By Jay Watson
William Faulkner wrote in the course of a tumultuous interval in southern racial awareness, among the years of the enactment of Jim Crow and the beginnings of the civil rights stream within the South. through the writer's profession racial paradigms have been in flux, and those transferring notions are mirrored in Faulkner's prose. Faulkner's fiction comprises common questions on the ways that white american citizens view themselves with reference to race besides demanding situations to the racial codes and criteria of the zone, and complicated portrayals of the interactions among blacks and whites. all through his paintings Faulkner contests white identity-its functionality through whites and people passing for white, its position in shaping the South, and its assumption of normative identification towards nonwhite "Others." this can be precise even in novels and not using a robust seen African American presence, reminiscent of As I Lay death, The Hamlet, town, and The Mansion.Faulkner and Whiteness explores the ways that Faulkner's fiction addresses and de-stabilizes the concept that of whiteness in American tradition. jointly, the essays argue that whiteness, as a part of the Nobel Laureate's constant querying of racial dynamics, is a relevant aspect. This anthology areas Faulkner's oeuvre-and scholarly perspectives of it-in the contexts of its modern literature and educational tendencies exploring race and texts.
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Additional resources for Faulkner and Whiteness
Especially in the South. 5 Three of the novel’s four narrative sections, in fact, are set within a week of that red-letter day in Mississippi eugenics history. But before turning to The Sound and the Fury’s extensive dialogue with eugenics themes and techniques, I want to pause for a few pages to explore Faulkner’s ﬁrst ﬁctional forays into Yoknapatawpha County, which were also, signiﬁcantly, forays into the genealogies of white dysfunction that also lay at the heart of the eugenic family studies.
English calls the family studies “a new interdisciplinary genre: a mixture of short story, personal narrative, travel narrative, sociology, and statistics” (28). For the half-century after Dugdale published his “Jukes” study, they were almost exclusively located in the northeastern or midwestern states, often near institutional centers of eugenics research and leadership such as Charles Davenport’s Eugenics Record Oﬃce (ERO) in Cold Spring Harbor, New York, or the Training School for the Feeble-Minded at Vineland, New Jersey (where Elizabeth Kite and Henry Goddard began the study of the infamous “Kallikak” family).
I could see the bank and the fence go whirling away. And then I saw it. And just as I saw it, it was like it had kind of exploded inside my head. . I saw a face. In the air, looking at me across that white fence on top of the bank. It was not a man’s face because it had horns, and it was not a goat’s face because it had a beard and it was looking at me with eyes like a man and its mouth was open like it was saying something to me when it exploded inside my head. (811) Hybridity and Imperial Impulse in Faulkner 11 Some men on the train revive him with whiskey, and when he arrives at his destination and steps oﬀ the train he relates that “it was all green, the light was, and the mountains,” and he exclaims, “Let her rip” (812) as he goes to buy a whistle, “a tin one, with holes in it” and then, as he makes his way to the Van Dymings, he begins to undress (812–13).