Book contents
- The New William Faulkner Studies
- Twenty-First-Century Critical Revisions
- The New William Faulkner Studies
- Copyright page
- Contents
- Notes on Contributors
- Introduction
- Part I Approaches
- Chapter 1 Faulkner and Formalism
- Chapter 2 Faulkner and Modernist Gothic
- Chapter 3 “[T]he critic must leave the Western hemisphere”: Faulkner and World Literature
- Chapter 4 Faulkner and Print Culture
- Chapter 5 Faulkner After Morrison
- Chapter 6 Faulkner’s Acoustics, or Minor Sound
- Part II Cultures
- Part III Interfaces
- Index
Chapter 6 - Faulkner’s Acoustics, or Minor Sound
from Part I - Approaches
Published online by Cambridge University Press: 23 June 2022
Book contents
- The New William Faulkner Studies
- Twenty-First-Century Critical Revisions
- The New William Faulkner Studies
- Copyright page
- Contents
- Notes on Contributors
- Introduction
- Part I Approaches
- Chapter 1 Faulkner and Formalism
- Chapter 2 Faulkner and Modernist Gothic
- Chapter 3 “[T]he critic must leave the Western hemisphere”: Faulkner and World Literature
- Chapter 4 Faulkner and Print Culture
- Chapter 5 Faulkner After Morrison
- Chapter 6 Faulkner’s Acoustics, or Minor Sound
- Part II Cultures
- Part III Interfaces
- Index
Summary
Toward the end of William Faulkner’s Absalom, Absalom! (1936), Jim Bond is said to “howl” at the threshold of his paternal home engulfed in flames. In this sound of ending, one heard through what Jennifer Lynn Stoever calls “the sonic color line,”1 two long patriarchal lineages of the Compsons and the Sutpens, as well as the voices that had sustained them, reach their telos in a novel that had otherwise been driven by speech.
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- Information
- The New William Faulkner Studies , pp. 101 - 114Publisher: Cambridge University PressPrint publication year: 2022