" T5 ] 5. White supremacy4 Z5 M B- l" U+ \( d9 V1 n
6. Purity of womanhood
5 E6 O; ?* G0 Q+ O# d# n Southern literature: twisted, pessimistic, violent, distorted; r. A2 A y1 ]" `% ^, B: Z
Gothic novel: Poe
" @6 m8 t( `: w6 S III. William Faulkner
- m W* `# z! x) I4 N1 X2 A) M 1. life
' e+ M9 o( Q2 [; ~ 2. literary career: three stages
: T; a( Q9 Z' R3 d, C4 q (1) 1924~1929: training as a writer7 \0 D: p4 T3 Q9 y9 B+ O- n; f" U' W
l The Marble Faun( {0 `- D& U. Y9 H
l Soldier’s Pay2 p1 Q. P5 z" S& B
l Mosquitoes
. g& J6 U! Q* C, u3 J' B. q (2) 1929~1936: most productive and prolific period
$ @$ C6 g/ w2 z' Y( i8 A- u l Sartoris# _- S0 i) [6 D7 P
l The Sound and the Fury/ G1 C9 T% L/ `) I1 O+ v
l As I Lay Dying
' i: m6 L: Y5 ~( T3 I1 ]8 n l Light in August3 n) W2 h& L" H* c! |
l Absalom, Absalom( M8 l& X# f, i1 E
(3) 1940~end: won recognition in America
6 F& }4 f& l% y" _* r; o l Go Down, Moses" @1 J( K% p H; z8 ~
3. point of view
+ c3 U4 K0 V- X7 j1 w8 Q- Z He generally shows a grim picture of human society where violence and cruelty are frequently included, but his later works showed more optimism. His intention was to show the evil, harsh events in contrast to such eternal virtues as love, honour, pity, compassion, self-sacrifice, and thereby expose the faults of society. He felt that it was a writer’s duty to remind his readers constantly of true values and virtues.$ M5 J8 ?' H: P
4. themes) N1 x' o9 d0 M9 c9 p
(1) history and race
% K: a! B1 @! {; R, k He explains the present by examining the past, by telling the stories of several generations of family to show how history changes life. He was interested in the relationship between blacks and whites, especially concerned about the problems of the people who were of the mixed race of black and white, unacceptable to both races.
. s' d! J3 i: j; z7 d (2) Deterioration
/ l. K; d) z3 ?6 b (3) Conflicts between generations, classes, races, man and environment6 f8 W q* i) f7 E+ Q. s, m+ ]- e
(4) Horror, violence and the abnormal
% W; ]' e# j. }. E 5. style/features of his works
# M! Q6 R; |& C (1) complex plot2 R. c( w/ {- v( q
(2) stream of consciousness
+ L* \" b' k' \3 c. q (3) multiple point of view, circular form% d2 A. }6 M p1 y, ?$ t
(4) violation of chronology% ]( W9 J: X+ F% V$ Z4 s1 h
(5) courtroom rhetoric: formal language
% o5 Y2 U H o8 N% A (6) characterization: he was able to probe into the psychology of characters. H& n1 B$ K. h0 p, z+ \
(7) “anti-hero”: weak, fable, vulnerable (true people in modern society)
- H4 o# ^! \/ R2 [ He has a group of women writers following him, including O’Connor and Eudora Welty
4 U) F+ Y$ D2 l9 ] u# W Section 2 The 1930s
0 J! Z+ m% U% L$ H' V Radical 1930s
4 ]0 z0 h& C5 d1 O I. Background* ^& E. o* }/ y
Great Depression (1929 “Black Thursday”)
; U. Z5 s8 I2 w# j II. Literature
; M' T( `: S. U2 x6 w 1. Writers of the 1920s were still writing, but they didn’t produce good works.
' L' j+ }. `) u, s: l3 b% }% {+ t 2. The main stream is left-oriented. |