By Lothar Honnighausen
That Faulkner was once a "liar" not only in his writing but additionally in his existence has many critics. they've got defined his a number of "false stories," quite these approximately army honors he truly by no means earned and warfare wounds he by no means sustained, with psychopathological imposture-theories. the downside of this technique is that it reduces and oversimplifies the advanced mental and aesthetic phenomenon of Faulkner's role-playing. as an alternative, this severe learn through some of the most acclaimed foreign Faulkner students takes its cue from Nietzsche's thought of "truth as a cellular military of metaphors" and from Ricoeur's dynamic view of metaphor and treats the donning of mask no longer as an ontological factor yet as a question of discourse. Honnighausen examines Faulkner's interviews and pictures for the fictions they perpetuate. Such Faulknerian role-playing he translates as a style of organizing event and relates it to the crafting of the artist's a variety of personae in his works. Mining metaphor in addition to sleek theories on social role-playing, Honnighausen examines unexplored facets of snapshot construction and picture reception in such significant Faulkner novels because the Sound and the Fury, gentle in August, A fantasy, and Absalom, Absalom! Lothar Honnighausen is a professor of English and director of the North American software on the college of Bonn. he's basic editor of Transatlantic views and writer of William Faulkner: The artwork of Stylization in His Early picture and Literary paintings.
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In the New Orleans photo, a fairly young man fixes a challenging stare on viewers, expressing greater self-confidence than his achievement so far warranted. In contrast, both Paris photos portray a much older, distinguished-looking man, an "internationalized Faulkner" with a frenchifying Page 12 hat and beard. The difference between the Paris and the New Orleans photos is such that one might take the Faulkner in the Paris photos for an altogether different person. This is not simply the effect of his style of clothing and the newly grown beard, but the result of the facial expression and the poses he adopts.
However, our privilege of distance also allows us to evaluate an interesting variant of the role of the wounded war hero in Faulkner's late phase. When he told Jean Stein "his usual World War I stories, including the one of crashing in a plane," he seemed to be trying to fend off his apocalyptic visions and "to say no to death" (Karl 886). Why Faulkner felt the urge ''to say no to death" can be seen in his very complex reaction on hearing of Hemingway's suicide. After being disturbed by the newsabout which his initial comment was "It wasn't an accident.
Such an example is the photo of ex-Royal Flying Corps Faulkner posing in an R. A. F. lieutenant's uniform in December 1918 (plate 9). With his officer's cap set at a rakish angle, a cigarette between lips which are set in a thin smile of superiority, his eyelids contracted and his glance ignoring the camera, and, above all, through the careful diagonal composition of the walking stick in his right hand and his left not fully inserted in the trouser pocket, a twenty-one-year-old Faulkner personifies to perfection a military dandy who is a much older and more impressive man.