Carl Rollyson - The Life of William Faulkner
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Carl Rollyson
University of Virginia Press
Charlottesville & London
University of Virginia Press
2020 by Carl Rollyson
All rights reserved
Printed in the United States of America on acid-free paper
First published 2020
1 3 5 7 9 8 6 4 2
Library of Congress Cataloging-in-Publication Data
Names: Rollyson, Carl E. (Carl Edmund), author.
Title: The life of William Faulkner / Carl Rollyson.
Description: Charlottesville : University of Virginia Press, 2020. | Includes bibliographical references and index. | Contents: Volume 1. The past is never dead, 18971934. | Volume 2. This alarming paradox, 19351962.
Identifiers: LCCN 2019032254 (print) | LCCN 2019032255 (ebook) | ISBN 9780813943824 (hardback ; volume 1) | ISBN 9780813943831 (epub ; volume 1) | ISBN 9780813944401 (hardback ; volume 2) | ISBN 9780813944418 (epub ; volume 2)
Subjects: LCSH: Faulkner, William, 18971962. | Authors, American20th centuryBiography. | Novelists, American20th centuryBiography.
Classification: LCC PS3511.A86 Z9619 2020 (print) | LCC PS3511.A86 (ebook) | DDC 813/.52 [B]dc23
LC record available at https://lccn.loc.gov/2019032254
LC ebook record available at https://lccn.loc.gov/2019032255
Cover art: Faulkner in 1943, on the terrace of his office on the Warner lot in Hollywood, working on the screenplay for To Have and Have Not, released in 1945. (Pictorial Press Ltd/Alamy Stock Photo)
Every so often, in spite of judgment and all else, I take these fits of sort of raging and impotent exasperation at this really quite alarming paradox which my life reveals: Beginning at the age of thirty I, an artist, a sincere one and of the first class, who should be free even of his own economic responsibilities and with no moral conscience at all, began to become the sole, principal and partial supportfood, shelter, heat, clothes, medicine, kotex, school fees, toilet paper and picture showsof my mother,... [a] brothers widow and child, a wife of my own and two step children, my own child; I inherited my fathers debts and his dependents, white and black without inheriting yet from anyone one inch of land or one stick of furniture or one cent of money.... I bought without help from anyone the house I live in and all the furniture; I bought my farm the same way. I am 42 years old and I have already paid for four funerals and will certainly pay for one more and in all likelihood two more beside that, provided none of the people in mine or my wifes family my superior in age outlive me, before I ever come to my own.
William Faulkner to Robert Haas, May 3, 1940
A Hanger-on with High Flyers Homage to Howard Hawks Back to Baileys Woods Something Is Going to Bust Defying Death
Romance during a Mad Yankee Operation Unhappy at Home Hollywood on the Mississippi Counterpull Faulkner v. Faulkner Into the Dark House of History and Race The Power of Love
Flannel Unmentionables Slavery and War the Hollywood Way Breakup A Voodoo Version of Absalom, Absalom! Returns, Revisions, and Reunions
Family Complications The Bad Boy of American Fiction Hollywood on the Mississippi
Exile and Exhaustion The Rise of the Redneck Flem Eula The Long Summer The Peasants
Way Down in Egypt Land Our Most Distinguished Unread Talent
Visitations, Correspondence, and Exhibitions The Homefront Escape from Debtors Prison
The Prison House of Warner Brothers Hollywood Goes to War Furlough
The Wax Works At Home and War
Reigning at Rowan Oak What Price Hollywood?
Fitful Family Man The Faulkner Mystique
Businesswomen, Brothels, and Vampire Lesbians Home The Salt Mines The Plastic Asshole of the World
Native Haunts Success The Compson Appendix
Interruptions Work in Progress
Off the Cuff An Event in American Literature Suppressed Faulkner Hollywood Comes to Oxford Pulping Faulkner
Faulkner the Foreigner Tales of Crime, Guilt, and Love
The First Great American Writer The Nobel Else
Joan Estelle Jill and Joan Joan The End of the Affair
Black against a White Background Collaborating with the Enemy Staging History
Hanging Fire Invitations, Visitations, and Honors Another Collapse
Into the Night Recovery Mississippi on the Nile via the Alps
Affairs You Cant Go Home Again? War and Peace Crossovers
Hemispheric Solidarity The Perfect Virgin Home Alone The Dream of Perfection
The Old Hunter and the Artist Fools Rush In An Education The Empty Mouthsound of Freedom
A Star Turn East A Star Turn West
Murder A New Confederation Go Slow Now Gandhis Way The Far Side of the Moon
The Actual and Apocryphal Mr. Jeffersons University A Confession A Faustian Time of Trial
The Professor From Jefferson to the World and Back Two Towns Two Faulkners and Two Marriages T HE Writer-in-Residence Moby Mule The Oxford-Charlottesville-Princeton Axis The Princeton Affair At the Algonquin At the Hunt
Faulkner on Stage Coming Home Race and Politics and Sex An Interview with Pappy Faulkner
Between Homes Grandfather Faulkner Fool about a Horse President Faulkner A New Home
Before the Fall The Fall A Fabled End
Gallery follows page 340.
After the publication of Light in August in 1932, race and history were no longer a given, a prologue to William Faulkners life and work, but instead became a problematic part of his inheritance as a southerner and as a writer with a claim on the worlds attention. He had to write a new kind of history in which history itself is the intense focus of his attention, as in Absalom, Absalom!, Go Down, Moses, and Requiem for a Nun, or a communitys past had to be retold and reshaped and debated, as in the Snopes trilogy. A Fable and The Reivers may seem to stand aside from this historiographical dynamic, but A Fable applies the Yoknapatawpha novels approach to historical understanding to a world-changing event, the First World War, which motivated Faulkner in the 1920s to see his native region in terms of global events, and The Reivers not only recapitulates much of Yoknapatawpha history, as do Collected Stories, The Town, and The Mansion, but Faulkners last novel also returns to the motive force of The Unvanquished and Intruder in the Dust as part of his recalibration of history and its impact on several generations that are embodied in The Reivers first words: Grandfather said. Intruder in the Dust, the novel and the film, brought new audiences to William Faulkner.
Hollywood had a significant impact on the trajectory of Faulkners fiction after 1932. Novelists of his generation often worried that Hollywood would change them for the worse, that they would be forced to produce made-to-order scripts for an industry that viewed writers as disposable, interchangeable, and at the command of producers and studio heads. Hollywood was never home, where the writer went when he was through with the picture business, or it was through with him. Although Faulkner might mount a seemingly invincible facade, Hollywood got to him, forcing him to improvise and sometimes to take his screenwriting back to Oxford, but it also provided the impetus for novels like
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