Photostat of "Cathay" from The Mississippian, November 12, , p. Typescript of "Cathay. It differs slightly from the published version. See Fig. Apparently Faulk- ner's first piece of published fiction, it describes a near-crash by a cadet at what is obviously an RAF flight training field.
Critical pieces in The Mississippian. Most of Faulkner's contributions to The Mississippian were poems, but he also published book reviews, essays, and dra- matic criticism. The drawing and the caption, with its characteristic reversed s's, are similar to those of the poem "Nocturne," in the same volume. The manuscript play, "The Marionettes," which has never been published, dates from this period in Faulkner's career and his association with the dramatic group.
According to Faulk- ner's letter of authentication, he made six copies of the play. Opened to the first page of the text, a description of the setting of the opening scene, with its accompanying drawing of Pierrot at a garden table beneath the full moon. Letter from Raymond Green to William Faulkner, February 9, , requesting confirmation of his authorship of the play, with Faulkner's reply written at the bottom: "I wrote a play by that name once.
It was never printed. I made and bound 6 copies by hand. I signed none of them. There may also be a mss. It was long ago and I dont remember. The dawn herself could not more beauty wear Than you 'mid other women crowned in grace, Nor have the sages known a fairer face Than yours, gold-shadowed by your bright sweet hair Than you does Venus seem less heavenly fair; The twilit hidden stillness of your eyes, And throat, a singing bridge of still replies, A slender bridge, yet all dreams hover there.
I could have turned unmoved from Helen's brow, Who found no beauty in their Beatrice; Their Thais seemed less lovely then as now, Though some had bartered Athens for her kiss. For down Time's arras, faint and fair and far, Your face still beckons like a lonely star. The lettering and the accompanying drawing are similar to those of the manuscript play "The Marion- ettes. Ole Miss. It appeared in December, , just before he left Oxford for New Orleans.
Faulkner's friend Phil Stone, a lawyer in Oxford, wrote the introduction to the book, noting the talent of the author and his potential. It has never been reprinted. The Marble Faun. Boston, The Four Seas Company . Two copies. Massey; Ex Raymond Green. Oxford, Mississippi, April 15, Phil Stone". It is signed on the title-page: "William Faulkner Oxford, Miss. Phil Stone. Typescript of The Marble Faun. The manuscript corrections are not in Faulkner's hand.
Shown is the beginning of the second group of poems, entitled "Summer. His perceptive and favorable review of The Marble Faun appeared not long after Faulkner reached New Orleans, early in It was published in April, , and Faulkner gave the date "April, May, June, igig" at the end of The Marble Faun, though it is likely that the poems of the book, if they were originally conceived at that date, were considerably changed in the five years that elapsed before their publication.
D] Faulkner's first appearance in The Double Dealer, the little magazine published in New Orleans in the 's, was "Portrait," a poem characteristic of the verse both published and unpublished Faulkner was writing in the years preceding The Marble Faun. This book of drawings by the artist William Spratling was published in New Orleans in December, , in a limited edition, a few of the copies bound in fancy boards and with some of the drawings tinted.
As John McClure said in his review in the Times-Picayune January 2, , the drawings are "Amusing caricatures of familiar figures in the artistic and literary circles of New Or- leans, with not a line drawn in malice," and the book as a whole is "frankly a take-off" on Miguel Covarrubias' The Prince of Wales and Other Famous Americans. The introduction is a whimsical interpretation of Sher- wood Anderson's attitude to the Vieux Carre.
Sherwood Anderson ir Other Famous Creoles. New Orleans, Pelican Bookshop Press, One of about forty copies in fancy boards, signed by the artist. Opened to the title-page and tinted frontispiece a view of the cathedral and Cabildo Alley roofs in the French Quarter. Photostat, enlarged, of the final caricature of the volume. Drawn from the mirror, it shows Faulkner and Spratling at a table, writing and drawing. See illustration on p. Drawing of Faulkner by William Spratling. Undated typewritten letter from Faulkner to Sherwood An- derson. See Figs. The legends were recorded in an exchange of letters, of which this undated typescript account by Faulkner of the adventures of Al, Elenor, and Herman Jackson is part.
Parts of the Jackson legend also appear in Mosquitoes pp. Soldiers' Pay. New York, Boni 8c Liveright, First edition, in dust jacket. On Anderson's recommendation, it was accepted by Boni and Liveright, Anderson's publishers at that time. Bound typescript of Soldiers' Pay. Faulk- ner]. New York, Boni and Liveright, First edi- tion, in dust jacket with drawing of mosquitoes. The verse read aloud by one of the characters on p. The first impression of the novel was issued in two different dust jackets.
First edition, in dust jacket with drawing of bridge players. Bound typescript of Mosquitoes. Sketches in the Times-Picayune. Although thirteen of these sketches have been known, in recent years, and have been reprinted in two different collections, three of the last four have been previously unrecorded.
This was the only one of the series to be illustrated by William Spratling. D] d. All three appeared after Faulk- ner's departure for Europe, July 7, , aboard the freighter "West Ivis. In one version, the central char- acter lived in Jefferson, Mississippi, as a small boy. The maps of Yoknapatawpha County. From the publication of Sartoris in to The Town in , more than a dozen books and three dozen short stories by Faulkner have had their setting in his mythical north Mis- sissippi county of Yoknapatawpha.
The map was redrawn but not brought up to date for the Modern Library issue of Absalom, Absalom! Map from the first edition of Absalom, Absalom! Meriwether] b. Photostat, enlarged, of map from the Modern Library issue of Absalom, Absalom! Photostat, enlarged, of map from the Viking Portable Faulkner. Lafayette County. William Faulkner's home county of Lafayette accented on 13 the second syllable: La-fay'-ette is similar in many ways to Yoknapatawpha.
The Tallahatchie River is on the northern boundary of both, and in the southern part of Lafayette County is the Yocona River, which on old maps appears in longer form and in various spellings, one of which is Yokna- patawpha, the same spelling that Faulkner gives to his imag- inary county and to the river that is its southern boundary. Sheet 1 of 8 sheets.
The courthouse and the Confederate monument. Descriptions in Faulkner's works of the courthouse in Jef- ferson, the county seat of Yoknapatawpha, correspond with the appearance of the actual courthouse in his home town of Oxford. However, the monument of the Confederate soldier in front of the Jefferson courthouse seems modeled after the monument on the University of Mississippi campus, rather than the one by the Oxford courthouse. Reproduction of picture of the courthouse and Confederate monument in Ox- ford, Mississippi, from David E.
Photograph of Confederate monument on the University of Mississippi campus.
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Description of the courthouse and Confederate monument in Jefferson from Sartoris, p. Beneath the porticoes of the courthouse and on benches about the green, the city fathers sat and talked and drowsed. This Faulkner did for the first time in Sartoris, his third novel, although the small-town Georgia setting of Soldiers' Pay and the unidentified rural setting of one of the Times-Picayune sketches, "The Liar," seem to some extent to draw upon Oxford and Lafayette County. New York, Harcourt, Brace and Company .
Three pages from the manuscript of Sartoris: 01, C, and The flyer whose marginal remark "I am Comyn of the Irish nation" occurs on p. Bound typescript of Sartoris entitled "Flags in the Dust" in this version. First English edi- tion. Translation into Italian by Maria Stella Ferrari. Stockholm, Albert Bonniers Forlag . Transla- tion into Swedish by Th. P] William Faulkner. A] Colonel William C. Falkner d. Lawyer, Confederate soldier, and railroad builder, Colonel Falkner was also author of several books. His novel The White Rose of Memphis, originally published in , was reprinted thirty-six times in the next thirty years.
His last book, which appeared in , was Rapid Ramb lings in Europe. The de- scription in Sartoris of the effigy of Colonel Sartoris in the Jefferson cemetery recalls the monument over the grave of Colonel Falkner in Ripley, Mississippi. The White Rose of Memphis. With an introduction by Robert Cantwell. New York, Coley Taylor - This modern edition omits the epigraph and dedication of the original, as well as making numerous minor changes. Rapid Ramblings in Europe.
Philadelphia, J. Opened to frontispiece, a picture of Colonel Falkner. Description of the effigy of Colonel Sartoris in Jefferson, in Sartoris, p. His head was lifted a little in that gesture of haughty pride which repeated itself gen- eration after generation with a fateful fidelity, his back to the world and his carven eyes gazing out across the valley where his railroad ran, and the blue changeless hills beyond, and beyond that, the ramparts of infinity itself.
The pedestal and effigy were mottled with seasons of rain and sun and with drippings from the cedar branches, and the bold carving of the letters was bleared with mold, yet still decipherable. Photograph of the monument of Colonel Falkner in Ripley, Mississippi. Meriwether] 6. Faulkner has often referred to it as his own favorite amonp- his works, and the one which cost him the greatest trouble in writ- ing. At the same time, he has emphasized the point that in one sense the writing was easy, for in this book he was striving to please no audience but himself.
It was written during the period in which his previous book, Sartoris, had been rejected by his old publisher, and had not yet been accepted by a new one. In an unpublished note on The Sound and the Fury written during the early 's lent to the Library by Mr. Faulkner , he describes it as "the only one of the seven novels which I wrote without any accompanying feeling of drive or effort, or any fol- lowing feeling of exhaustion or relief or distaste.
When I began it I had no plan at all. I wasn't even writing a book. I was thinking of books, publication, only in the reverse, in saying to myself, I wont have to worry about publishers liking or not liking this at all. I said to myself, Now I can write. The Sound and the Fury. Le Bruit et la Fureur. Paris, Gallimard . Translation into French by Maurice E.
Schall und Wahn. Translation into German by Helmut M. Braem and Elisa- beth Kaiser. L'Urlo e il Furore.
Trans- lation into Italian by Augusto Dauphine. El Sonido y la Furia. Buenos Aires, Editorial Futuro . Translation into Spanish by Floreal Mazia. Six pages from the manuscript of The Sound and the Fury: 20, 34, 70, 87, , and Bound typescript of The Sound and the Fury. Faulkner] Opened to p. Massey] In this letter Faulkner discusses the problem of indicating the time shifts in the stream-of-consciousness of the idiot Benjy, who is the narrator of the first section of The Sound and the Fury.
Against his wishes, this section was first set up by the printer with breaks in the text to indicate the dislocations in time, but Faulkner, according to this letter, restored his original device of using italics for this purpose when he corrected the proofs. The idea of using inks of different colors to accomplish this, which Faulkner men- tions as a process which he wishes the publishing business were advanced enough to allow, was returned to a few years later when a new edition of the book was planned by Random House.
Though announced for publication in , the project was never completed, and Faulkner has stated in a recent interview that he now feels that such a device is unnecessary and the section is sufficiently clear as it stands. However, Faulkner has said elsewhere that writing this book "was not easy. No honest work is," and both manuscript and the bound typescript show considerable revision by the author. First state of first edition, in dust jacket.
As I Lay Dying. Second state of first edition, with the initial "I" on p. Meri- wether] Page 32 of the manuscript of As I Lay Dying. Faulkner] Bound typescript of As I Lay Dying. Tandis que J 'Agonise. Burins de Courtin. Paris, Editions Jean Boisseau, Coindreau] Typewritten letter from Faulkner to Maurice E. Medan jag lag och dog. Translation into Swedish by Marten Edlund. Uitvaart in Mississippi. Amsterdam, Uitgeverij de Bezige Bij, Mientras Agonizo. Madrid, Aguilar, Kun tein Kuolemaa.
Translation into Finnish by Alex. It was rejected by his publisher. Later on the publisher changed his mind, and sent the galley proofs to the author. With an introduction by William Faulkner. New York, The Modern Library . First Modern Library issue. Binding variant in green cloth, in dust jacket. Massey] The introduction is printed on two pages. In later impressions of the Modern Library issue the introduction is printed on four pages.
Four manuscript pages of the original version of Sanctuary: 1, 9, 15, and Manuscript p. Bound typescript of Sanctuary. Faulkner] Opened to pp. Galley proofs of the beginning of the original version of Sanc- tuary. Massey] Meri- wether] Sanctuary went through six printings between February and July, , all of them under the Cape and Smith imprint. Meriwether] This copy of the "Sixth Printing" bears the imprint of Smith and Haas, the suc- cessors to Cape and Smith who published Faulkner after , though the format is similar to that of the Modern Library issue and it contains the later, four-page version of the Modern Library introduction.
Paris, Crosby Continental Editions, Preface d'Andre Malraux. Raimbault and Henri Delgove. Coindreau] This copy contains a presentation inscription from the translators to Mr. Coin- dreau.
Die Freistatt. Zurich, Artemis- Verlag . Translation into German by Herberth E. Translation into Italian by Paola Ojetti Zamattio. Sao Paulo, Instituto Progresso Editorial . Translation into Portuguese by Ligia Junqueira Smith. Det Allra Heligaste. Stockholm, Albert Bonniers Forlag, Det A Her Helligste. Oslo, Gyldendal Norsk Forlag, Translation into Norwegian by Leo Str0m. Published in September, , it was the first of his books to be brought out simultaneously in trade and limited, signed issues.
Seven of its thirteen stories were published for the first time. These First trade issue, in dust jacket. Limited, signed issue. It was slightly revised for its appearance in These First page of the manuscript of "A Rose for Emily. Treize Histoires. Translation into French by R.
Raimbault and Ch.
At one time Faulk- 61 ner planned to use as the opening chapter of the novel the epi- sode which was published separately as the short story "Barn Burning. Transla- tion into French by M. Hidden categories: Articles needing additional references from October All articles needing additional references Wikipedia articles with style issues from October All articles with style issues Wikipedia articles that are excessively detailed from October All articles that are excessively detailed Articles to be expanded from October All articles to be expanded Articles with multiple maintenance issues Articles to be expanded from December Articles with empty sections from December All articles with empty sections Articles using small message boxes Wikipedia articles with BNF identifiers. You cheat yourself out of too much life. Higgins, the Great. Faulkner] The final page of The Town marks, for the present , the last completed chapter in the chronicle of the Snopeses of Yoknapatawpha, although his publishers announce that Faulkner is now at work upon the third volume of the trilogy, The Mansion.
Vorce with the col- laboration of M. Coindreau, pp. It was considerably revised for These Page 1 of the manuscript of 'Ad Astra. Faulk- ner] Sq] One of the best stories in These 13 is "Red Leaves," the first of several stories about the Indians in north Mississippi which Faulkner published in the 's. Like the other previously published stories in These 13, it was revised from its periodical appearance, and the manuscript and typescript differ from each other and from both published versions.
Page 1 of the manuscript of "Red Leaves. Page 1 of carbon typescript of "Red Leaves. Questi Tredici. Turin, Lattes . Translation into Italian by Francesco Lo Bue. Idyll in the Desert. New York, Random House, For a reproduction of a letter, April 14, , from Faulkner to Mr. First page of the manuscript of Idyll in the Desert. Miss Zilphia Gant. Although in the prospectus which announced the book it was stated that "Mr.
Faulkner tells us that 'Miss Zilphia Gant' is in reality the basis for a novel which he plans to write in the near future," it bears little resemblance to any of his subsequently published work. First page of the manuscript of Miss Zilphia Gant. Page 1 of a typescript version, with manuscript corrections, of Miss Zilphia Gant. Faulkner] It gives June 27, , as the date of publication; July 2 as the date the affidavit was received; and July 5 as the date the copyright deposit copies were received.
This mistake was picked up as a "point" by early bibliographers of Faulkner, who believed that this error distinguished between two states of the first impression, as did the misaligned "I" in As I Lay Dying. That it is simply an error, and an uncorrected error, not a point, is shown by the fact that it persists in three subsequent Smith and Haas printings; in the English issue and the New Directions issue both printed photographically from the Smith and Haas text ; and in the resetting of the text for the Modern Library.
Light in August. First Eng- lish issue [Ex Manuscript pages of the beginning and end of Light in August: 2 and Faulkner] 22 go. Meriwether] Opened to p.
Page 1 10 of the manuscript of Light in August. Faulkner] That Faulkner's revisions of the manuscript involved rearrangement of this epi- sode is indicated by the different page and chapter numbers which are cancelled. The first four printings of the Smith and Haas edition of Light in August and a remaindered copy of the fourth print- ing in a Random House binding. Lumiere d'Aout.
Luce d'Agosto. Trans- lation into Italian by Elio Vittorini. Licht im August. Berlin, Verlag Volk und Welt, Trans- lation into German by Franz Fein. Geboorte in Augustus. Amsterdam, Em. Querido, Trans- lation into Dutch by I. M0rk August. Transla- tion into Norwegian by Sigurd Hoel. Svetloba v Avgustu. Ljubljana, Cankarjeva Zalozba, Translation into Slovenian by Mira Mihelic.
It had been announced early in , when Faulkner was in New Orleans, that he was preparing another book of verse for publication, and the dated manuscripts of several of the poems of A Green Bough show that they were written in the 's, but they were revised and tightened for book publica- tion.
Since Faulkner's published work has been exclusively in prose forms. A Green Bough. All three versions differ slightly. Typescript of Contempo text of "My Epitaph. This Earth. New York, Equinox, ig Le Rameau Vert. Paris, Gallimard [ig55]. Typescript of sonnet "Spring," dated "13 December, ig24" in Faulkner's hand. Two of its fourteen stories were published for the first time, and only two of the twelve which had been previously published were revised for their appearance in the collection.
Doctor Martino and other stories. First page of an untitled manuscript version of "There Was a Queen. Massey] 24 Although the short story "There Was a Queen" was not revised from its original periodical publication when it was included in Doctor Martino, the three manu- script and typescript versions exhibited all differ from the printed texts as well as from each other.
First page of a typescript version of "There Was a Queen. Page 1 of the manuscript of "A Death-Drag. Le Docteur Martino et Aatres Histoires. First page of the manuscript of "A Mountain Victory. PYLON, Page 78 of the typescript setting copy of Pylon. Raimbault with the collaboration of G. Louis- Rousselet. Unnumbered manuscript page of Pylon, containing a version of parts of pp.
Copenhagen, Winthers Forlag . Transla- tion into Danish by Peter Toubro. Barcelona, Luis de Caralt . Translation into Spanish by Julio Fernandez-Yanez. Hamburg, Rowohlt . Translation into German by Georg Goyert. Faulkner ap- pended a chronology, a genealogy of the principal characters, and a map of Yoknapatawpha County to this volume, which appeared in October of First page of the final typescript of Absalom, Absalom! Two pages from the typescript of a version of the first chap- ter of Absalom, Absalom! A] Opened to pp. First manuscript page unnumbered of a version of the Chronology of Absalom, Absalom!
H] Opened to pp. Introduction by Harvey Breit. First Modern Library issue, in dust jacket. Massey; Library copy, L 11 ] Raimbault with the collaboration of Ch. Stuttgart, Rowohlt . Translation into German by Hermann Stresau. Assalonne, Assalonne! Translation into Italian by Glauco Cambon. Buenos Aires, Emece Editores . Translation into Spanish by Beatriz Florencia Nelson. The illustrations were made by Edward Shenton, who had pre- viously illustrated the magazine appearance of the sixth chapter. The Unvanquished. New York, Random House .
Page 1 of the manuscript of 'An Odor of Verbena. Page 1 of the typescript of 'An Odor of Verbena. S] Opened to p. Translation into German by Erich Franzen. Gli Invitti. Translation into Italian by Alberto Marmont. Los Invictos. Translation into Spanish by Alberto Vila de Aviles.
De Obesegrade. Stockholm, Folket i Bilds Forlag . Translation into Swedish by Hakan Norlen. The action of the two sections of its double plot, "Wild Palms" and "Old Man," never combines. Printed in alternate chapters, their only unity is thematic. The Wild Palms. Coindreau] Opened to p. Manuscript page unnumbered of the end of the first chap- ter of "Wild Palms. Title-page of the typescript which was used as the setting copy of The Wild Palms, showing cancelled title, "If I For- get Thee, Jerusalem" a reference to Psalms Pages 4 and 36 of the typescript setting copy of The Wild Palms, the first page of each section of the novel.
The Old Man. New York, New American Library . First Signet edition of this erroneously entitled paperback. Meriwether] 28 Les Palmiers Sauvages. Transla- tion into French by M. Yasei no jo Netsu. Transla- tion into Japanese by Yasuo Okubo. Faulkner had planned a novel about the Snopes fam- ily from the inception of the Yoknapatawpha series in the 's, and The Hamlet incorporates four previously published short stories which had appeared in the 's: "Fool About a Horse," "The Hound," "Spotted Horses," and "Lizards in Jamshyd's Court- yard.
The Hamlet. Bound carbon typescript of The Hamlet. The Hamlet is dedicated to Phil Stone, who wrote the preface to The Marble Faun, and with whom Faulkner had worked up many of the events of the Snopes stories in tall tales the two men told each other in the late 's.
To Stone's son Philip, Faulkner presented this first carbon of the typescript setting copy of The Hamlet. Bound in two volumes, it is inscribed on the first page and signed on the last page of each. H] Opened to p. The short story "Barn Burning," first published in Harper's, was written to be the first chapter of The Hamlet, as the manuscript and typescript show. Page 1 of the manuscript of "Barn Burning.
Page 1 of the typescript of "Barn Burning. Page 58 of a manuscript version of the first part of the "Eula" section of The Hamlet, indicating that at one time Faulkner 29 planned to begin the section with what is the end of its first chapter in the published version. Page of a typescript version of The Hamlet, in which the name Mordred nicknamed "Maud" Snopes appears for the character Launcelot nicknamed "Lump" Snopes of the published book.
El Villorrio. Trans- lation into Spanish by Raquel W. Translation into Spanish by J. Napoletano Torre and P. Carbo Amiguet. Eight previously published short stories are incorporated into its seven sections, or chapters, but the volume has a basic unity which was emphasized in later printings by the omission of "and Other Stories" from the title. Go Down, Moses and Other Stories. Presumable first state of the binding, first trade issue, in black cloth, with top edges stained red; in dust jacket. Variant state of the binding, first trade issue, in red cloth, with top edges un- stained; in dust jacket.
Massey] This is the smallest of the limited issues of Faulkner's books, and the most difficult to obtain at the present time. Go Down, Moses. First Modern Library edition, in dust jacket. Wainwright] Page 1 of a typescript version of "Was," the first section of Go Down, Moses. This is the only section of the book from which no part had been previously published. Page 1 of a typescript, with alternate titles "An Absolution" and "Apotheosis," of a story, unpublished in this form, which was incorporated into the second section of Go Down, Moses, "The Fire and the Hearth.
Page of the typescript setting copy of Go Down, Moses, the first page of "The Bear," showing cancelled original title of the section, "Lion. Faulkner] "The Bear" contains some of Faulkner's most complex writing, and his note on p. Set it as written, without caps or stops at beginning and end of paragraphs. Unless put there by me. Sq] Opened to pp.
Page 6 of a typescript version of the title story and concluding section of Go Down, Moses. Faulkner] The genealogy differs in several particulars from the family as it appears in the published book, although Faulkner included no such genealogical chart in it. I Zack Carothers Eunice. N Tomey's Turl. N Lucas Beauchamp 31 Trans- lation into Spanish by Ana-Maria de Foronda. Descends, Mo'ise. Scendi, Mose. Transla- tion into Italian by Edoardo Bizzarri. Das Verworfene Erbe. It was his first book since to appear without a limited, signed issue. Intruder in the Dust.
A copy of the second printing, signed by the author; in dust jacket. Manuscript page of the beginning of Intruder in the Dust. Page 29 of typescript setting copy of Intruder in the Dust, with manuscript corrections. Inkrdktare i Stoftet. Translation into Swedish by Th. Intruso en el Polvo. Buenos Aires, Editorial Losada . Translation into Spanish by Aida Aisenson. Griff in den Staub. Translation into German by Harry Kahn.
Non si Fruga nella Polvere. Translation into Italian by Fernanda Pivano.
Translation into Japanese by Shozo Kato. Ongenode Gast. Amsterdam, Wereld-Bibliotheek, Translation into Dutch by Apie Prins. Ubuden Gaest i St0vet. Copenhagen, Aschehoug Dansk For- lag, Translation into Danish by Mogens Boisen. All six pieces are detective stories in which Gavin Stevens is the main character. Knight's Gambit. Page 1 of the manuscript of "Smoke. Faulk- ner] The first story in Knight's Gambit is "Smoke," which was originally published in Harper's in April, , and reprinted in Doctor Martino in The first page of the setting copy of this story, for Knight's Gambit, was typescript; tear sheets from Doctor Martino were used for the remainder of the setting copy, and tear sheets from their magazine appearances were used for the setting copy of the other four previously published stories of the book.
Typescript setting copy of the beginning of "Smoke. Tear sheet, p. In their introduction to the story's magazine publication, the editors called it a "strange story of almost pure detection. The Queen's Awards, Edited by Ellery Queen [pseud. Boston, Little, Brown and Company, First page of the typescript setting copy of "Knight's Gam- bit.
Page 22 of a carbon typescript version of the original short story "Knight's Gambit. Faulkner] This final page of the story is very similar to the ending of the published novella, although here the narrator and nephew of Gavin Stevens is Charles Weddel, not Charles Mallison. Tokyo, Yukei-sha, Translation into Japanese by Yasuo Okubo. Gambito de Caballo. Translation into Spanish by Lucrecia Moreno de Saenz. Le Gambit du Cavalier. Transla- tion into French by Andre du Bouchet. During those sixteen years many of his stories had been brought together in volumes like The Unvanquished, The Hamlet, Go Down, Moses, and Knight's Gambit, and these were omitted from Collected Stories, which reprinted forty-two of the forty-six stories published since which had not been in- corporated into less miscellaneous collections.
Collected Stories of William Faulkner. Page 1 of the typescript, with manuscript corrections, of an early version of "Shall Not Perish. Page 1 of carbon typescript of "Shall Not Perish. Faulkner] On the verso of this page is part of a version of the story "A Courtship," which was apparently written about the same time as "Shall Not Perish" but remained un- published until Entire number printed on green stock. Page 1 of the manuscript of "Thrift. Page 1 of a typescript of "The Wishing-Tree. Faulkner] Faulkner originally wrote this unpublished children's story in the 's for Margaret Brown, the daughter of one of his teachers at the University of Mississippi.
More than twenty years later he made a copy for his godchild, Philip Stone. Xmas ". First page of a typescript version of "With Caution and Dis- patch," on verso of p. Several pages of one version of the story appear on the back of the typescript setting copy of The Hamlet, which might indicate that this ver- sion was written about , although the other stories "All the Dead Pilots" and "Ad Astra" , and the novel Sartoris, in which Bayard Sartoris appears, appar- ently date from at least ten years earlier.
First page of another typescript version of "With Caution and Dispatch. Page 1 of the typescript of "The Big Shot. Faulkner] According to the sending schedule of his stories which Faulkner kept for a time, The Saturday Evening Post turned down this story in April, Although it re- mained unpublished, Faulkner used one part of it, the episode of a poor boy's re- jection by the upper class, in the novel Absalom, Absalom!
Sending schedule of short stories. Faulkner] For the first two years of the 's Faulkner kept on this sheet of cardboard a record of the stories he sent to various magazines and agents. He drew a circle around each title when it was accepted. Requiem for a Nun. Page of the typescript of a version of Requiem for a Nun, showing the beginning of the narrative prologue of Act II. Faulkner] In the published book this material appears at the end of the prologue pp. Two typescript versions of the first page of the narrative pro- logue to Act I of Requiem for a Nun.
Four examples, from the galley proof of the book, of Faulk- ner's revisions in Requiem for a Nun. Faulk- ner] a. Galley proof of the end of Act II. Galley proof of the beginning of the narrative prologue to Act III, with an author-to-editor note. Exhibited, for comparison, with a copy of the book opened to pp. Galley proof from Act II, Scene 1, with manuscript additions. Galley proof of the final scene, with manuscript additions.
An author-to-editor manuscript note about the title of the narrative prologue to Act II. Eliot, "Mr. Eliot's Sunday Morning Service. Following is a chronological list of pro- 36 Requiem pour une nonne [Paris], Gallimard . First edition of the stage adaptation by Albert Camus. Program of the Paris production of the Camus adapta- tion of Requiem pour une nonne, given at the Theatre des Mathurins. Poster for the Paris production of Requiem pour une nonne at the Theatre des Mathurins.
Requiem fur eine Nonne. Frankfurt am Main, S. Fischer Verlag . The text of Robert Schnorr's German adapta- tion, reproduced from typewritten copy. Program of the German production of Requiem fur eine Nonne, given during the season at the Schlosspark Theater in Berlin. Photograph of a scene from the Berlin production of Requiem fur eine Nonne.
First English edition, in dust jacket. Translation into German by Robert Schnorr. Requiem para una Mujer. Translation into Spanish by Jorge Zalamea. The American production appeared in New Haven and Boston before it reached New York, and it is likely that some of the foreign productions also had road tours, before or after appearing in the cities noted here.
Requiem pour une Nonne. Preface d'Albert Camus. Translation into French by M. Begun in December, , and not completed until November, , it is one of Faulkner's longest and most complex novels. A Fable. Fine Legende. Translation into German by Kurt Heinrich Hansen. Una Fdbula. Mexico City, Editorial Cumbre . Trans- lation into Spanish by Antonio Ribera.
Uma Fdbula. Paulo, Editora Merito . Translation into Portuguese by Olivia Krahenbiihl. Notes on a Horsethief. Greenville, Miss. According to Carter, Faulkner's original title for the work was "A Dangling Par- ticiple from Work in Progress," and at one time the excerpt was so punctuated as to form only one or two sentences.
Page of the typescript setting copy of A Fable, showing part of the Notes on a Horsethief episode as it occurs in the novel. Faulkner] Exhibited, for comparison, with a copy of Notes on a Horsethief opened to pp. Two typescript pages with manuscript corrections from A Fable: Z-7 and Z Two pages of manuscript additions to the typescript of A Fable: inserts 17 and Big Woods. Manuscript page of a draft of Faulkner's dedication to his editor, Saxe Commins. Tear sheet of "A Bear Hunt. This tear sheet of the earlier version, with Faulkner's manuscript corrections p.
Tear sheet of "The Bear. This page from the setting copy, a tear sheet from Go Doiun, Moses p. The last two pages of the typescript setting copy of the epi- logue. These two pages of the typescript setting copy show manuscript revisions by author and editor. Drawings by Edward Shenton for Big Woods. Bear paw print, half title b. Head of dog, p.
Boy by tree, p. Snake, p. Deer and hunters, p. Bird and steamboat, p. To Ringo and me it lived, if only because of the fact that the sunimpacted ground drank water faster than we could fetch it from the well, the very setting of the stage for conflict a prolonged and wellnigh hopeless ordeal in which we ran, panting and interminable, with the leaking bucket between wellhouse and battlefield, the two of us needing first to join forces and spend ourselves against a common enemy, time, before we could engender between us and hold intact the pattern of recapitulant mimic furious victory like a cloth, a shield between ourselves and reality, between fact and doom Faulkner reduces the futility of the Southern cause in the Civil War to the comic image of two boys feverishly running back and forth carrying a leaky bucket from a water well.
The whole infelicity speaks of a cause that could never have been gained. This is reminiscent of walking around Antietam today. It makes it hard to imagine the immense slaughter that took place there one hundred and fifty years ago, while at the same time making that slaughter only too present. Bayard, the narrator of the story, who inhabits the thoughts of his former self from the remove of adulthood, makes the plans of grownups seem awfully pinched and ephemeral, and yet, from the perspective of the child, at the same time grand and far away.
Faulkner collapses the events of war and Reconstruction into what might be called a family romance involving the Sartorises, their kin, and the people they enslaved. How did the collapse of order during the Civil War affect antebellum Southern patterns of civility and honor? Away from the battlefield during wartime, the trust civility requires can quickly yield to deception because there is no guarantee the law will be administered regularly and consistently, if at all. In The Unvanquished , trust is a tricky proposition, deceptions become treachery, and treachery in turn tragedy, which inevitably leads to violence as the Southern code of honor remains constant in the breach created by the chaos of war.
A person must, as the father John Sartoris puts it much later in the novel, do some moral housecleaning. The pile of sticks, Bayard tells him, is Vicksburg.
Loosh, his eyes red with drink, flattens the pile. The Western front is lost, and Vicksburg has fallen to the Yankees. You can be General Pemberton. The wrenching part of this is that the two boys inhabit a unique moment in the life of children in the Old South—the time before adolescence when black boys and white boys could be playmates and companions, before the rules of masterdom and slavery became rigid and actively policed. Put another way, it means Ringo should have the chance to play at being the white master class with Bayard.
Bayard believes he is being civil to Ringo, if we define civility here as the limits people place on their individual liberty in the interests of living with one another comfortably. This kindness, with its touching moral intensity, can only exist if Ringo continues to side with Bayard, with childhood, and thus the Confederacy, rather than with Loosh, adulthood, his people, their earned resentments and urge to be free of slavery.
The irony is exquisite and horrible. Ringo, it seems, has a tough choice on his hands. Kill them! Their efforts at civility in this context are childhood fantasy, and they have the dawning apprehension this is so. They choose their childhood game of war over the war going on around them. We ask that those who participate in the discussions generated in the Comments section do so with the same decorum as they would in any other academic setting or context. Since the USIH bloggers write under our real names, we would prefer that our commenters also identify themselves by their real name.
We welcome suggestions for corrections to any of our posts. As the official blog of the Society of US Intellectual History, we hope to foster a diverse community of scholars and readers who engage with one another in discussions of US intellectual history, broadly understood. Your earlier post s on Intruders in the Dust prompted me to think about reading that novel. But I ended up reading The Unvanquished instead or, to be more precise, about two-thirds of it — got sidetracked onto other things.
Most of the chapters of The Unvanquished were originally short ish stories, published in the s mostly in The Saturday Evening Post. Yes, Bayard definitely knows Ringo as his best friend, which I thought I had made clear. And yes, Bayard acknowledges later on that Ringo had more smarts, especially when the mule chicanery takes place later on in the novel with Granny and the Yankee encampment.
It seems to me that this is enough of a criticism of the Old South. Yet there are plenty more. Faulkner is subtle, so there are lots of moments where he tweaks the classic plantation narrative. He grew up with these stories. The first is at the very beginning, which I point out, namely the comic image of Confederate exploits reduced to the image of two boys running back and forth from water well with a leaky bucket. This is far from the myth of a noble lost cause of honorable cavaliers and so on. The boys love a developing myth like certain boys loved playing army games, but Faulkner sets the scene a bit differently.