By William Faulkner, Saxe Commins
Selected and with a foreword via Saxe Commins.
Though those brief tales have common attraction, they're intensely neighborhood in surroundings. apart from “Turn About,” which derives from the time of the 1st international conflict, these types of stories spread in a small city in Mississippi, William Faulkner’s birthplace and lifetime home.
Some stories—such as “A Rose for Emily,” “The Hound,” and “That night Sun”—are well-known, showing an uncanny mixture of the homely and the frightening. yet others, although much less popular, are both colourful and attribute. The lightly nostalgic “Delta Autumn” offers a amazing distinction to “Dry September” and “Barn Burning,” that are intensely dramatic.
As the editor, Saxe Commins, states in his illuminating Foreword: “These 8 tales replicate the deep love and loathing, the tenderness and contempt, the id and repudiation William Faulkner has felt for the traditions and how of lifetime of his personal component to the world.”
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Additional info for A Rose for Emily: And Other Stories
204). Signiﬁcantly for my youth-cultural focus here, the most highly perfected institutional form of this fetishized consciousness is, for Jhally, the Music Television Network (MTV): On MTV the ‘‘blurring’’ of the content between programs [use value] and advertising [exchange value] is complete on both the objective and subjective levels. On the objective level we can see that, viewed from an economic perspective, everything on MTV is a commercial. Videos are promotional pieces for record albums while the commercials that appear between these are promotions for other commodities.
163)—there can be little doubt that their ethical outrage is a quite understandable reaction to this wanton scene of consumerist frenzy. That Mallworld is not quite the paradise it seems is indicated by the fact that one of its more successful franchises is the Way Out Corporation, which operates suicide booths throughout the mall. ’’ croons one of its talking signs in ‘‘a mellow father-image sort of voice. WHY NOT . . KILL YOURSELF? 300 WAYS POSSIBLE. . ’’ (p. 88) These self-immolation parlors localize—and speak to—a general feeling of exhaustion and ennui that periodically grips many of the novel’s characters, a sense that the human project has reached its moral nadir if not its evolutionary dead end.
Mallworld is Fordist capitalism, with its consuming-youth ethos, extrapolated into outer space. But if this is the imagined future of Fordism, this worldwide mall thronging with literal and ﬁgurative youth, what are the material and ideological conditions that paved the way for its extravagant science-ﬁctional vision?
A Rose for Emily: And Other Stories by William Faulkner, Saxe Commins