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William Faulkner: Works
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The Hotel Monteleone, a principal venue of Faulkner Society projects, including Words & Music: A Literary Feast In New Orleans. It was William Faulkner's favorite hotel in New Orleans and is a National Literary Landmark. Many authors have used it as as setting in teir work, including Faulkner and Tennessee Williams. The Arts Council of New Orleans regularly underwrites programming of the Faulkner Society with Community Arts Grants and the Decentralized Arts Funding program. The Louisiana State Museum regularly is a joint venture partner for literary events sponsored by the Faulkner Society in museum facilities. The Society ... regularly presents programs in concert with The New Orleans Jazz & Heritage Festival, The Spanish and French Consuls, Louisiana State University's Creative Writing Program, Tulane University's Departments of English, Latin American Library, and Music, The Edgar Monroe Library of Loyola Uniersity, and New Orleans Center for Creative Writing, Riverfront.
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For literature, and therefore William Faulkner, there are three indexes that provide the most sources for research on the author and his works. The indexes are MLA Bibliography, AcademicSearch Premier, and Humanities Index.
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Faulkner had meanwhile "written [his] guts" into the more technically sophisticated The Sound and the Fury, believing that he was fated to remain permanently unpublished and need therefore make no concessions to the cautious commercialism of the literary marketplace. The novel did find a publisher, despite the difficulties it posed for its readers, and from the moment of its appearance in October 1929 Faulkner drove confidently forward as a writer, engaging always with new themes, new areas of experience, and, above all, new technical challenges. Crucial to his extraordinary early productivity was the decision to shun the talk, infighting, and publicity of literary centres and live instead in what was then the small-town remoteness of Oxford, where he was already at home and could devote himself, in near isolation, to actual writing. In 1929 he married Estelle Oldham--whose previous marriage, now terminated, had helped drive him into the RAF in 1918. One year later he bought Rowan Oak, a handsome but run-down pre-Civil War house on the outskirts of Oxford, restoration work on the house becoming, along with hunting, an important diversion in the years ahead. A daughter, Jill, was born to the couple in 1933, and although their marriage was otherwise troubled, Faulkner remained working at home throughout the 1930s and '40s, except when financial need forced him to accept the Hollywood screenwriting assignments he deplored but very competently fulfilled.
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Faulkner often described himself as 'just a farmer who likes to tell stories.' His style... was that of a consummately skilled craftsman. His luxuriant prose style and complicated plot structure make some of his works difficult to read. Despite the intricacy of his technique, Faulkner was a wonderful storyteller, and his comic sense matched his understanding of the tragic. The language of his characters is based on popular Southern speech, and can be foul, funny, brilliantly metaphorical, savage, evil, and exciting. Although he wrote almost exclusively about the South he was not a regional novelist, instead examining universal themes of concern to all humanity. Particularly in his later works, Faulkner stressed man's power to prevail over evil and decay and to find new values when the traditional ones have failed.
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It is a great pleasure for the Special Collections Library to share many of these resources by means of an exhibit honoring William Faulkner at the centenary of his birth. Items have been selected in order to tell the story of Faulkner's life and his amazing accomplishment. Readers today look back over the first hundred years, and they are astounded by the quantity, the quality, and the challenge of Faulkner's canon. Some of the work may now be seventy or more years old, but as Gowen Stevens says in Requiem for a Nun, "The past is never dead. It's not even past."
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Faulkner's writing aspirations were ... no doubt influenced by his great-grandfather William Clark Falkner, who wrote, in serial form for the Ripley Advertiser, The White Rose of Memphis, and Rapid Ramblings in Europe. The former, when published as a book in 1881, went through thirty-five printings, selling 160,000 copies--sales figures of the sort Faulkner would never see for his own work, at least in his lifetime.
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