This invaluable volume, which has been republished to commemorate the one-hundredth anniversary of Faulkner's birth, contains some of the greatest short fiction by a writer who defined the course of American literature. Its forty-five stories fall into three categories: those not included in Faulkner's earlier collections; previously unpublished short fiction; and stories that were later expanded into such novels as The Unvanquished, The Hamlet, and Go Down, Moses. With its Introduction and extensive notes by the biographer Joseph Blotner, Uncollected Stories of William Faulkner is an essential addition to its author's canon--as well as a book of some of the most haunting, harrowing, and atmospheric short fiction written in the twentieth century.
“I’m a failed poet. Maybe every novelist wants to write poetry first, finds he can’t and then tries the short story which is the most demanding form after poetry. And failing that, only then does he take up novel writing.” —William Faulkner Winner of the National Book Award Forty-two stories make up this magisterial collection by the writer who stands at the pinnacle of modern American fiction. Compressing an epic expanse of vision into hard and wounding narratives, Faulkner’s stories evoke the intimate textures of place, the deep strata of history and legend, and all the fear, brutality, and tenderness of the human condition. These tales are set not only in Yoknapatawpha County, but in Beverly Hills and in France during World War I. They are populated by such characters as the Faulknerian archetypes Flem Snopes and Quentin Compson, as well as by ordinary men and women who emerge so sharply and indelibly in these pages that they dwarf the protagonists of most novels.
This novel won both the Pulitzer Prize and the National Book Award in 195. An allegorical story of World War I, set in the trenches in France and dealing ostensibly with a mutiny in a French regiment, it was originally considered a sharp departure for Faulkner. Recently it has come to be recognized as one of his major works and an essential part of the Faulkner oeuvre. Faulkner himself fought in the war, and his descriptions of it "rise to magnificence," according to The New York Times, and include, in Malcolm Cowley's words, "some of the most powerful scenes he ever conceived.
In this feverishly beautiful novel—originally titled If I Forget Thee, Jerusalem by Faulkner, and now published in the authoritative Library of America text—William Faulkner interweaves two narratives, each wholly absorbing in its own right, each subtly illuminating the other. In New Orleans in 1937, a man and a woman embark on a headlong flight into the wilderness of illicit passion, fleeing her husband and the temptations of respectability. In Mississippi ten years earlier, a convict sets forth across a flooded river, risking his own chance at freedom to rescue a pregnant woman. From these separate stories Faulkner composes a symphony of deliverance and damnation, survival and self-sacrifice, a novel in which elemental danger is juxtaposed wiht fatal injuries of the spirit. The Wild Palms is grandly inventive, heart-stopping in its prose, and suffused on every page with the physical presence of the country that Faulkner made his own.
From the Nobel Prize winner—one of the most highly acclaimed writers of the twentieth century—a novel set in the American South during Prohibition about hopeful perseverance in the face of mortality. Light in August features some of Faulkner’s most memorable characters: guileless, dauntless Lena Grove, in search of the father of her unborn child; Reverend Gail Hightower, who is plagued by visions of Confederate horsemen; and Joe Christmas, a desperate, enigmatic drifter consumed by his mixed ancestry. “Read, read, read. Read everything—trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You’ll absorb it. Then write. If it is good, you’ll find out. If it’s not, throw it out the window.” —William Faulkner
In 1925 William Faulkner began his professional writing career in earnest while living in the French Quarter of New Orleans. He had published a volume of poetry (The Marble Faun), had written a few book reviews, and had contributed sketches to the University of Mississippi student newspaper. He had served a stint in the Royal Canadian Air Corps and while working in a New Haven bookstore had become acquainted with the wife of the writer Sherwood Anderson. In his first six months in New Orleans, where the Andersons were living, Faulkner made his initial foray into serious fiction writing. Here in one volume are the pieces he wrote while in the French Quarter. These were published locally in the Times-Picayune and in the Double Dealer. The pieces in New Orleans Sketches broadcast seeds that would take root in later works. In their themes and motifs these sketches and stories foreshadow the intense personal vision and style that would characterize Faulkner’s mature fiction. As his sketches take on parallels with Christian liturgy and as they portray such characters as an idiot boy similar to Benjy Compson, they reveal evidence of his early literary sophistication. In praise of New Orleans Sketches, Alfred Kazin wrote in the New York Times Book Review that “the interesting thing for us now, who can see in this book the outline of the writer Faulkner was to become, is that before he had published his first novel he had already determined certain main themes in his work.” In his trailblazing introduction, Carvel Collins often called “Faulkner’s best-informed critic,” illuminates the period when the sketches were written as the time that Faulkner was making the transition from poet to novelist. “For the reader of Faulkner,” Paul Engle wrote in the Chicago Tribune, “the book is indispensable. Its brilliant introduction . . . is full both of helpful information . . . and of fine insights.” “We gain something more than a glimpse of the mind of a young genius asserting his power against a partially indifferent environment,” states the Book Exchange (London). “The long introduction . . . must rank as a major literary contribution to our knowledge of an outstanding writer: perhaps the greatest of our times.”
A classic Faulkner novel which explores the lives of a family of characters in the South. An aging black who has long refused to adopt the black's traditionally servile attitude is wrongfully accused of murdering a white man.
A true 20th-century classic from the Nobel Prize-winning author of The Sound and the Fury: the famed harrowing account of the Bundren family’s odyssey across the Mississippi countryside to bury Addie, their wife and mother. As I Lay Dying is one of the most influential novels in American fiction in structure, style, and drama. Narrated in turn by each of the family members, including Addie herself as well as others, the novel ranges in mood from dark comedy to the deepest pathos. “I set out deliberately to write a tour-de-force. Before I ever put pen to paper and set down the first word I knew what the last word would be and almost where the last period would fall.” —William Faulkner on As I Lay Dying This edition reproduces the corrected text of As I Lay Dying as established in 1985 by Noel Polk.
Written during his twenties, these letters buoyantly describe Faulkner's everyday life during his first travels away from Mississippi: his time in New Haven, New York, and Canada, and his visits to New Orleans, the Gulf Coast, and Europe. Book jacket.
Selected by the Modern Library as one of the 100 best novels of all time From the Modern Library’s new set of beautifully repackaged hardcover classics by William Faulkner—also available are Snopes, As I Lay Dying, Light in August, Absalom, Absalom!, and Selected Short Stories The Sound and the Fury, first published in 1929, is perhaps William Faulkner’s greatest book. It was immediately praised for its innovative narrative technique, and comparisons were made with Joyce and Dostoyevsky, but it did not receive popular acclaim until the late forties, shortly before Faulkner received the Nobel Prize for Literature. The novel reveals the story of the disintegration of the Compson family, doomed inhabitants of Faulkner’s mythical Yoknapatawpha County, through the interior monologues of the idiot Benjy and his brothers, Quentin and Jason. Featuring a new Foreword by Marilynne Robinson, this edition follows the text corrected in 1984 by Faulkner expert Noel Polk and corresponds as closely as possible to the author’s original intentions. Included also is the Appendix that Faulkner wrote for The Portable Faulkner in 1946, which he called the “key to the whole book.”
Faulkner's second novel is a high-spirited satiric romp set on an ill-fated pleasure cruise out of New Orleans. Wealthy Mrs. Maurier, the widowed heiress of an old New Orleans family, likes to collect "artistic types." When she plans a multi-day outing on her yacht and manages to corral aboard a group that includes a melancholic poet, a brooding sculptor, a self-important writer, her unconventional young niece, and assorted other odd characters, the results are both disastrous and hilarious. When the ship runs aground near an overheated swamp, the pretensions and frustrations of its various passengers reach a fever pitch. Faulkner's lyrical descriptions, witty dialogue, and forays into fluid stream-of-consciousness demonstrate in lighter form the literary techniques that the young author later came to be so celebrated for.
The past is never dead. It's not even past.' Nancy, a black nursemaid, is about to be hanged for killing her mistress's baby. The mother, Temple Drake, knows the reason why. The night before the execution, a lawyer pleads with Temple to intercede, but will the past allow for justice or absolution in the present? Switching between narrative prose and play script, this is Faulkner's haunting sequel to his earlier bestseller, Sanctuary.
This is the second volume of Faulkner’s trilogy about the Snopes family, his symbol for the grasping, destructive element in the post-bellum South. Like its predecessor, The Hamlet, and its successor, The Mansion, The Town is completely self-contained, but it gains resonance from being read with the other two. The story of Flem Snopes’s ruthless struggle to take over the town of Jefferson, Mississippi, the book is rich in typically Faulknerian episodes of humor and profundity.
The Bear, " "The Old People, " "A Bear Hunt, " "Race at Morning"--some of Nobel Prize-winning author William Faulkner's most famous stories are collected in this volume--in which he observed, celebrated, and mourned the fragile otherness that is nature, as well as the cruelty and humanity of men. "Contains some of Faulkner's best work.
The Mansion completes Faulkner’s great trilogy of the Snopes family in the mythical county of Yoknapatawpha, Mississippi, which also includes The Hamlet and The Town. Beginning with the murder of Jack Houston and ending with the murder of Flem Snopes, it traces the downfall of the indomitable post-bellum family who managed to seize control of the town of Jefferson within a generation.
These extraordinary stories embody the essence of Yoknapatawpha County, the imaginary Mississippi kingdom created by William Faulkner. Themes of the hunt, violence and friction between black and white, the past living in the present, surface again and again, handled with Faulkner's insider's genius for re-creating an intensely human world, steeped in sin and very nearly at the end of its tether.
A sweeping anthology of works by an American original, including the complete text of The Sound and the Fury, a foreword by the author, his Nobel Prize address, and a selection of brilliant novellas and short stories, including: “The Bear” (from Go Down, Moses) “Old Man” (from The Wild Palms) “Spotted Horses” (from The Hamlet) “A Rose for Emily” “Barn Burning” “Dry September” “That Evening Sun” “Turnabout” “Shingles for the Lord” “A Justice” “Wash” “An Odor of Verbena” (from The Unvanquished) “Percy Grimm” (from Light in August) “The Courthouse” (from Requiem for a Nun)
“A real contribution to the study of Faulkner’s work.” —Edmund Wilson A Penguin Classic In prose of biblical grandeur and feverish intensity, William Faulkner reconstructed the history of the American South as a tragic legend of courage and cruelty, gallantry and greed, futile nobility and obscene crimes. He set this legend in a small, minutely realized parallel universe that he called Yoknapatawpha County, Mississippi. No single volume better conveys the scope of Faulkner’s vision than The Portable Faulkner. The book includes self-contained episodes from the novels The Sound and the Fury, Light in August, and Sanctuary; the stories “The Bear,” “Spotted Horses,” “A Rose for Emily,” and “Old Man,” among others; a map of Yoknapatawpha County and a chronology of the Compson family created by Faulkner especially for this edition; and the complete text of Faulkner’s 1950 address upon receiving the Nobel Prize in literature. Malcolm Cowley’s critical introduction was praised as “splendid” by Faulkner himself. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,800 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
Published early in the author’s legendary career and collected here in a single illuminating volume, these are William Faulkner’s only two works of poetry: The Marble Faun (1924) and A Green Bough (1933). “These are primarily the poems of youth and a simple heart. They are the poems of a mind that reacts directly to sunlight and trees and skies and blue hills, reacts without evasion or self-consciousness. They are drenched in sunlight and color as is the land in which they were written, the land which gave birth and sustenance to their author. He has roots in this soil as surely and inevitably as has a tree. . . . The author of these poems is a man steeped in the soil of his native land, a Southerner by every instinct, and, more than that, a Mississippian. George Moor sad that all universal art became great by first being provincial, and the sunlight and mocking-birds and blue hills of North Mississippi are a part of this young man’s very being.”—from the preface to The Marble Faun, by Phil Stone
A powerful novel examining the nature of evil, informed by the works of T. S. Eliot and Freud, mythology, local lore, and hardboiled detective fiction, Sanctuary is the dark, at times brutal, story of the kidnapping of Mississippi debutante Temple Drake, who introduces her own form of venality into the Memphis underworld where she is being held.
Isaac McCaslin is obsessed with hunting down Old Ben, a mythical bear that wreaks havoc on the forest. After this feat is accomplished, Isaac struggles with his relationship to nature and to the land, which is complicated when he inherits a large plantation in Yoknapatawapha County. “The Bear” is included in William Faulkner’s novel, Go Down, Moses. Although primarily known for his novels, Faulkner wrote in a variety of formats, including plays, poetry, essays, screenplays, and short stories, many of which are highly acclaimed and anthologized. Like his novels, many of Faulkner’s short stories are set in fictional Yoknapatawapha County, a setting inspired by Lafayette County, where Faulkner spent most of his life. His first short story collection, These 13 (1931), includes many of his most frequently anthologized stories, including "A Rose for Emily", "Red Leaves" and "That Evening Sun." HarperCollins brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperCollins short-stories collection to build your digital library.
THE STORY: In a rural area of the Deep South, the action begins with the arrival of a young lawyer who has just tried, and lost, his first case. His client killed a young man who wanted to run off with his daughter; when they young man drew a gun,
Not a fragment, not quite a finished work, Father Abraham is the brilliant beginning of a novel which William Faulkner tried repeatedly to write, for a period of almost a decade and a half, during the earlier part of his career—the novel about the Snopes family which he finally completed and published as The Hamlet in 1940. Father Abraham, then, marks the inception of a work that altogether spans nearly the whole of Faulkner’s career as a writer of fiction, a work that includes some of his best writing and which, as it evolved, had profound effects upon much of the rest of it. After Father Abraham, no matter what other novels and stories he turned to, Faulkner’s Snopeses would be a vital part of what he called the “lumber room” of his imagination, and the completion of their saga would be one his major ambitions—or obligations—as an artist.
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