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William Faulkner (1897–1962)

Author of The Sound and the Fury

460+ Works 98,850 Members 1,216 Reviews 504 Favorited

About the Author

Born in an old Mississippi family, William Faulkner made his home in Oxford, seat of the University of Mississippi. After the fifth grade he went to school only off and on-lived, read, and wrote much as he pleased. In 1918, refusing to enlist with the "Yankees," he joined the Canadian Air Force, show more and was transferred to the British Royal Air Force. After the war he studied a little at the University, did house painting, worked as a night superintendent at a power plant, went to New Orleans and became a friend of Sherwood Anderson, then to Europe and back home to Oxford. By this time he had written two novels. The Sound and the Fury followed in 1929. Financial success came with Sanctuary in 1931, which he assisted in filming. Faulkner 's novels are intense in their character portrayals of disintegrating Southern aristocrats, poor whites, and African Americans. A complex stream-of-consciousness rhetoric often involves Faulkner in lengthy sentences of anguished power. Most of his tales are set in the mythical Yoknapatawpha County, Mississippi, and are characterized by the use of many recurring characters from families of different social levels spanning more than a century. His best subjects are the old, dying South and the newer materialistic South. As I Lay Dying (1930), is a grotesquely tragicomic story about a family of poor southern whites. With Absalom, Absalom! (1936); the difficult parts of his famous short novel "The Bear" (published in Go Down, Moses, 1942); and the allegorical A Fable (1954), a non-Yoknapatawpha novel set in France during World War I; Faulkner returned to an innovative and difficult style that most readers have trouble with. Yet, interspersed among such works are collections of easily read stories originally published in popular magazines. There seems to be a growing sentiment among critics that the Snopes trilogy-The Hamlet (1940), The Town (1957), and The Mansion (1959)-for the most part an example of Faulkner's "moderate" style, could well be among his most important works. Faulkner was awarded the 1949 Nobel Prize for literature "for his powerful and artistically independent contribution to the new American novel," but it would appear now that he also deserved to win that honor for his contribution to world literature. When reporting his death, the Boston Globe quoted Faulkner's having once told an interviewer: "Since man is mortal, the only immortality for him is to leave something behind him that is immortal since it will always move. That is the artist's way of scribbling "Kilroy was here" on the wall of the final and irrevocable oblivion through which he must some day pass." In addition to the Nobel Prize, Faulkner received the Howells Medal of the American Academy of Arts and Letters in 1950, and in 1951 he was given the National Book Award for his Collected Stories Collected Stories. For his novel A Fable he received the National Book Award for the second time, as well as the Pulitzer Prize in 1955. The Reivers (1962) was awarded the Pulitzer Prize in 1963. In 1957 and 1958, he was the University of Virginia's first writer-in-residence, and in January 1959 he accepted an appointment as consultant on contemporary literature to the Alderman Library of that university. Although Faulkner was not without honors in his lifetime and has received world recognition since then, it is surprising to learn that, when Malcolm Cowley edited The Portable Faulkner in 1946, he found that almost all of Faulkner's books were out of print. By arranging selections from the works to form a continuous chronicle, Cowley deserves much of the credit for making readers aware of the way in which Faulkner was creating a fictive world on a scale grander than that of any novelist since Balzac. William Faulkner died in Oxford, Mississippi, in 1962. (Bowker Author Biography) show less
Disambiguation Notice:

This is not the same person as William Falkner (d. 1682), English theologian. Do not combine the two.

Image credit: William Faulkner, 1954

Series

Works by William Faulkner

The Sound and the Fury (1929) — Author — 19,430 copies, 247 reviews
As I Lay Dying (1930) 16,838 copies, 238 reviews
Light in August (1932) 10,353 copies, 113 reviews
Absalom, Absalom! (1936) 8,597 copies, 115 reviews
Sanctuary (1931) 4,181 copies, 47 reviews
Go Down, Moses (1942) 3,688 copies, 37 reviews
The Reivers (1962) 2,601 copies, 32 reviews
Intruder in the Dust (1948) 2,339 copies, 36 reviews
The Unvanquished (1938) 2,199 copies, 17 reviews
Collected Stories of William Faulkner (1950) 2,157 copies, 10 reviews
The Sound and the Fury, A Norton Critical Edition (1929) — Author — 2,052 copies, 22 reviews
The Hamlet (1940) 2,044 copies, 21 reviews
The Wild Palms (1939) 1,483 copies, 18 reviews
A Fable (1954) 960 copies, 9 reviews
Soldiers' Pay (1926) 803 copies, 16 reviews
The Town (1957) — Author — 800 copies, 6 reviews
The Mansion (1959) — Author — 798 copies, 2 reviews
Requiem for a Nun (1951) 730 copies, 3 reviews
Selected Short Stories of William Faulkner (1961) 719 copies, 2 reviews
Sartoris (1929) 690 copies, 4 reviews
Mosquitoes (1927) 612 copies, 11 reviews
As I Lay Dying [Norton Critical Edition] (2009) 599 copies, 6 reviews
Pylon (1935) 584 copies, 8 reviews
The Sound and the Fury / As I Lay Dying (1976) 548 copies, 4 reviews
As I Lay Dying / The Sound and the Fury / Light in August (2005) — Author — 542 copies, 4 reviews
Knight's Gambit (1949) 527 copies, 10 reviews
Flags in the Dust (1929) — Author — 485 copies, 14 reviews
Novels, 1957-1962: The Town / The Mansion / The Reivers (1999) — Author — 405 copies, 2 reviews
Uncollected Stories of William Faulkner (1979) 392 copies, 1 review
The Faulkner Reader (1959) 364 copies, 1 review
The Big Sleep [1946 film] (1946) — Screenwriter — 323 copies, 4 reviews
Six Great Modern Short Novels (1954) — Contributor — 319 copies, 2 reviews
A Rose for Emily [short story] (1970) 310 copies, 5 reviews
The Portable Faulkner (1946) 304 copies, 5 reviews
New Orleans Sketches (1968) 257 copies, 1 review
Big Woods (1955) 243 copies, 3 reviews
To Have and Have Not [1944 film] (1944) — Screenwriter — 230 copies, 8 reviews
A Rose for Emily {Tale Blazers} (2007) 217 copies, 12 reviews
The Wishing Tree (1927) — Author — 180 copies, 4 reviews
The Bear (1942) 146 copies, 4 reviews
Sanctuary and Requiem for a Nun (1951) — Author — 131 copies, 1 review
These Thirteen (1931) 84 copies
The Old Man (1978) 76 copies, 5 reviews
Barn Burning (1979) 73 copies, 4 reviews
A Rose for Emily and Other Stories (1990) 67 copies, 1 review
Relatos (1984) 53 copies, 2 reviews
Smoke [short story] (1993) 46 copies
Vision in Spring (1984) 44 copies
Mayday (1980) 36 copies
Ghosts of Rowan Oak: William Faulkner's Ghost Stories for Children (1980) — Contributor — 34 copies, 1 review
William Faulkner: early prose and poetry (1962) 31 copies, 1 review
Father Abraham (1983) 31 copies
A Rose for Emily {book} (1996) 28 copies, 2 reviews
Faulkner : Oeuvres romanesques, tome 1 (1977) — Author — 25 copies, 1 review
Essays, Speeches & Public Letters {1965} (1966) — Author — 25 copies
Dry September (2014) 24 copies, 12 reviews
The Essential Faulkner (2013) 23 copies, 1 review
Helen: A Courtship and Mississippi Poems (1981) 23 copies, 1 review
Si yo amaneciera otra vez (1997) 21 copies
The Long Hot Summer (1958) 20 copies
Barn Burning {story} (1997) — Author — 17 copies
Una rosa per Emily (1997) — Author — 16 copies, 1 review
That Evening Sun {story} (1931) 15 copies, 2 reviews
The William Faulkner Audio Collection (2003) — Author — 14 copies, 1 review
Miss Zilphia Gant (1980) 14 copies
Faulkner. Oeuvres romanesques. Tome 2/5 (La Pléiade) (2016) — Author — 13 copies, 1 review
Eine Rose für Emily (1930) 13 copies
The Indispensable Faulkner (1950) 13 copies
William Faulkner Reads (1992) 13 copies
Two Soldiers (1983) 12 copies
Light in August / Sanctuary (1978) — Author — 12 copies, 1 review
Obras completas (2004) 12 copies
Stories from six authors (2000) — Contributor — 12 copies, 1 review
All the Dead Pilots (2002) 12 copies
Noveller (1992) 11 copies
The Best of Faulkner (1955) 11 copies
Turnabout (1932) 11 copies
Barn Burning and Other Stories (1971) — Author — 11 copies, 1 review
Meistererzählungen (1970) 11 copies
The Marionettes (1975) 11 copies
Red Leaves: Stories (1972) — Author — 11 copies, 1 review
Faulkner's Mgm Screenplays (1982) 10 copies
Faulkner : Oeuvres romanesques, tome 3 (1977) — Author — 10 copies
Contes (2024) 10 copies, 1 review
Seasons of Light in the Atchafalaya Basin (1983) — Author — 9 copies, 1 review
As I Lay Dying [2013 film] (2013) — Author — 8 copies, 1 review
Obras escogidas. Tomo I (2005) 8 copies
Obras completas . I (2004) 8 copies
Privacy (2003) 8 copies
Lo! 8 copies
Schwarze Musik. (1994) 8 copies
Wash (2012) 7 copies
Cartas escogidas (1983) 7 copies
Essential Faulkner (1967) 7 copies
Karhu ja muita novelleja (1969) 7 copies
Mountain Victory (2002) 7 copies
Faulkner : Oeuvres romanesques, tome 4 (1977) — Author — 7 copies
Gdy leżę, konając (2024) 6 copies
Rose for Emily and Wash (1984) — Author — 6 copies, 1 review
Red Leaves {story} — Author — 6 copies
Spotted Horses (1989) 6 copies, 1 review
Obras escogidas 5 copies
Romanzi (1995) 5 copies
Faulkner at Nagano (1956) 5 copies
Douglas Sirk: Filmmaker Collection [videorecording] (2018) — Screenwriter — 5 copies
A Justice 4 copies
Ad Astra (2006) 4 copies
Obras Completas V (2005) 4 copies
A Bear Hunt 4 copies
A Aldeia (2015) 4 copies
Yenilmeyenler (2018) 4 copies
Pantaloon in Black (1942) 4 copies
Nouvelles (2017) 4 copies
Faulkner op West Point (1990) 3 copies
The Old People (1942) 3 copies
Mississippi Poems (1979) 3 copies
2 (2004) 3 copies
Santuario; Absalón, Absalón. (1993) 3 copies, 1 review
Mirrors of Chartres Street (1925) 3 copies, 1 review
Obras completas. VII (2005) 3 copies
Strange Love (1963) 3 copies
The Broach 3 copies
Koy (2018) 3 copies
The Tall Men 3 copies
Elly 3 copies
A Courtship 3 copies
Mistral 3 copies
Opere scelte (1995) 3 copies
The Fire and the Hearth (1942) 3 copies
Honor 3 copies
Stary 3 copies
Ensayos y discursos (2012) 3 copies
Hair (1968) 3 copies
Mosquitoes 2 copies
The Hill (1922) 2 copies
os desgarrados 2 copies
Els invictes 2 copies
Obras completas . VI (2004) 2 copies
Dilek Agaci (2016) 2 copies
Was (1942) 2 copies
Beyond 2 copies
The Leg 2 copies
Golden Land 2 copies
Mississippi (2000) 2 copies
Crevasse 2 copies
Carcassonne — Author — 2 copies
Fox Hunt 2 copies
Victory 2 copies
Death Drag 2 copies
Suchy wrzesień (1993) 2 copies
Delta Autumn (1942) 2 copies
Werkausgabe 28 Briefe (1997) 2 copies
Evangeline (1998) — Author — 2 copies
Artist at Home 2 copies
Faulkner's County: Tales of Yoknapatawpha County (1955) — Author — 2 copies
Sartoris nrf (1949) 1 copy
BJÖRNEN 1 copy
En canto agonizo (2025) 1 copy
Ruido e a furia, o (2007) 1 copy
mansión, La 1 copy
Keď som umierala (2016) 1 copy
The Marble Faun (2009) 1 copy
Põrmu häirija (2024) 1 copy
Dosegimde Olurken - Ayi 1 copy, 1 review
Buka i bes (1977) 1 copy
TYMI 1 copy
DUMAN 1 copy
Humphrey Bogart Classics: Volume 2 — Writer — 1 copy
Old Man [1997 TV movie] (1997) — Author — 1 copy
İki Hamlede Zafer (2020) 1 copy
Moskity 1 copy
Sartoris 1 copy
Welcome to USA (2012) — Contributor — 1 copy
Lekeli Günler 1 copy, 1 review
The Hamlet ( 1st/1st ) (1940) 1 copy
O Akşam Güneşi 1 copy, 1 review
Amerikaanse verhalen — Contributor — 1 copy
Cavalli pezzati (1997) 1 copy
12 סיפורים (2018) 1 copy
The Waifs 1 copy
Histoires diverses (1967) 1 copy
Elmer (1987) 1 copy
Opere 1 copy
Snobovi 1 copy
Smásögur 1 copy
Mosquitoes (Dell ed.) (1930) 1 copy
Le opere 1 copy
Desce, Moisés (1995) 1 copy
Bygda (1996) 1 copy
Mink 1 copy
Divlje palme (1966) 1 copy
Collected Storeies Vol. II 1 copy, 1 review
Duman 1 copy
Mektuplar (2014) 1 copy
Road to Glory (1964) 1 copy
Fumo 1 copy
Zascianek (1981) 1 copy
Wielki las (1997) 1 copy
Rezydencja (1983) 1 copy
Smasogur 1 copy
Konjicki gambit (1967) 1 copy
Svetiliste (2017) 1 copy

Associated Works

The Best American Short Stories of the Century (2000) — Contributor — 1,712 copies, 10 reviews
The Norton Anthology of Short Fiction (1978) — Author, some editions — 1,583 copies, 4 reviews
50 Great Short Stories (1952) — Contributor — 1,472 copies, 11 reviews
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Contributor, some editions — 1,012 copies, 7 reviews
Perrine's Literature: Structure, Sound, and Sense (1970) — Contributor, some editions — 892 copies, 4 reviews
The Oxford Book of American Short Stories (1992) — Contributor — 838 copies, 3 reviews
My Mistress's Sparrow Is Dead (2008) — Contributor — 800 copies, 21 reviews
The Dark Descent (1987) — Contributor — 797 copies, 14 reviews
Short Story Masterpieces (1954) — Contributor — 776 copies, 3 reviews
Great Tales of Terror and the Supernatural (1944) — Contributor — 734 copies, 12 reviews
The Oxford Book of Gothic Tales (1992) — Contributor — 603 copies, 6 reviews
The Oxford Book of Short Stories (1981) — Contributor — 556 copies, 4 reviews
Great American Short Stories (1957) — Contributor — 551 copies, 3 reviews
American Gothic Tales (William Abrahams) (1996) — Contributor — 522 copies, 5 reviews
The Best American Mystery Stories of the Century (2000) — Contributor — 513 copies, 7 reviews
The World of the Short Story: A 20th Century Collection (1986) — Contributor — 511 copies, 4 reviews
Fifty Great American Short Stories (1965) — Contributor — 478 copies, 3 reviews
Great Detectives: A Century of the Best Mysteries from England and America (1984) — Contributor — 404 copies, 4 reviews
100 Years of the Best American Short Stories (2015) — Contributor — 365 copies, 5 reviews
Best Short Stories of the Modern Age (1962) — Contributor, some editions — 351 copies, 4 reviews
Men at War: The Best War Stories of All Time (1942) — Contributor — 340 copies
A Treasury of Short Stories (1947) — Contributor — 334 copies
Americans in Paris: A Literary Anthology (2004) — Contributor — 328 copies, 3 reviews
A World of Great Stories (1947) — Contributor — 298 copies, 4 reviews
The Treasury of American Short Stories (1981) — Contributor — 294 copies, 1 review
Nobel Prize Library: Faulkner, O'Neill, Steinbeck (1971) — Author; Contributor — 226 copies
The Arbor House Treasury of Horror and the Supernatural (1981) — Contributor — 218 copies, 3 reviews
The Penguin Book of American Short Stories (1969) — Contributor — 209 copies, 1 review
Sixteen Short Novels (1986) — Contributor — 207 copies, 1 review
The Oxford Book of American Detective Stories (1996) — Contributor — 200 copies, 2 reviews
Great Modern Short Stories (1955) — Contributor — 195 copies
In Another Part of the Forest: An Anthology of Gay Short Fiction (1994) — Contributor — 191 copies, 2 reviews
Growing Up in the South: An Anthology of Modern Southern Literature (1991) — Contributor — 164 copies, 1 review
A Pocket Book of Modern American Short Stories (1971) — Contributor — 161 copies, 3 reviews
Murder & Other Acts of Literature (1997) — Contributor — 156 copies, 2 reviews
The Penguin Book of Horror Stories (1984) — Contributor — 156 copies, 3 reviews
An Anthology of Famous American Stories (1953) — Contributor — 155 copies, 1 review
The Saturday Evening Post Treasury (1954) — Contributor — 151 copies, 1 review
30 Stories to Remember (1962) — Contributor — 147 copies, 3 reviews
An American Album: One Hundred and Fifty Years of Harper's Magazine (2000) — Contributor — 145 copies, 1 review
The Signet Classic Book of Southern Short Stories (1991) — Contributor — 136 copies, 1 review
The Norton Anthology of American Literature, Volume 2: 1865 to Present (1979) — Contributor, some editions — 135 copies
Magical Realist Fiction: An Anthology (1984) — Contributor — 119 copies, 1 review
Great Modern Reading (1943) — Contributor — 115 copies, 3 reviews
The Literature of the American South: A Norton Anthology (1997) — Contributor — 110 copies
More Stories to Remember, Volume 2 (1958) — Contributor — 109 copies, 1 review
American Short Stories [Pearson Longman] (1976) — Contributor, some editions — 106 copies
Norton Introduction to the Short Novel (1982) — Contributor — 105 copies, 1 review
Masterpieces of Mystery : The Prizewinners (1976) — Contributor — 100 copies
A Treasury of Civil War Stories (1985) — Contributor — 93 copies
Great Short Stories of the Masters (1995) — Contributor — 93 copies, 1 review
Great American Mystery Stories of the 20th Century (1989) — Contributor — 91 copies
Great Stories by Nobel Prize Winners (1993) — Contributor — 85 copies, 1 review
The American Mercury Reader (1979) — Contributor — 85 copies, 1 review
Ten Modern Masters: An Anthology of the Short Story (1953) — Contributor — 80 copies
The Bedside Book of Famous American Stories (1936) — Contributor — 78 copies
200 Years of Great American Short Stories (1975) — Contributor — 78 copies, 1 review
The Heath Anthology of American Literature, Concise Edition (2003) — Contributor — 73 copies, 1 review
The modern tradition; an anthology of short stories (1979) — Contributor — 69 copies
The Medusa in the Shield (1990) — Contributor — 68 copies, 1 review
65 Great Tales of Horror (1981) — Contributor — 66 copies
The Rinehart Book of Short Stories (1952) — Contributor — 66 copies, 1 review
Great American Short Stories (1977) — Contributor — 65 copies
Dark Arrows: Great Stories of Revenge (1985) — Contributor — 65 copies
More Stories to Remember, Volumes I & II (1958) — Contributor — 64 copies
Gunga Din [1939 film] (1939) — Contributor — 63 copies, 1 review
The Long, Hot Summer [1958 film] (1958) — Original story — 58 copies
The Penguin Classic Crime Omnibus (1984) — Contributor — 58 copies
The Arbor House Treasury of Mystery and Suspense (1981) — Contributor — 57 copies
The Oxford Book of Sea Stories (1994) — Contributor — 56 copies, 1 review
Reading for Pleasure (2023) — Contributor — 55 copies
Art of Fiction (1974) — Contributor — 55 copies
Eleven Modern Short Novels (1958) — Contributor — 54 copies, 1 review
Masters of the Modern Short Story (1945) — Contributor — 53 copies
The lucifer society;: Macabre tales by great modern writers (1972) — Contributor — 52 copies, 1 review
The Experience of the American Woman (1978) — Contributor — 51 copies
The Random House Book of Sports Stories (1990) — Contributor — 49 copies
The Signet Classic Book of Contemporary American Short Stories (1985) — Contributor — 47 copies, 1 review
The Bedside Tales: A Gay Collection (1945) — Contributor — 45 copies
Great Short Stories (1950) — Contributor — 44 copies, 1 review
The Oxford Book of Historical Stories (1994) — Contributor — 43 copies
A Quarto of Modern Literature (1935) — Contributor — 43 copies
Southern Dogs and Their People (2000) — Contributor — 42 copies
Murder Most Foul : A Collection of Great Crime Stories (1984) — Contributor — 42 copies
The Vintage Book of Classic Crime (1993) — Contributor — 40 copies
Fifty Best American Short Stories 1915-1965 (1965) — Contributor — 39 copies, 1 review
Best Horror Stories (1990) — Contributor — 38 copies, 2 reviews
New Stories from the South: The Year's Best, 1996 (1996) — Contributor — 38 copies
Tales of Terror (1943) — Contributor — 36 copies
Short Stories [Great American Writers] (1989) — Contributor — 32 copies, 1 review
The Greatest War Stories Ever Told: Twenty-Four Incredible War Tales (2001) — Contributor — 31 copies, 1 review
50 Best American Short Stories 1915-1939 (2013) — Contributor — 31 copies
Ten Modern Short Novels (1958) — Contributor — 31 copies
The Best Horror Stories (1977) — Contributor — 28 copies
American Short Stories: 1820 to the Present (1952) — Contributor — 28 copies
21 Essential American Short Stories (2011) — Contributor — 28 copies, 1 review
Pulitzer Prize Reader (1961) — Contributor — 27 copies
Trial and Error: An Oxford Anthology of Legal Stories (1998) — Contributor — 27 copies
Short Stories of the Sea (1984) — Contributor — 27 copies
Tales of Dungeons and Dragons (1986) — Contributor — 26 copies
Great Short Stories of the World (1965) — Contributor — 26 copies
Studies in Fiction (1965) — Contributor — 23 copies, 1 review
The Hounds of Hell: Stories of Canine Horror and Fantasy (1974) — Contributor — 23 copies
The Greatest American Short Stories: Twenty Classics of Our Heritage (1953) — Contributor — 21 copies, 1 review
The Best American Short Stories 1966 (1966) — Contributor — 19 copies
Short Stories II (1961) — Contributor — 19 copies
Mississippi Writers: An Anthology (1991) — Contributor — 19 copies
Modern American Short Stories (1945) — Contributor — 18 copies
The Family Reader of American Masterpieces (1959) — Contributor — 17 copies
The Tarnished Angels [1957 film] (1957) — Original book — 17 copies, 1 review
Loaded for Bear: A Treasury of Great Hunting Stories (1990) — Contributor — 17 copies
Nine Short Novels (1964) — Contributor — 17 copies
Air Force [1943 film] (1943) — Screenwriter — 17 copies, 1 review
All verdens fortellere (1990) — Contributor, some editions — 16 copies, 1 review
Nobel Writers on Writing (2000) — Contributor — 15 copies
Twenty-Nine Stories (1960) — Contributor — 15 copies
The Best American Short Stories 1943 (1943) — Contributor — 15 copies
The night before Chancellorsville, and other Civil War stories (1957) — Contributor — 14 copies, 1 review
The Story Pocket Book (1944) — Contributor — 14 copies
31 Stories (1960) — Contributor — 13 copies, 2 reviews
Great Short Stories from the World's Literature (1950) — Contributor — 13 copies
Intruder in the Dust [1949 film] (1949) — Original novel — 13 copies, 1 review
Sherwood Anderson and Other Famous Creoles (2018) — Foreword, some editions — 13 copies
Favourite Scary Stories from Graveside Al (1996) — Contributor — 13 copies
The Queen's Awards : 1946 (1946) — Contributor — 13 copies, 1 review
The World of Law, Volume I : The Law in Literature (1960) — Contributor — 13 copies
Land of the Pharaohs [1955 film] (1955) — Screenwriter — 11 copies, 1 review
The best of the Best American short stories, 1915-1950 (1975) — Contributor — 10 copies
A New Southern Harvest (1957) — Contributor — 10 copies
Fiction Goes to Court (1954) — Contributor — 10 copies
More Stories to Remember, Volume IV (1958) — Contributor — 9 copies
Modern American Short Stories (1987) — Contributor — 9 copies
William Faulkner's Barn Burning [1980 TV movie] (1985) — Original play — 8 copies
Modern American Short Stories (1941) — Contributor — 8 copies
Writer to Writer: Readings on the Craft of Writing (1966) — Contributor — 8 copies
Time to Be Young: Great Stories of the Growing Years (1945) — Contributor — 7 copies
Before and After Midnight (1949) — Contributor — 7 copies
The Fireside Treasury of Modern Humor (1963) — Contributor — 7 copies
The Story Survey (1939) — Contributor — 7 copies
Themes in American Literature (1972) — Contributor — 5 copies
Strange Desires (1954) — Contributor — 5 copies
American Short Stories [Globe Book Co.] (1966) — Contributor — 5 copies, 1 review
Breakdown and Other Thrillers (1968) — Contributor — 4 copies
Twenty-Three Modern Stories (1963) — Contributor — 4 copies
Huivering wekken : 26 onthutsende verhalen (1982) — Contributor — 4 copies
Best Crime Stories (1964) — Contributor — 4 copies
Daughters of Eve (1956) — Contributor — 3 copies
Modern Short Stories — Contributor — 3 copies
The Narrative Impulse: Short Stories for Analysis (1963) — Contributor — 3 copies
Short Fiction: Shape and Substance (1971) — Contributor — 3 copies
A Magnum of Mysteries (1963) — Contributor — 2 copies
Enjoying Stories (1987) — Contributor — 2 copies
Strange Barriers (1955) — Contributor — 2 copies
American Short Stories (Oxford Literature Resources) (1992) — Contributor — 2 copies
Modern Short Stories — Contributor — 2 copies
The Literary Short Story (2007) — Contributor — 2 copies
Murder By Experts (1947) — Contributor — 1 copy
The Avon Annual 1945: 18 Great Modern Stories (1945) — Contributor — 1 copy
The River Reader: Introduction to Literature (2010) — Contributor — 1 copy
Introduction to Fiction (1974) — Contributor — 1 copy
15 Great Stories of Today (1946) — Contributor — 1 copy
The Saturday Evening Post Stories 1957 — Contributor — 1 copy
Modern American short stories (1963) — Contributor — 1 copy
The PL book of modern American short stories (1945) — Contributor — 1 copy
Sanctuary [1961 film] (1961) — Original novel — 1 copy
O. Henry Memorial Award Prize Stories of 1934 (1934) — Contributor — 1 copy

Tagged

20th century (1,574) 20th century literature (531) American (1,571) American fiction (425) American literature (3,563) American South (660) classic (1,450) classics (1,599) family (321) Faulkner (1,457) fiction (10,680) Library of America (347) literature (2,898) Mississippi (820) Modern Library (297) modernism (936) Nobel Prize (470) novel (2,477) own (346) read (756) short stories (776) South (433) southern (967) southern gothic (598) southern literature (1,053) stream of consciousness (341) to-read (4,212) unread (557) USA (610) William Faulkner (441)

Common Knowledge

Legal name
Faulkner, William Cuthbert
Other names
Faulkner, Will
Birthdate
1897-09-25
Date of death
1962-07-06
Gender
male
Education
University of Mississippi
Occupations
novelist
short story writer
poet
literary critic
essayist
screenwriter (show all 14)
playwright
bank clerk
postmaster
roof painter
carpenter
deckhand
coal shoveler
pilot
Organizations
British Armed Forces
American Academy of Arts and Letters
Sigma Alpha Epsilon
University of Mississippi (postmaster)
Metro-Goldwyn-Mayer (screenwriter)
Warner Brothers (screenwriter) (show all 8)
University of Virginia (writer-in-residence)
National Institute of Arts and Letters
Awards and honors
Nobel Prize (Literature, 1949)
National Institute of Arts and Letters (1939)
American Academy of Arts and Letters (1948)
William Dean Howells Medal (1950)
Chevalier de la Legion d'honneur (1951)
Silver Medal of the Greek Academy (1957) (show all 8)
National Institute of Arts and Letters Gold Medal (1962)
Created the PEN/Faulkner Award
Relationships
Faulkner, John (brother)
Falkner, Murry C. (brother)
Faulkner, Jim (nephew)
Falkner, William Clark (great-grandfather)
Percy, William Alexander (friend)
Anderson, Sherwood (friend) (show all 9)
West, Nathanael (friend)
Franklin, Malcolm A. (stepson)
Wells, Dean Faulkner (niece)
Short biography
William Cuthbert Faulkner (September 25, 1897 – July 6, 1962) was an American writer and Nobel Prize laureate from Oxford, Mississippi. Faulkner wrote novels, short stories, screenplays, poetry, essays, and a play. He is primarily known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where he spent most of his life.

Faulkner is one of the most celebrated writers in American literature generally and Southern literature specifically. Though his work was published as early as 1919 and largely during the 1920s and 1930s, Faulkner's renown reached its peak upon the publication of Malcolm Cowley's The Portable Faulkner and his 1949 Nobel Prize in Literature, making him the only Mississippi-born Nobel winner. Two of his works, A Fable (1954) and his last novel The Reivers (1962), each won the Pulitzer Prize for Fiction. In 1998, the Modern Library ranked his 1929 novel The Sound and the Fury sixth on its list of the 100 best English-language novels of the 20th century; also on the list were As I Lay Dying (1930) and Light in August (1932). Absalom, Absalom! (1936) appears on similar lists.
Cause of death
a fall (from his horse)
thrombosis
Nationality
USA
Birthplace
New Albany, Mississippi, USA
Places of residence
Oxford, Mississippi, USA
New Orleans, Louisiana, USA
Place of death
Byhalia, Mississippi, USA
Burial location
St. Peter's Cemetery, Oxford, Mississippi, USA
Map Location
USA
Disambiguation notice
This is not the same person as William Falkner (d. 1682), English theologian. Do not combine the two.

Members

Discussions

Folio Society Devotees: Sound and Fury in Book talk (October 2023)
Folio Society Devotees: Sound and Fury in Folio Society Devotees (October 2023)
The Snopes Trilogy, Volume III, The Mansion in Club Read 2023 (September 2023)
The Snopes Trilogy, Volume II, The Town in Club Read 2023 (August 2023)
The Snopes Trilogy Group Read: The Hamlet in Club Read 2023 (July 2023)
The Sound and the Fury LE in Folio Society Devotees (May 2021)
Faulkner and james Branch Cabell in William Faulkner and his Literary Kin (October 2020)
As I Lay Dying: The More You Know. in William Faulkner and his Literary Kin (November 2018)
William Faulkner- American Author Challenge in 75 Books Challenge for 2014 (March 2014)
LIGHT IN AUGUST - Group Read Discussion Thread in 75 Books Challenge for 2013 (August 2013)
The Sound and the Fury GROUP READ in 2013 Category Challenge (April 2013)

Reviews

1,311 reviews
66. Pylon by William Faulkner
OPD: 1935
format: 285-page paperback, 2011 edition
acquired: March from The Faulkner House in New Orleans read: Sep 22 – Oct 2 time reading: 10:53, 2.3 mpp
rating: 4
genre/style: classic fiction theme: Faulkner
locations: then-contemporary New Orleans
about the author: 1897-1962. American Noble Laureate who was born in New Albany, MS, and lived most of his life in Oxford, MS.

Yair. That word, which must occur a hundred times here, always in dialogue, is apparently a show more Faulkner neologism disguised as a local word in his heavily fictionalized not-New Orleans. It means roughly "yeah", but with its own sonic undertones, I guess. This is Faulkner's flying book. He was pilot himself, but he wrote this to get it published ASAP. He must have needed the money. He wrote it a furious pace while taking a break from [Absalom Absalom!] It was apparently written from scratch, edited and published all within a several months. It's a one-off, disconnected with Yoknapatawpha County. What comes out is a mostly, but not entirely, coherent drunk fest. It has distinct prose. Not careless, but weighted, and that is both slowed by its weight and energetic - its energy propelled by sentences and dialogues and points never concluding, but going on and on, ever expanding, the reader desperate to know where this thought will end. Sometimes the text just gets lost. A quote:

"And here also the cryptic shieldcaught (i n r i) loops of bunting giving an appearance temporary and tentlike to the interminable long corridor of machine plush and gilded synthetic plaster running between anonymous and rentable space or alcoves from sunrise to sunset across America...."

That's only the 1st 1/3 of that sentence. In his defense, it is Mardi Gras, and we must decorate Catholically.

The story itself is about a New Orlean reporter who falls for the mechanic-wife of a competitive pilot. This fictionalized New Orleans is here called New Valois, but there is plenty real New Orleans in the location and in the story of its then new airport, which also opened with a competitive air show to celebrate. The opening day death of a famous pilot is factual. Our reporter is covering the show and gets obsessed with Laverne, who he first sees in mechanic's overalls working on her husband's plane. The reporter ingratiates himself with the whole crew - the pilot, his wife, a parachute jumper, a mechanic, a six-year-old child, son of the pilot's wife, but with an unknown father. There is a quiet but widely known controversy around this boy. The reporter is probably more interested in what this means about Laverne's sex life than anything about flying. But he never says. When the crew lack a place to stay one night, he offers them his place, and then inappropriately gets everyone except Laverne, but including himself, sick-drunk. They have to dodge the parades to reach his bachelor pad in the French Quarter.

The book carries on to Tomorrow, And Tomorrow, these two Macbeth-like chapter titles taking us through a hungover Ash Wednesday and into Lent. The story is really about Laverne. But the telling is through the reporter. It makes for an interesting structure. Much of the book wanders without a clear direction, and with long dialogue paragraphs of backhanded storytelling. It's flush with the reporter's energy, and his confidence in whatever he's doing. But this is all a false confidence in that nothing the reporter says means anything. He knows a lot, and talks a lot, but the two don't overlap much. He's also careless, irresponsible, unreliable, bold, but full of energy and friendship, giving anything he has away without considerations, and causing a lot of problems. He is both cause and observer of this story, but a cause in ways he couldn't himself possibly understand.

The book is a mess. But it's a Faulknerian mess. And for all its flaws and pointlessness, it accumulates a meaning, it becomes fun and curiously strange and lingering at the same time. Recommended for Faulkner completists. But, if you're not that, and interested and wondering whether to take a look, I would of course say, "Yair".

2024
https://www.librarything.com/topic/362165#8640313
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Faulkner is an author I discovered in high school and come back to periodically. I think his writing is pretty close to brilliant. I also find it difficult to really understand one of his novels with only one reading. [As I Lay Dying] is no exception.

In this novel Addie Bundren, mother and wife, dies, and at her request the family is tasked to bring her body to her home town of Jefferson, Mississippi for burial. For this poor, large, rural family, this is a large undertaking. It's a slim show more novel, but so much happens - destroyed bridges and dangerous river crossings, a broken leg idiotically set with cement, a hard-earned horse sold by a shiftless father, an arson and arrest, and a quest for an abortion. Seriously, all of that. But I didn't even realize how much I was learning about the family until the short book ended and I reflected back.

The story is told by 15 different narrators and each has a distinctive voice and point of view to add. It did make it hard to get in the flow of the book, but it also works very well.
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Faulkner's novels are designed to be read twice. You don't know what you're reading early on. I mean, you usually think you do (there are exceptions!), but it's not until the end that the significance of the beginning, and everything it was doing, comes into place. I'm not yet reading his novels twice. 🙂 But I've been tempted a few times, and this one really left me feeling that need to.

The first surprise for me was that it's not really a novel. This is a collection of linked short show more stories. One, the longest, I've heard talked about a lot. This is The Bear, one of Faulkner's better known short stories. It's in here and it's the longest short story I have ever read. Not because of the page count, or the pace, but because it keeps switching what it's doing. It's a novel-long - a coming-of-age story becomes a kind of backhanded naturalist writing as our character slowly becomes one of the last truly expert woodsmen in the Mississippi delta. But this story becomes a ranting reflection on the south and race (not a comfortable reflection, especially from today's perspective). And this becomes a reflection of the disappearing woods and the vastly expanding human economic footprint - farming, logging etc.

But I didn't know that. What I knew coming in was that this was the story of a mixed-race black man trying to maintain his finances and dignity in this very racist south. This is Lucas Buchannon, the last male descendent of the 1st white farm owner of the farm he always lived on, and always worked on, but doesn't own. The farm inheritance went through the white lineage, through the wives' descendants. "through the distaff", as Faulkner, or his narrator, puts it. Lucas holds a literary weight our woodsman (named Ike McCaslin, also mixed race, but considered white) cannot hold. But his literary purpose is not simply himself, and maybe not himself at all. Faulkner is doing a lot with his own sort of pully system.

This was a rough read. Many times I felt completely lost. Who was talking? What were they saying? Do I need to care? Will they ever find a period? Ever? What does it mean if you start your paragraph with a lower-case letter, and mid-sentence? Especially if I didn't understand the previous paragraph.

But cumulatively this book is truly something. It worked on this reader. I would like to reread it.

2025
https://www.librarything.com/topic/372264#8899458
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"My mother is a dead fish"

What does a sentence like that mean? And what do you make of a book that has a chapter containing nothing but this weird single sentence?

It has all to do with representation I guess; with Mimesis, as the Greeks used to call it, the perception and the rendering of reality through fiction. Of a reality I should say, a truth, for does the truth really exist and can we reproduce it in our narratives?

After the dead end reached by the Realists and the Naturalists in show more depicting the “real” world around them, Artists of the late 19th and early 20th century had to try alternative ways to get even closer to that elusive “experience of reality”. Painters were switching to impressionism and later to expressionism and writers were looking at new ways to tell their stories. Not only did they find new techniques, but in the process they uncovered a plethora of philosophical issues, which today still occupy our greatest minds.

The American writer William Faulkner (1897 – 1962) is one of the masters of these experimental writings. Through the genius of his craft, he earned himself a Nobel Prize and a permanent seat in the Canon of World literature.

It is therefore fitting, when appraising “As I lay dying” to look at the “Art” first, to study the way Faulkner tells his story before we look at the narrative that emerges from the pages of this brilliant book.

Questioned about how he started to work on his novel, Faulkner said: “I simply imagined a group of people and subjected them to the simple universal natural catastrophes, which are flood and fire, with a simple natural motive to give direction to their progress”.

That simple group of people is the Bundren family: father Anse and the five children, the grown-up boys Cash, Darl and Jewel, the seventeen year old daughter Dewey Dell and Vardaman the youngest.

The reason they “move” is to indulge their deceased Mother’s last wish to be buried with her “kin” in Jefferson, the fictional county capital, 40 miles away from where they live.
Place? Somewhere in Faulkner’s fictional Southern county of Yoknapatawpha.
Time? Probably in the same year as when Faulkner wrote his book, 1929.

The Art

The most noticeable feature of “As I lay dying” is that Faulkner uses multiple narratives to tell his story. Fifteen characters to be more precise, all witnesses of the Brundren’s odyssey, with 15 different viewpoints, who in turn relate a part of the story as it develops.

No one tells the whole story but all of them get their say. Each time Faulkner switches the viewpoint, he uses a new chapter, (part is a better word), and uses the name of the narrator as a title. Faulkner switches the narrator 59 times and the book is thus chopped up in 59 short (some very short) chapters. But rather than being cumbersome this is a big aid to the attentive reader.

Who speaks and at what moment is important.

The voice of Darl, for example is used when things are straightforward but in period of crisis, when all is chaos and mayhem, when the mother dies for instance or when an accident happens, we look at the events through the naïve eyes and thoughts of young Vardaman, which enhances the confusion.

Darl, the second oldest boy takes the word nineteen times and his kid brother 10 times. Together they account thus for half of the voices of the book.

Faulkner is aware that the numerous viewpoint technique is demanding for the reader and he takes the necessary precautions, when we need a summary of the situation, to insert a “reliable”, rational view outside the Bundren family group. This is the role of the “neighbours” who offer, often un-demanded their opinions and views on what is happening to the Brundrens. So there are Mr and Mrs Cora Tull, their immediate and nosy neighbours ( together they account for 10 chapters ) and the different “hosts” along the route ( 3 chapters ). The remaining chapters are divided between the other Brundrens ( Pa, Dewey Dell and Cash ), the doctor who twice assesses the physical damage and two voices from men who give ill advice and take advantage of Dewey.

The most surprising of viewpoints, is the dead Mother, who bloated and stinking in her coffin has her opinion too.

When I say that the fifteen characters “relate” the story, it is not entirely correct. Faulkner uses even more techniques. We are in the head of these fifteen characters, each with their own interests and biases, and the chapters are not only relations of what they see and what they hear but also their interior monologues, stream of consciousness, thoughts. It is as if thoughts are being read as the characters are thinking them. They are also not per se reliable, for the characters recall occurrences that they didn’t witness, there are their thoughts, sometimes misbegotten, fantasies, dreams, lies…

Finally, to complete the realistic appearance of his book, Faulkner renders huge chunks of what the characters say in a phonetic rendition of their simple country folk vernacular, in their “hilly-billy language”. This is an additional difficulty for the reader and one has to get accustomed to it.

Now does the use of these techniques work ?

Yes they do, and very much so. Faulkner’s technique is incredibly effective. It made reading “As I lay dying”, at least for me, into some corporeal experience, visceral and at moments literally gut-wrenching.

The reason for that is that Faulkner effectively bypasses the third – person omniscient narrator. The only omniscient one in fact, is the reader himself who, if he takes the pains to read closely and fill the gaps empathically, pieces all the voices together into a tapestry showing his version of the “true circumstances” of the story. Together with the omniscient narrator, the author steps aside and pushes the reader as it were to the front row of the spectacle. Because of this, we get a more limited but intimate perspective.
There is no one left to soften the emotional blows between what happens to the characters and how it is experienced by the reader.

Early in 1956, Jean Stein, the very young editor of the “Paris Review” interviewed William Faulkner. Through his answers, Faulkner sounds a bit annoyed, cocky, arrogant even and we cannot know if he means what he says about his writing or if he is showing off in front of that nice woman. Fact is that what he says in the interview and what I have experienced while reading “As I lay dying” doesn’t really match.

Take for instance what he says about the writing of As I Lay Dying : ". . . I wrote it in six weeks, without changing a word." Faulkner endorsed herewith the myth he had initiated in the introduction of the 1932 Modern Library publication of Sanctuary where he implied that he had the whole book in his head and that he banged it crisp and clear out of his typewriter in a handful of evenings (Faulkner had a twelve-hour-a-day manual job during the day). This bold statement captivated the imagination of the reading public and back-cover blurbs and admiring blogs have since then consistently emphasized this “tour de force”.

Such remarks make Faulkner appear as some kind of literary freak, an autistic savant who masterminded the whole complexity of his brilliant book within his head. Even if it were true, As I lay dying does not need the myth of an “immaculate conception” to be lauded as a tremendous, baffling piece of literature. Even if it took a lot of work, reshuffling the 59 chapters, checking them for the correct voice and consistency and even if Faulkner worked with index cards, like Alain Robbe – Grillet explained when he wrote his “Gommes”, there is no need to present Faulkner as a freak to be impressed by the book he wrote.

When Jean Stein asked him afterwards if there was a formula to follow to be a good novelist, Faulkner confessed: “. . . ninety-nine percent discipline . . . ninety-nine percent work” and then he added “…Ninety-nine percent talent…”. When questioned about inspiration, he answered “I don't know anything about inspiration because I don't know what inspiration is—I've heard about it, but I never saw it”.

But later he took away all confusion and said: “Sometimes technique charges in and takes command of the dream before the writer himself can get his hands on it. That is tour de force and the finished work is simply a matter of fitting bricks neatly together, since the writer knows probably every single word right to the end before he puts the first one down. This happened with As I Lay Dying. It was not easy. No honest work is. It was simple that all the material was already at hand.

The Story

The story that emerges form the pages of “As I lay dying” is the story of the Brundren family. Addie Bundren, a mother of five, has died and her husband decides to cart her coffin to the town of Jefferson to bury her with her kin as she requested on her deathbed. The whole family embarks on a delayed macabre funeral journey. Beside father Anse, there are the young adult sons Cash, Darl and Jewel, the seventeen year old daughter Dewey Dell and the boy Vardaman.

It is summer time. The hot days are cooled by regular torrential rains that swell the river. The flood, accidents along the road and personal matters slow down the family and turns their voyage in a dark odyssey. The corpse of the mother starts decomposing and the stench soon attracts scavenger birds.

Anse Bundren is adamant about burying his wife in Jefferson and his children undergo the terrible conditions of their trip. All of them seem to have their own agendas as they travel toward the burial. But Anse, in his monomaniacal obsession to execute his wife last wish, is no Ahab. In the terrible conclusion of the book we understand that even Anse’s folly is not even genuine.

Despite the simple plot and Faulkner diminishing his story, I found that the odyssey of the Bundren family had the allures of a Christian allegory, the strength of a dark parable, a metaphor of life. But is also a ghastly comedy, it is a Southern Gothic after all.

Cash, the carpenter son, just like Jesus, is taking all the physical suffering. The family sin he suffers most from is their ignorance but all other mortal sins are present in one way or another. Anse Brundren, who has never seen sweating, is a personification of Sloth. The extremely fat doctor Peabody, who has to be hauled up the hill with mules, is Gluttony. There is the pride of Jewel, the rebel. Lust is present too: Dead mother Addie confesses it in her oblong box. Lust is also the cause of Dewey Dell’s misfortune and constant treat. There is the greed of the horse trader, the Wrath of Darl and even the envy to have a toy train.

Unexpectedly, feminist themes strongly appear. Addie Bundren’s monologue from beyond the grave touches some sobering issues like Addie's scathing denunciation of her marriage, which is depicted as no more than a random occurrence. There is also her ambivalent motherhood as she appears to be as possessive of her children, as she is repulsed by them. A steady flow of babies who arrive without rhyme or reason has turned her into a slave of her condition.

And what to say about Dewey Dell’s ordeal? The poor girl is pregnant, her boyfriend nowhere in sight although he has paid her off to get an abortion. The men she sees in order to help her are useless and even dangerous. Moseley the pharmacist refuses to help her for he fears his reputation and Mc Gowan, a phoney doctor, tricks her in having sex with him in exchange of abortion pills, pills which the reader knows will not work anyway.

But the main theme of Faulkner’s book, to come back to what I stated in the opening of this review is: Does objective truth really exist and can we reproduce it in our narratives?

While Faulkner has indeed created a certain intimacy between the reader and the occurrences that develop through the pages, all the information the reader gets is subjective. The wide variety of narrators, the stream of consciousness technique, the structure of the monologues, the disconnected speakers, the different point of views and the many linguistic devices have all obscured whatever single truth or reality makes up the story. Who is the real victim of this drama? The dead mother? The father who goes to the utmost to indulge his wife last wish? The children who suffer the monomaniac desire of the father? Again, what is the relation between Addie Brundren and her children? How religious are these people? We do not know for sure. Even after several re-readings we can only advance careful suppositions. The facts, the truth is hidden by the many representations and our poor understanding is just another, rather than explicative is nothing more than just one additional opinion.

So we get stuck with a number of open questions, different understandings, and tentative explanations. But paradoxically, this body of uncertainties gives the reader a truer image of what happens to the Brundren family. There in lies the whole genius of this unusual narrative approach and of Faulkner’s art.

The reality, which then emerges, is that we are all disconnected individuals, even if we live and grow up in the tight nucleus of a family. For while the Brundren’s go through hell to burry their mother, they all have their own reasons to sit on that coffin out of which the decomposing stench of their mother’s body oozes. Once she is buried and the true personal agenda’s are uncovered we have lost whatever hope we still had for this family. By the time we understand the father’s true reason of travelling to the capital, we have not only lost our hope but also all our illusions.
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