By William Faulkner, Saxe Commins
Selected and with a foreword by way of Saxe Commins.
Though those brief tales have common charm, they're intensely neighborhood in environment. except for “Turn About,” which derives from the time of the 1st global conflict, some of these stories spread in a small city in Mississippi, William Faulkner’s birthplace and lifetime home.
Some stories—such as “A Rose for Emily,” “The Hound,” and “That night Sun”—are well-known, exhibiting an uncanny mix of the homely and the scary. yet others, although much less popular, are both colourful and attribute. The lightly nostalgic “Delta Autumn” offers a outstanding distinction to “Dry September” and “Barn Burning,” that are intensely dramatic.
As the editor, Saxe Commins, states in his illuminating Foreword: “These 8 tales mirror the deep love and loathing, the tenderness and contempt, the identity and repudiation William Faulkner has felt for the traditions and how of lifetime of his personal element of the world.”
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Extra resources for A Rose for Emily: And Other Stories
He calls the novel’s direct assault on racism “bitter,” and critics have speculated that Chesnutt may have been discouraged by the criticism of one of his champions. By the time The Colonel’s Dream appeared in 1905, Chesnutt’s self-positioning as an author would never again align with the expectations of his former supporter and the broader audience Howells represented. Forgoing his aspirations of literary fame, Chesnutt refocused his energies on the more reliable career of his stenography business while channeling his advocacy of racial justice into work through the NAACP.
Stowe’s celebrity status did not ensure that her reputation would survive the new mandates for novels in the next century, but for the final decades of the nineteenth century, it was sufficient currency for marketplace success. commodities and celebrities 7 Before the assertion of more masculinist models for literary excellence took hold, other women writers sought to assume Stowe’s mantle, embracing the tradition of her feminized authorship. For example, Elizabeth Stuart Phelps’s 1896 account of her own authorial career, Chapters from a Life, plays into popular nostalgia not only through its portrait of the author’s New England upbringing, but also through a fond yet whimsical account of the monumental response to her own blockbuster, The Gates Ajar (1868).
Nathanael West found more success generating screenplays than he had selling his earlier 1930s’ novels Miss Lonelyhearts (1933) and A Cool Million (1934), and F. Scott Fitzgerald spent his last years in Hollywood writing for the movies. Yet some writers who had succeeded in other genres found the studio “committee” system stifling and the shift from print to cinematic storytelling challenging. ,” to help lift films to more highbrow status by commissioning artistic screenplays. The experiment failed, Tom Stempel explains, because the novelists and playwrights Goldwyn selected could not make the transition to collaborative work in the new form (1988, 52–53).