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By Carl Schmitt

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We constitute the consciousness of Ike McCaslin not only by knowing the woods and the delta as he knows them, but by gauging his perceptions of Sam and Boon, of Cass and Roth, and of Lucas, Tennie's Jim, and Fonsiba. It is in just such combinations that we realize; it is by just such discrepancy and disjunctionby discrepancies in the recognitions of various characters and by disjunctions between episodes within a novel and between the novel and its title, as with Absalom, Absalom! and The Wild Palmsthat Faulkner forces us from the field of his vision into the field of our own.

I dont! I dont hate it! " These novels seem eager to continue life itself and are continued later by life itself: fragments, rhetorical interruptions of life's flow, immense and unbroken rocks, jungles of words, swamps of sentences, spasms, tropical storms. Much of the vitality in Faulkner's art stems from this indeterminacy of his characters' perceptions and from his own apparent denial of formal closure, even as we try to give the story a fuller shape. But if Seyppel had not cited a particular work of Faulkner's, we should not know which one he had foremost in mind: talking about one of them, we comment on them all.

BLACKMUR Page ix CONTENTS Preface xi Introduction 1 Part I: Background for Faulkner's Narrative Poetics Visions: Forms of Modern Consciousness 15 The Ways We See: Elements of Perception 15 Visual Thinking: Elements of Conception 24 Fiction and the Reader 30 Conclusion 33 Styles: Novelists of Consciousness 37 The Conditions of Narrative 38 Faulkner's Predecessors 41 Conclusion 65 Part II: Faulkner and the Modernist Tradition Style as Vision: Method 71 Structural Consciousness 71 Narrative Consciousness 86 Constitutive Consciousness 101 Conclusion 118 Style as Vision: Accomplishment 121 Flags in the Dust 123 The Sound and the Fury 139 As I Lay Dying 161 Sanctuary 177 Absalom, Absalom!

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The Unknown Donoso Cortes issue 125 by Carl Schmitt

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