By Noel Polk
As one of many preeminent students of southern literature, Noel Polk has introduced lectures, written magazine articles and essays, and mentioned the wealthy legacy of the South's literary historical past all over the world for over 3 many years. His paintings on William Faulkner, Eudora Welty, Walker Percy, and different writers is incisive and groundbreaking. His essays in Faulkner and Welty and the Southern Literary culture hold an abiding curiosity in Polk's significant zone of literary examine: the connection among the smaller devices of building in a literary paintings and the work's better issues. The research of this interaction among commas and dashes, curious occlusions, passages, and characters who've frequently long gone omitted within the severe discourse--the bricks and mortar, because it were--and a work's grand layout is a vital point of Polk's scholarship. Faulkner and Welty and the Southern Literary culture collects Polk's essays from the late-1970s to 2005. that includes an advent that areas Faulkner and Welty on the middle of the South's literary history, the amount asks worthwhile, probing questions on southern literature and gives insightful research. Noel Polk is professor of English at Mississippi nation collage and editor of the Mississippi Quarterly. From 1981 to 2006, he edited the Library of America's whole version of William Faulkner's novels. he's the writer of out of doors the Southern delusion; little ones of the darkish condominium: textual content and Context in Faulkner; and Eudora Welty: A Bibliography of Her paintings.
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Extra info for Faulkner and Welty and the Southern Literary Tradition
Woven throughout the scene is Quentin’s simultaneous memory of his sexual play as a child with Natalie in the barn in the rain, which Caddy interrupts: Quentin and Natalie are playing something like doctor in the barn, touching each other. Caddy’s intervention turns the scene into a tempest of guilt and shame and retribution that ends when Quentin throws himself into the pig’s wallow and then smears it all over Caddy. Fuguing in and out of that powerful memory of childhood innocence turned corrupt are Quentin’s two encounters with the boys.
They’re incongruous. Flowered walks are for young people with shy, writhing. hidden hands, walking a little blind at an interval over-discreet, while they move with the decorous precision of two figures in the frontispiece of a nineteenth century novel. All he needs is a dyed moustache; she, one of those hermaphroditic dogs peeping above her shoulders where modern women wear artificial flowers” (SO 33). Except for Judge Drake’s un-dyed silver moustache, Horace here in effect describes the scene in the Luxembourg Gardens and throws in one of Miss Reba’s terrified dogs for good measure.
Accepting and rejecting them, then changing again. But now it is perfect—a jewel. I am going to put it away for a week, then show it to someone for an opinion. So tomorrow I will wake up feeling rotten, I expect. Reaction. But its worth it, to have done a thing like this. (SL 17) If any part of Sanctuary’s origins lies in this “beautiful thing,” then at a very basic level Sanctuary’s return to Paris is a form of homage to its beginnings, to the clear sense of excitement, of accomplishment, that writing it gave him.