Pub Date : 2019-06-27DOI: 10.14325/MISSISSIPPI/9781496822529.003.0011
D. Davis
After the Civil War, stores played a crucial role in the redevelopment of the South's economy. Landowner-merchants used crop liens, loans against the value of a crop, as contracts to bind laborers to the land through debt and dependency. The landowner-merchants provided food, seeds, fertilizer, and all of the other items necessary to live and raise a crop for a season, but they charged exorbitant interest on the items, and the cost of the charges was deducted from the value of their share of the crop. Faulkner depicts the stores as a system of coercive microfinance in several of his novels. In Absalom, Absalom, Thomas Sutpen opens a store when he returns from the war to rebuild his plantation. In The Hamlet, Flem Snopes uses Jody Varner's store as the vehicle for his social mobility, and in The Sound and the Fury, Jason Compson works in a store while investing in the cotton commodities market.
{"title":"Faulkner’s Stores: Microfinance and Economic Power in the Postbellum South","authors":"D. Davis","doi":"10.14325/MISSISSIPPI/9781496822529.003.0011","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496822529.003.0011","url":null,"abstract":"After the Civil War, stores played a crucial role in the redevelopment of the South's economy. Landowner-merchants used crop liens, loans against the value of a crop, as contracts to bind laborers to the land through debt and dependency. The landowner-merchants provided food, seeds, fertilizer, and all of the other items necessary to live and raise a crop for a season, but they charged exorbitant interest on the items, and the cost of the charges was deducted from the value of their share of the crop. Faulkner depicts the stores as a system of coercive microfinance in several of his novels. In Absalom, Absalom, Thomas Sutpen opens a store when he returns from the war to rebuild his plantation. In The Hamlet, Flem Snopes uses Jody Varner's store as the vehicle for his social mobility, and in The Sound and the Fury, Jason Compson works in a store while investing in the cotton commodities market.","PeriodicalId":359270,"journal":{"name":"Faulkner and Money","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116947507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-27DOI: 10.14325/MISSISSIPPI/9781496822529.003.0014
Myka Tucker-Abramson
As Nazism was securing its grip on Germany, Walter Benjamin wrote of the "necessity of a theory of history from which fascism can become visible." With the election of Trump and the resurgence of hyper-nationalist and far-right politics globally, we too need a theory that can bring the neofascism of the present into relief. This chapter suggests that William Faulkner's post-war fiction can help generate such a theory, by illuminating the path from the Cold War to the neofascism of Trumpism. Drawing on AiméCésaire's insights that fascism's origins lie in colonialism, and critical scholarship that reads the post-Reconstruction South as emblematic of US necolonial policy, this chapter argues that it is in Faulkner's literary engagements with the post-World War II modernization of the South via the genres of the noir and the road novel that Faulkner's most important engagements with fascism are to be found.
{"title":"Answering the Call: Telephonic Fascism and Faulkner’s Angel of History","authors":"Myka Tucker-Abramson","doi":"10.14325/MISSISSIPPI/9781496822529.003.0014","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496822529.003.0014","url":null,"abstract":"As Nazism was securing its grip on Germany, Walter Benjamin wrote of the \"necessity of a theory of history from which fascism can become visible.\" With the election of Trump and the resurgence of hyper-nationalist and far-right politics globally, we too need a theory that can bring the neofascism of the present into relief. This chapter suggests that William Faulkner's post-war fiction can help generate such a theory, by illuminating the path from the Cold War to the neofascism of Trumpism. Drawing on AiméCésaire's insights that fascism's origins lie in colonialism, and critical scholarship that reads the post-Reconstruction South as emblematic of US necolonial policy, this chapter argues that it is in Faulkner's literary engagements with the post-World War II modernization of the South via the genres of the noir and the road novel that Faulkner's most important engagements with fascism are to be found.","PeriodicalId":359270,"journal":{"name":"Faulkner and Money","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129395891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Answering the Call:","authors":"Myka Tucker-Abramson","doi":"10.2307/j.ctvkwnn7q.18","DOIUrl":"https://doi.org/10.2307/j.ctvkwnn7q.18","url":null,"abstract":"","PeriodicalId":359270,"journal":{"name":"Faulkner and Money","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130849813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Financialization and Neoliberalism:","authors":"J. Matthews","doi":"10.2307/j.ctvkwnn7q.9","DOIUrl":"https://doi.org/10.2307/j.ctvkwnn7q.9","url":null,"abstract":"","PeriodicalId":359270,"journal":{"name":"Faulkner and Money","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127979443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-27DOI: 10.14325/MISSISSIPPI/9781496822529.003.0008
T. Atkinson
This essay performs a character analysis of Jason Compson IV in The Sound and the Fury. The main focus is on Jason's inability to confront the reality of impending financial ruin because of heavy investment in the self-styled fantasy that he is a capable financier thwarted by forces beyond his control. Jason's aggrieved disposition and cruelty make him easy to write off as despicable, but understanding his inflated ego as an attempt to compensate for emotional as well as financial losses affords him some measure of sympathy. References to popular economics from the 1930s and to Marx's theory of money as a powerful symbolic currency enhance a psychoanalytic approach to Faulkner's rendering of Jason. The conclusion holds that Faulkner offers a finely observed portrait of the damage done to the individual psyche and to familial and social relations by betting on money as a means of increasing self-worth.
{"title":"Too Small to Fail:","authors":"T. Atkinson","doi":"10.14325/MISSISSIPPI/9781496822529.003.0008","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496822529.003.0008","url":null,"abstract":"This essay performs a character analysis of Jason Compson IV in The Sound and the Fury. The main focus is on Jason's inability to confront the reality of impending financial ruin because of heavy investment in the self-styled fantasy that he is a capable financier thwarted by forces beyond his control. Jason's aggrieved disposition and cruelty make him easy to write off as despicable, but understanding his inflated ego as an attempt to compensate for emotional as well as financial losses affords him some measure of sympathy. References to popular economics from the 1930s and to Marx's theory of money as a powerful symbolic currency enhance a psychoanalytic approach to Faulkner's rendering of Jason. The conclusion holds that Faulkner offers a finely observed portrait of the damage done to the individual psyche and to familial and social relations by betting on money as a means of increasing self-worth.","PeriodicalId":359270,"journal":{"name":"Faulkner and Money","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123363698","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-27DOI: 10.14325/MISSISSIPPI/9781496822529.003.0005
J. Matthews
Faulkner charts Flem Snopes's career against the economic environments he exploits serially.If in The HamletFlem calculates the shift from agricultural labor to finance capitalism around the turn of the twentieth century, in The Town, set in the 1920s, Flem seizes on what appears to be a different kind of financialism.Unlike finance capitalism, in which lenders underwrite the production of goods by extending credit, financialization operates as if finance can be separated from nonfinancial activity.The ability to profit from intangible financial activities typifies many of the money-making ventures in The Town, from the machinations of insurance companies and banks, to opportunistic trade in social information.Writing in the 1950s, however, Faulkner suggests a longer genealogy for modern financialization, one that traces its origins to slave capitalism, and that exposes the roots of contemporary neoliberalism in illiberal exploitation.
{"title":"Financialization and Neoliberalism: A Snopes Genealogy","authors":"J. Matthews","doi":"10.14325/MISSISSIPPI/9781496822529.003.0005","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496822529.003.0005","url":null,"abstract":"Faulkner charts Flem Snopes's career against the economic environments he exploits serially.If in The HamletFlem calculates the shift from agricultural labor to finance capitalism around the turn of the twentieth century, in The Town, set in the 1920s, Flem seizes on what appears to be a different kind of financialism.Unlike finance capitalism, in which lenders underwrite the production of goods by extending credit, financialization operates as if finance can be separated from nonfinancial activity.The ability to profit from intangible financial activities typifies many of the money-making ventures in The Town, from the machinations of insurance companies and banks, to opportunistic trade in social information.Writing in the 1950s, however, Faulkner suggests a longer genealogy for modern financialization, one that traces its origins to slave capitalism, and that exposes the roots of contemporary neoliberalism in illiberal exploitation.","PeriodicalId":359270,"journal":{"name":"Faulkner and Money","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115320759","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-27DOI: 10.14325/MISSISSIPPI/9781496822529.003.0009
Richard H. Godden
In declaring Sanctuary (1931) "a cheap idea," "deliberately conceived" to make money, Faulkner announced the novel's preoccupation with circulation ("Maybe 10,000 of them will buy it"). The essay focuses on how, in writing for money, Faulkner wrote through money, doing so when "more and more of the aspects of living are coming to be strained through the bars of a dollar sign" (Middletown, Robert and Helen Lynd [1929]). Following Marx's account of the logic of circulation, whereby the commodity (here, the novel), "thrown into the alchemist's retort of circulation," must "shape-shift," "changing its skin" in order to "transubstantiate" into price, the paper tracks how Faulkner explores the monetization not only of his subject (Temple Drake's rape and exchange) but of his self-conception as author.
宣告圣所(1931)“一个廉价的想法”，“故意构思”来赚钱，福克纳宣布了这部小说对发行量的关注(“也许有一万人会买它”)。这篇文章关注的是，福克纳是如何通过金钱来写作的，当“越来越多的生活方面通过美元符号的条杠变得紧张”(Middletown, Robert and Helen Lynd[1929])。按照马克思对流通逻辑的解释，商品(这里指小说)“被投入炼金师对流通的反诘”，必须“变形”，“改变它的外表”，以便“转化”为价格。本文追踪了福克纳如何探索货币化，不仅是他的主题(坦普尔·德雷克的强奸和交换)，还有他作为作者的自我概念。
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Pub Date : 2019-06-27DOI: 10.14325/MISSISSIPPI/9781496822529.003.0010
Ryan Heryford
This chapter will argue for Faulkner's use of bodies, both living and dead, in complicating the historical transition from an economy of relation to an economy of exchange in the US South.Exploring both the corporeal ambiguity of characters like Thomas Sutpen, DarlBundren, Flem and Ike Snopes, as well as a general poetics of bodies across Faulkner's writings, where characters fall into a rhetorical or mythic assembly with the earth itself, what in yogic practice is often referred to as shavasanaor "corpse pose," this chapter will suggest that the bodies of Faulkner's fiction offer a different narrative of the post-1865 US South, as a place of precarity and possibility, where communities and individuals had to redefine and re-inhabit new modes of personhood, agency, and subjectivity in an emergent open market.
{"title":"Mink Snopes’s Shavasana: Body, Relation, and Exchange in Faulkner’s Economies of Being","authors":"Ryan Heryford","doi":"10.14325/MISSISSIPPI/9781496822529.003.0010","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496822529.003.0010","url":null,"abstract":"This chapter will argue for Faulkner's use of bodies, both living and dead, in complicating the historical transition from an economy of relation to an economy of exchange in the US South.Exploring both the corporeal ambiguity of characters like Thomas Sutpen, DarlBundren, Flem and Ike Snopes, as well as a general poetics of bodies across Faulkner's writings, where characters fall into a rhetorical or mythic assembly with the earth itself, what in yogic practice is often referred to as shavasanaor \"corpse pose,\" this chapter will suggest that the bodies of Faulkner's fiction offer a different narrative of the post-1865 US South, as a place of precarity and possibility, where communities and individuals had to redefine and re-inhabit new modes of personhood, agency, and subjectivity in an emergent open market.","PeriodicalId":359270,"journal":{"name":"Faulkner and Money","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133530331","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-27DOI: 10.14325/MISSISSIPPI/9781496822529.003.0013
Mary A. Knighton
William Faulkner's novel Intruder in the Dust (1948) thematizes racial debt as a form of racial reparations. Racial debt and its repayment emerge as the white boy Chick Mallison's obsession with defining and ridding himself of a debt he owes Lucas Beauchamp, a black man. When a lynch mob threatens Lucas, it becomes Chick's responsibility to save his life. Guided by Lucas in how to do so, Chick learns about cross-racial family ties and the collective profits and debts of history. Contemporary civil rights and anti-lynching movements, the actual lynching of Ellwood Higginbotham, as well as the shooting of the film version of Intruder in Faulkner's own Oxford, Mississippi in 1949 amplify the novel's debt and reparations theme. Despite publisher and studio warnings, Faulkner and director Clarence Brown render lynching central to Intruder's story while Kauffer's cover art encodes artists' resistance to censorship and marketing demands.
{"title":"Racial Debts, Individual Slights, and Sleights of Hand in Faulkner’s Intruder in the Dust","authors":"Mary A. Knighton","doi":"10.14325/MISSISSIPPI/9781496822529.003.0013","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496822529.003.0013","url":null,"abstract":"William Faulkner's novel Intruder in the Dust (1948) thematizes racial debt as a form of racial reparations. Racial debt and its repayment emerge as the white boy Chick Mallison's obsession with defining and ridding himself of a debt he owes Lucas Beauchamp, a black man. When a lynch mob threatens Lucas, it becomes Chick's responsibility to save his life. Guided by Lucas in how to do so, Chick learns about cross-racial family ties and the collective profits and debts of history. Contemporary civil rights and anti-lynching movements, the actual lynching of Ellwood Higginbotham, as well as the shooting of the film version of Intruder in Faulkner's own Oxford, Mississippi in 1949 amplify the novel's debt and reparations theme. Despite publisher and studio warnings, Faulkner and director Clarence Brown render lynching central to Intruder's story while Kauffer's cover art encodes artists' resistance to censorship and marketing demands.","PeriodicalId":359270,"journal":{"name":"Faulkner and Money","volume":"145 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133052467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-06-27DOI: 10.14325/MISSISSIPPI/9781496822529.003.0002
M. Zeitlin
The story's poetic vision of a young man who sees a horse has often been associated with Faulkner's personal privacy, a mysterious and opaque realm that Faulkner criticism has long attempted to penetrate. In this chapter,Michael Zeitlin reads the story's representation of privacy and poetic subjectivity as an "ideological reflex and echo," in Marx's phrase, of material and economic realities dominated by the Standard Oil Company.A young vagrant, a veteran aviator of the Great War, lies in his garret and dreams of "a buckskin pony with eyes like blue electricity and a mane like tangled fire, galloping up the hill and right off into the high heaven of the world."The Pegasus pony, the knight-aviator, the dream of soaring free from earth toward apotheosis-these motifs from Faulkner circa 1918-1927 all promise a transcendence that never fully arrives, ultimately yielding to the exigencies of the mundane, the immanent, the economic:earthbound labor, earthbound energy, earthbound modernity.
{"title":"War, Labor, and Gasoline in “Carcassonne”","authors":"M. Zeitlin","doi":"10.14325/MISSISSIPPI/9781496822529.003.0002","DOIUrl":"https://doi.org/10.14325/MISSISSIPPI/9781496822529.003.0002","url":null,"abstract":"The story's poetic vision of a young man who sees a horse has often been associated with Faulkner's personal privacy, a mysterious and opaque realm that Faulkner criticism has long attempted to penetrate. In this chapter,Michael Zeitlin reads the story's representation of privacy and poetic subjectivity as an \"ideological reflex and echo,\" in Marx's phrase, of material and economic realities dominated by the Standard Oil Company.A young vagrant, a veteran aviator of the Great War, lies in his garret and dreams of \"a buckskin pony with eyes like blue electricity and a mane like tangled fire, galloping up the hill and right off into the high heaven of the world.\"The Pegasus pony, the knight-aviator, the dream of soaring free from earth toward apotheosis-these motifs from Faulkner circa 1918-1927 all promise a transcendence that never fully arrives, ultimately yielding to the exigencies of the mundane, the immanent, the economic:earthbound labor, earthbound energy, earthbound modernity.","PeriodicalId":359270,"journal":{"name":"Faulkner and Money","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121649666","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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