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Top 10 Books I Read in 2011: Light in August (#6)
Light in August.

#6: LIGHT IN AUGUST, William Faulkner.

Continuing my annual tradition of ranking the best books I read this past year, I am writing a series of posts about these 10 great novels. You can find the 2011 list and previous lists here.

This novel is supposedly William Faulkner-lite, which is probably why I enjoyed it so much. To my deep and unutterable shame, I have slogged through The Sound and the Fury and Absalom, Absalom! with no pleasant memories of either. However. This? I really liked.

Light in August is the accessible proof for the claim that some make, that Faulkner is the greatest writer of all time. After reading this novel, I find that to be a plausible statement. I wanted to believe in Faulkner’s unmatched greatness after having read The Sound and the Fury and Absalom, but I only pretended to understand that claim, in the same way that I pretended to understand ranking Ulysses as the greatest novel ever written. The works are too dense, difficult, and vast for me, and so I nod quietly and assume their genius without attempting to comprehend. This, however, was comprehensible and a solid and clear proof of Faulkner’s brilliance and his unblemished standing in the Western canon.

The novel, published and set in 1932, concerns a small town in Mississippi with a cast of complicated and contentious characters. The lack of progress, poverty, and dismal state of race relations made me think that this book was set in the late 1800s. I was shocked when I realized that it was intended as a portrait of the contemporary deep South. But Faulkner knew it like no other. Light in August follows three interconnected characters in this town, judiciously examining their motives and propelling their dark and fascinating destinies.

A young white woman, Lena, arrives in town, alone and very pregnant, searching for the father of her baby. She knows him as Lucas Burch, and he last promised that he’d “send for her” once he moved down to Mississippi, a promise that we soon learn he is no good for. While looking for Burch, Lena meets Byron Bunch, who quickly falls in love with her. Byron Bunch helps her find Burch, who is now going by the name of Joe Brown. Brown has been living with a strange and secretive man, Joe Christmas. Christmas more or less becomes the central character of the story and it is his sad and perplexing fate that we become most concerned with.

Christmas becomes involved with a white woman in town, Joanna, the daughter of a famously abolitionist and thus unpopular family. Their relationship is built on a desperate and erotic dependence and is, to say the least, twisted and unhealthy. Through a series of unfortunate events, Joanna’s house is burned to the ground and she is found inside, murdered and nearly decapitated. The killer is on the lam and is suspected to be Brown or Christmas. Faulkner never clearly tells us who killed Joanna, but the townspeople are convinced it’s Christmas and commence a man hunt for him. Their desire for Christmas’s life is intensified when it is revealed that Christmas is half-black. I won’t give away everything, as I nearly have, except to say that this is not a happy story. Faulkner doesn’t peddle shiny endings. He writes the recognizably gritty and honest stories and captures the darkness of both Mississippi and the human condition.

I happened to be reading Light in August while I was reading The Help, which was one of the worst (and easily most overrated) books I read all year. This was a fascinating juxtaposition. Light in August helped shine light on all the ways that Kathryn Stockett failed in her feel-good portrayal of Mississippi some 30 years later. Faulkner provided a brilliant contrast to Stockett’s fairytale world, in which all people are 100% good or 100% evil, and in which you finish the novel feeling really good about white people saving the day for black people. Faulkner is too honest to perpetuate that terrible myth. Unsurprisingly, he is vastly more insightful than Stockett in his reading of human nature. In the dark and uncomforting universe of this novel, people are complicated and imperfect. Their motives are not immediately apparent. No one is purely good; no one is purely evil; no one is easily summed up in one line, like you can do with all of Stockett’s two-dimensional characters. People are not so simple, he reminds us. People, both white and black, are full of mixed motives, mystery, and promise. Faulkner lifts the veil and forces us to focus on this uncomfortable truth.
Top_10_Books  deep_south  faulkner  light_in_august  mississippi  race  race_relations  the_help  william_faulkner  from google
january 2012 by lacurieuse
William Faulkner: Nobel Prize Speech
"Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only one question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat. He must learn them again."
rjgeib  william_faulkner  speech  transcript  1950s  nobel_prize  acceptance  writer  1950  sweden  soul  poet  end  love  lust  life  20th_century 
december 2011 by cluebucket
‘Deadwood’ Creator David Milch to Develop HBO Projects Based on William Faulkner Works
Did you think the dialogue in Deadwood was too dense, perhaps even impenetrable? Then close this browser and run away, fast. For everyone else, especially those who loved the conversations that were the heart of Deadwood, get ready: series creator David Milch is turning his eye to the works of William Faulkner.

Granted, Faulkner’s dialogue, in novels like As I Lay Dying and The Sound and the Fury, isn’t always as dense as his descriptive prose. (And sometimes, as in the stream of consciousness segments of The Sound and the Fury, or the points where the dialogue is the descriptive prose, it is the sort of thing that could challenge even Milch. ) Still, there is something very exciting about the idea of one of our most compellingly bookish TV producers working with stories from one of America’s signature authors. The two seem very well-suited for one another.

Deadline and Variety announce that Milch has signed a new deal to continue producing content for HBO. (He followed Deadwood with the short-lived John From Cincinnati, and is currently awaiting the December sneak preview of the pilot for Luck, his new venture with Michael Mann.)

The exciting part of this deal is that it goes hand in hand with an agreement that will let Milch and his company Redboard Productions the right to develop projects based on Faulkner’s nineteen novels and more than a hundred short stories. (There are a few exceptions for stories that are already optioned by others; we don’t have a list of those exceptions right now.)

HBO gets first-look at anything that results from that development.

We don’t know what novel or story Milch might target, or what shape the resulting development might take. The producer says,

I’m delighted to expand my longstanding relationship with HBO to encompass the adaptation of some of the most important literary works by any American writer into television films and series. As we embark on this ambitious project, our first commitment is to serve the material, and we look forward to identifying and collaborating with the best screenwriters and filmmakers to help each of the pieces find its ideal form onscreen.

Milch will exec produce anything that comes out of the Faulkner deal, alongside Lee Caplin, executor of the William Faulkner Literary Estate. David Milch will be the exec writer in charge of adapting any of the Faulkner materials.

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/Tweeted  Adaptation  Drama  HBO_Films  Television  David_Milch  William_Faulkner  from google
november 2011 by tylerlee
Faulkner nel cuore umano e dell’America
"[...]nei momenti più vivi e profondi e enigmatici dei romanzi di Faulkner, mentre questi personaggi vanno incontro al proprio destino di sconfitta e di tragedia come ognuno di noi, una sorta di doppio spirituale inconoscibile per primo a loro stessi si distacca dai vari Joe Christmas e Thomas Sutpen e Jason Compson e parla a noi lettori. È come se dicesse: “capisci? ancora una volta sono costretto a perpetrare la mia colpa. Ancora una volta non sono riuscito a evitare che accadesse”. È lì che li riconosciamo come esseri umani. È lì che – indipendentemente dal perdono e dalla punizione ¬– siamo costretti a farli rientrare in quel consesso di cui non sta a una giurisprudenza né a un governo detenere le chiavi."
Letteratura  libri  america  razzismo  william_faulkner 
february 2011 by tfrab

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