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By Noel Polk

As one of many preeminent students of southern literature, Noel Polk has added lectures, written magazine articles and essays, and mentioned the wealthy legacy of the South's literary historical past around the globe for over 3 many years. His paintings on William Faulkner, Eudora Welty, Walker Percy, and different writers is incisive and groundbreaking. His essays in Faulkner and Welty and the Southern Literary culture retain an abiding curiosity in Polk's significant region of literary learn: the connection among the smaller devices of building in a literary paintings and the work's greater issues. The research of this interaction among commas and dashes, curious occlusions, passages, and characters who've usually long past disregarded within the serious discourse--the bricks and mortar, because it were--and a work's grand layout is an important point of Polk's scholarship. Faulkner and Welty and the Southern Literary culture collects Polk's essays from the late-1970s to 2005. that includes an advent that locations Faulkner and Welty on the heart of the South's literary history, the quantity asks valuable, probing questions on southern literature and offers insightful research. Noel Polk is professor of English at Mississippi kingdom college and editor of the Mississippi Quarterly. From 1981 to 2006, he edited the Library of America's entire variation of William Faulkner's novels. he's the writer of out of doors the Southern delusion; little ones of the darkish residence: textual content and Context in Faulkner; and Eudora Welty: A Bibliography of Her paintings.

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At the end of the paragraph, however, he reverts to the homoerotic, repeating again Shreve’s suggestion that homosexuality is better than “chas[ing] after the little dirty sluts,” before remembering his response: “Did you ever have a sister? Did you? ” (936–37). Since these words later precede Quentin’s attack on Gerald Bland, we may suppose that Quentin’s defense of Caddy’s maidenhead is at least in part a denial of the homosexual: he is angry because Gerald can get laid in the right and proper normal way and he, Quentin, cannot.

One might propose, then, that Faulkner seems to have dated the origins not just of Sanctuary but also of his career to those 2000 “perfect” words. 34 Faulkner in the Luxembourg Gardens The scene in the Luxembourg Gardens is thus homage to his time in Paris and to that first rush of excitement and is as well a return, wistful perhaps, to the Paris of his youth. By the time he completed Sanctuary in 1929, he was four years older, a writer with a developing national reputation; his debts were piling up along with his prospects, and he was about to marry his old girl friend and inherit her two children.

Clearly, he was very interested in French literature long before he ever got to France, and his immersion in French literature and his love of the French language was doubtless largely responsible for the impact that Paris had on him in 1925: he had primed himself for it, and none of it seemed to have been lost on him. Images of France give structural and thematic logic to the novel’s conclusion in the Luxembourg Gardens. The novel’s crucial setting, of course, is the Old Frenchman place, the abandoned farmhouse in rural Mississippi whose weed-choked grounds stand opposed to the formality of the Luxembourg Gardens and whose rustic dilapidation stands equally opposed to the ancient monumental formality of the Palais du Luxembourg, the Gardens’ principal building.

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