The Nobel Prize in Literature 1949

Love Faulkner.

Thank you my friend SGT (Join to see) for making us aware that on February 19, 1932 southern USA novelist William Faulkner completes his novel "Light in August".
Thinking of Home
2019 Documentary
Thinking of Home: Falkner House and Rowan Oak, is a 31-minute documentary on family life in the Oxford households of Nobel Prize winner William Faulkner and that of his mother, Maud Falkner. Rowan Oak curator Bill Griffith and Oxford writer Larry Wells narrate. Wells was married to Faulkner's niece, Dean Faulkner, until her passing in 2011. The video tour includes drone footage, unpublished Faulkner family snapshots and vintage photographs. Produced by Ole Miss journalism professor Kathleen Wickham. Directed by filmmaker Deborah Freeland. Videography by Mary Stanton Knight and Deborah Freeland. Ole Miss music professors Stacy Rogers and Diane Wang provided the music. Drone footage provided by Ji Hoon Heo.
https://www.youtube.com/watch?v=s64ZBBBOEyI


Images:
1. William Faulkner photo by J.R. Cofield
2. Mr and Mrs Faulkner in 1920's Estelle Oldham and William Faulkner
3. Callie Barr Clark whom William Faulkner called Mammy Callie holding Jill Clark at Rowan Oak
4. William Faulkner on the Lawn

Background from [{ttps://http://www.encyclopediavirginia.org/faulkner_william_1897-1962]}
William Faulkner (1897–1962) contributed by Dorsía Smith
William Faulkner was a Mississippi-born novelist, poet, and screenwriter, winner of the 1949 Nobel Prize in literature, and twice a winner of the Pulitzer Prize in fiction (1955, 1963). Considered one of the most important American writers of the twentieth century, he used primarily southern settings in his work—many of his most famous novels, including The Sound and the Fury (1929) and As I Lay Dying (1930), were set in fictional Yoknapatawpha County, Mississippi—and examined complex social, psychological, and racial issues. A modernist, he often composed his tragic, even Gothic stories in a dense, stream-of-consciousness style that attempted to emulate the ebb and flow of his characters' thoughts. His characters, meanwhile, ranged from the descendants of slaves to the richest of New South aristocrats, from the illiterate and mentally ill to the Harvard educated. During the last years of his life, Faulkner was a writer-in-residence and a professor at the University of Virginia in Charlottesville.

William Cuthbert Falkner was born on September 25, 1897, in New Albany, Mississippi, to Murry Cuthbert Falkner, a railroad worker, and Maud Butler, a housewife. William was raised in Oxford, Mississippi, and, in 1915, left high school to work as a bookkeeper. Longing for adventure, he joined the Canadian Royal Air Force in 1918 by changing the spelling of his name to the British-sounding Faulkner. Faulkner entered the University of Mississippi in 1919 but withdrew in 1920. He then held various jobs in New York and Mississippi until 1924.

Faulkner's first published novel, Soldier's Pay (1926), drew on his experiences in World War I (1914–1918), while Mosquitoes (1927) examined literary life in New Orleans (in 1925, Faulkner lived there with the writer Sherwood Anderson). Faulkner married Lida Estelle Oldham Franklin on June 20, 1929—she had divorced her husband to marry Faulkner and brought two children of her own to the marriage—and they later had two daughters, Alabama, who died nine days after being born, and Jill.

Faulkner's critical and artistic ascendancy did not begin until the publication of The Sound and the Fury in 1929. Citing Faulkner's use of multiple narrators, critics marveled at the text's loose-limbed experimentalism, in which the author tells his story of the despairing, declining Compson family four separate times but never from the perspective of the character at the novel's center, Caddy. This was Pablo Picasso's Cubism in the form of novel-writing, only instead of Ernest Hemingway's virile hunters or James Joyce's Dubliners, one gets the rotting, rural underbelly of the New South. In As I Lay Dying (1930), Faulkner presented the journey of the Bundren family to bury their mother in fifty-nine chapters—one consisting of only a single, confusing sentence: "My mother is a fish"—and in fifteen different voices.

In addition to his work as a novelist, Faulkner earned a living during the 1930s and 1940s by writing movie screenplays based on his own fiction as well as that of other writers, including Hemingway's To Have and Have Not (1937) and Raymond Chandler's detective story The Big Sleep (1939). Faulkner's later work was not all commercially or even critically successful, but he continued to be recognized, winning the Nobel Prize, two Pulitzer Prizes (the second posthumously), and, in 1955, the National Book Award.

William Faulkner
Though he lived most of his life at his Rowan Oak house in Oxford, Faulkner was writer-in-residence at the University of Virginia from 1957 until 1958, a position he accepted in part because his daughter and her family were living nearby. Portions of his lectures at the university are recorded in Faulkner in the University (1959) and William Faulkner: Essays, Speeches and Public Letters (1966). Faulkner bought a house in Charlottesville in 1959 and finished a trilogy he had begun with The Hamlet (1940), completing The Town (1957) and The Mansion (1959). From 1961 until his death, Faulkner taught American Literature at the University of Virginia. His last novel, The Reivers (1962), describes a boy's transition into adulthood.

Faulkner died on July 6, 1962, of a heart attack in Byhalia, Mississippi. He willed the major manuscripts and personal papers in his possession to the Albert and Shirley Small Special Collections Library at the University of Virginia. In addition, in 1998 and 2000, his daughter, Jill Faulkner Summers, a resident of Charlottesville, donated two portions of his personal library to the University of Virginia collection.

Major Works
Books
The Marble Faun (1924)
Soldiers' Pay (1926)
Mosquitoes (1927)
Sartoris (1929)
The Sound and the Fury (1929)
As I Lay Dying (1930)
Sanctuary (1931)
These 13 (1931)
Idyll in the Desert (1931)
Miss Zilphia Gant (1932)
Salmagundi (1932)
Light in August (1932)
A Green Bough (1933)
Doctor Martino and Other Stories (1934)
Pylon (1935)
Absalom, Absalom! (1936)
The Unvanquished (1938)
The Wild Palms (1939)
The Hamlet (1940)
Go Down, Moses and Other Stories (1942)
Intruder in the Dust (1949)
Knight's Gambit (1951)
Collected Stories of William Faulkner (1951)
Notes on a Horsethief (1951)
Requiem for a Nun (1953)
Mirrors of Chartres Street (1953)
A Fable (1955)
Big Woods (1955)
Faulkner's County: Tales of Yoknapatawpha County (1955)
Jealousy and Episode: Two Stories (1955)
The Town (1958)
New Orleans Sketches (edited by Carvel Collins, 1958)
The Mansion (1961)
The Reivers (1962)
Early Prose and Poetry (edited by Carvel Collins, 1962)
Essays, Speeches & Public Letters (edited by James B. Meriwether, 1966)
The Wishing Tree (1967)
Faulkner's University Pieces (edited by Carvel Collins, 1970)
The Big Sleep (screenplay, by Faulkner, Jules Furthman, and Leigh Brackett, 1971)
The Marionettes: A Play in One Act (1975)
Mayday (1976)
Mississippi Poems (1979)
Uncollected Stories of William Faulkner (edited by Joseph Blotner, 1979)
To Have and Have Not (screenplay, by Faulkner and Furthman, 1980)
The Road to Glory (screenplay, by Faulkner and Joel Sayre, 1981)
Helen: A Courtship (1981)
Faulkner's MGM Screenplays (edited by Bruce F. Kawin, 1982)
Elmer (edited by Dianne Cox, 1983)
A Sorority Pledge (1983)
Father Abraham (edited by Meriwether, 1983)
The DeGaulle Story (screenplay, edited by Louis Daniel Brodsky and Robert W. Hamblin, 1984)
Vision in Spring (edited by Judith Sensibar, 1984)
Battle Cry (screenplay, edited by Brodsky and Hamblin, 1985)
William Faulkner Manuscripts (25 volumes, edited by Blotner, Thomas L. McHaney, Michael Millgate, and Noel Polk, 1986–1987)
Country Lawyer and Other Stories for the Screen (edited by Brodsky and Hamblin, 1987)
Stallion Road (screenplay, edited by Brodsky and Hamblin, 1989).
Collections
Three Famous Short Novels (comprises Spotted Horses, Old Man, and The Bear, 1942)
The Portable Faulkner (edited by Malcolm Cowley, 1946)
The Faulkner Reader (1954)
Snopes: A Trilogy (3 volumes, comprises The Hamlet [revised edition], The Town, and The Mansion, 1964)
Time Line
September 25, 1897 - William Cuthbert Falkner, known as William Faulkner, is born in New Albany, Mississippi, to Murry Cuthbert Falkner, a railroad worker, and Maud Butler, a housewife.
1915 - William Faulkner leaves high school to work as a bookkeeper.
1918 - William Falkner joins the Canadian Royal Air Force by changing the spelling of his name to the British-sounding Faulkner.
1919–1920 - William Faulkner is enrolled at the University of Mississippi.
1926 - William Faulkner's first novel, Soldier's Pay, is published, drawing on his experiences in World War I (1914–1918).
1929 - William Faulkner's novel The Sound and the Fury is published.
June 20, 1929 - William Faulkner marries Lida Estelle Oldham Franklin. She divorces her husband to marry Faulkner, bringing two children to her second marriage and bearing Faulkner two more daughters named Alabama, who died nine days after being born, and Jill.
1930 - William Faulkner's novel As I Lay Dying is published.
1949 - William Faulkner wins the Nobel Prize for literature.
1955 - In this year, William Faulkner is awarded the first of his two Pulitzer Prize awards for fiction and the National Book Award.
1957–1958 - William Faulkner is writer-in-residence at the University of Virginia.
1961–1962 - William Faulkner teaches, in the final year of his life, American literature at the University of Virginia.
1962 - William Faulkner's last novel, The Reivers, is published. It describes a boy's transition into adulthood.
July 6, 1962 - William Faulkner dies of a heart attack in Byhalia, Mississippi. He wills the major manuscripts and personal papers in his possession to the Albert and Shirley Small Special Collections Library at the University of Virginia.
1963 - William Faulkner is awarded his second Pulitzer Prize in fiction."
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Well, SGT (Join to see), we’ve talked about this guy before, especially his long sentences! Here’s one, from Absalom, Absalom! At 1289 words, it’s one of the longest sentences, if not the longest, in English literature.
“Just exactly like Father if Father had known as much about it the night before I went out there as he did the day after I came back thinking Mad impotent old man who realised at last that there must be some limit even to the capabilities of a demon for doing harm, who must have seen his situation as that of the show girl, the pony, who realises that the principal tune she prances to comes not from horn and fiddle and drum but from a clock and calendar, must have seen himself as the old wornout cannon which realises that it can deliver just one more fierce shot and crumble to dust in its own furious blast and recoil, who looked about upon the scene which was still within his scope and compass and saw son gone, vanished, more insuperable to him now than if the son were dead since now (if the son still lived) his name would be different and those to call him by it strangers and whatever dragon’s outcropping of Sutpen blood the son might sow on the body of whatever strange woman would therefore carry on the tradition, accomplish the hereditary evil and harm under another name and upon and among people who will never have heard the right one; daughter doomed to spinsterhood who had chosen spinsterhood already before there was anyone named Charles Bon since the aunt who came to succor her in bereavement and sorrow found neither but instead that calm absolutely impenetrable face between a homespun dress and sunbonnet seen before a closed door and again in a cloudy swirl of chickens while Jones was building the coffin and which she wore during the next year while the aunt lived there and the three women wove their own garments and raised their own food and cut the wood they cooked it with (excusing what help they had from Jones who lived with his granddaughter in the abandoned fishing camp with its collapsing roof and rotting porch against which the rusty scythe which Sutpen was to lend him, make him borrow to cut away the weeds from the door-and at last forced him to use though not to cut weeds, at least not vegetable weeds -would lean for two years) and wore still after the aunt’s indignation had swept her back to town to live on stolen garden truck and out o f anonymous baskets left on her front steps at night, the three of them, the two daughters negro and white and the aunt twelve miles away watching from her distance as the two daughters watched from theirs the old demon, the ancient varicose and despairing Faustus fling his final main now with the Creditor’s hand already on his shoulder, running his little country store now for his bread and meat, haggling tediously over nickels and dimes with rapacious and poverty-stricken whites and negroes, who at one time could have galloped for ten miles in any direction without crossing his own boundary, using out of his meagre stock the cheap ribbons and beads and the stale violently-colored candy with which even an old man can seduce a fifteen-year-old country girl, to ruin the granddaughter o f his partner, this Jones-this gangling malaria-ridden white man whom he had given permission fourteen years ago to squat in the abandoned fishing camp with the year-old grandchild-Jones, partner porter and clerk who at the demon’s command removed with his own hand (and maybe delivered too) from the showcase the candy beads and ribbons, measured the very cloth from which Judith (who had not been bereaved and did not mourn) helped the granddaughter to fashion a dress to walk past the lounging men in, the side-looking and the tongues, until her increasing belly taught her embarrassment-or perhaps fear;-Jones who before ’61 had not even been allowed to approach the front of the house and who during the next four years got no nearer than the kitchen door and that only when he brought the game and fish and vegetables on which the seducer-to-be’s wife and daughter (and Clytie too, the one remaining servant, negro, the one who would forbid him to pass the kitchen door with what he brought) depended on to keep life in them, but who now entered the house itself on the (quite frequent now) afternoons when the demon would suddenly curse the store empty of customers and lock the door and repair to the rear and in the same tone in which he used to address his orderly or even his house servants when he had them (and in which he doubtless ordered Jones to fetch from the showcase the ribbons and beads and candy) direct Jones to fetch the jug, the two of them (and Jones even sitting now who in the old days, the old dead Sunday afternoons of monotonous peace which they spent beneath the scuppernong arbor in the back yard, the demon lying in the hammock while Jones squatted against a post, rising from time to time to pour for the demon from the demijohn and the bucket of spring water which he had fetched from the spring more than a mile away then squatting again, chortling and chuckling and saying `Sho, Mister Tawm’ each time the demon paused)-the two of them drinking turn and turn about from the jug and the demon not lying down now nor even sitting but reaching after the third or second drink that old man’s state of impotent and furious undefeat in which he would rise, swaying and plunging and shouting for his horse and pistols to ride single-handed into Washington and shoot Lincoln (a year or so too late here) and Sherman both, shouting, ‘Kill them! Shoot them down like the dogs they are!’ and Jones: ‘Sho, Kernel; sho now’ and catching him as he fell and commandeering the first passing wagon to take him to the house and carry him up the front steps and through the paintless formal door beneath its fanlight imported pane by pane from Europe which Judith held open for him to enter with no change, no alteration in that calm frozen face which she had worn for four years now, and on up the stairs and into the bedroom and put him to bed like a baby and then lie down himself on the floor beside the bed though not to sleep since before dawn the man on the bed would stir and groan and Jones would say, ‘flyer I am, Kernel. Hit’s all right. They aint whupped us yit, air they?’ this Jones who after the demon rode away with the regiment when the granddaughter was only eight years old would tell people that he ‘was lookin after Major’s place and niggers’ even before they had time to ask him why he was not with the troops and perhaps in time came to believe the lie himself, who was among the first to greet the demon when he returned, to meet him at the gate and say, ‘Well, Kernel, they kilt us but they aint whupped us yit, air they?’ who even worked, labored, sweat at the demon’s behest during that first furious period while the demon believed he could restore by sheer indomitable willing the Sutpen’s Hundred which he remembered and had lost, labored with no hope of pay or reward who must have seen long before the demon did (or would admit it) that the task was hopeless-blind Jones who apparently saw still in that furious lecherous wreck the old fine figure of the man who once galloped on the black thoroughbred about that domain two boundaries of which the eye could not see from any point.”
Lt Col John (Jack) Christensen PVT Mark Zehner COL Mikel J. Burroughs