This study examines the vexed and contradictory responses of the South's most celebrated novelist to the traditional representations of women that were bequeathed to him by his culture. Tracing the ways in which William Faulkner characterized women in his fiction, Diane Roberts posits six familiar representations--the Confederate woman, the mammy, the tragic mulatta, the new belle, the spinster, and the mother--and through close feminist readings shows how the writer reactivated and reimagined them. "As a southerner," Roberts writes, "Faulkner inherited the images, icons, and demons of his culture. They are part of the matter of the region with which he engages, sometimes accepting, sometimes rejecting." Drawing on extensive research into southern popular culture and the findings and interpretations of historians, Roberts demonstrates how Faulkner's greatest fiction, published during the 1920s and 1930s, grew out of his reactions to the South's extreme and sometimes violent attempts to redefine and solidify its hierarchical conceptions of race, gender, and class. Struggling to understand his region, Roberts says, Faulkner exposed the South's self-conceptions as quite precarious, with women slipping toward masculinity, men slipping toward femininity, and white identity slipping toward black. At their best, according to Roberts, Faulkner's novels reveal the South's failure to reassert the boundaries of race, gender, and class by which it has traditionally sustained itself.

Our image of nineteenth-century American women is generally divided into two broad classifications: victims and revolutionaries. This divide has served the purposes of modern feminists well, allowing them to claim feminism as the only viable role model for women of the nineteenth century. In All-American Girl, however, Frances B. Cogan identifies amid these extremes a third ideal of femininity: the “Real Woman.” Cogan's Real Woman exists in advice books and manuals, as well as in magazine short stories whose characters did not dedicate their lives to passivity or demand the vote. Appearing in the popular reading of middle-class America from 1842 to 1880, these women embodied qualities that neither the “True Women”—conventional ladies of leisure—nor the early feminists fully advocated, such as intelligence, physical fitness, self sufficiency, economic self-reliance, judicious marriage, and a balance between self and family. Cogan's All-American Girl reveals a system of feminine values that demanded women be neither idle nor militant.

Set in Mississippi during the Civil War and Reconstruction, THE UNVANQUISHED focuses on the Sartoris family, who, with their code of personal responsibility and courage, stand for the best of the Old South's traditions.

Francisco grew up at McCarroll Place, his familyb2ss ancestral home in Holly Springs, Mississippi, thirty miles north of Oxford. In the conversations with Wolff, he recalls that as a boy he would sit and listen as his father and Faulkner sat on the gallery and talked about whatever came to mind. Francisco frequently told stories to Faulkner, many of them oft-repeated, about his family and community, which dated to antebellum times. Some of these stories, Wolff shows, found their way into Faulknerb2ss fiction. Faulkner also displayed an absorbing interest in a seven-volume diary kept by Dr. Franciscob2ss great-great-grandfather Francis Terry Leak, who owned extensive plantation lands in northern Mississippi before the Civil War. Some parts of the diary recount incidents in Leakb2ss life, but most of the diary concerns business transactions, including the buying and selling of slaves and the building of a plantation home.

A New York Times Notable Book of 2020 How do we read William Faulkner in the twenty-first century? asks Michael Gorra, in this reconsideration of Faulkner's life and legacy. William Faulkner, one of America’s most iconic writers, is an author who defies easy interpretation. Born in 1897 in Mississippi, Faulkner wrote such classic novels as Absolom, Absolom! and The Sound and The Fury, creating in Yoknapatawpha county one of the most memorable gallery of characters ever assembled in American literature. Yet, as acclaimed literary critic Michael Gorra explains, Faulkner has sustained justified criticism for his failures of racial nuance—his ventriloquism of black characters and his rendering of race relations in a largely unreconstructed South—demanding that we reevaluate the Nobel laureate’s life and legacy in the twenty-first century, as we reexamine the junctures of race and literature in works that once rested firmly in the American canon. Interweaving biography, literary criticism, and rich travelogue, The Saddest Words argues that even despite these contradictions—and perhaps because of them—William Faulkner still needs to be read, and even more, remains central to understanding the contradictions inherent in the American experience itself. Evoking Faulkner’s biography and his literary characters, Gorra illuminates what Faulkner maintained was “the South’s curse and its separate destiny,” a class and racial system built on slavery that was devastated during the Civil War and was reimagined thereafter through the South’s revanchism. Driven by currents of violence, a “Lost Cause” romanticism not only defined Faulkner’s twentieth century but now even our own age. Through Gorra’s critical lens, Faulkner’s mythic Yoknapatawpha County comes alive as his imagined land finds itself entwined in America’s history, the characters wrestling with the ghosts of a past that refuses to stay buried, stuck in an unending cycle between those two saddest words, “was” and “again.” Upending previous critical traditions, The Saddest Words returns Faulkner to his sociopolitical context, revealing the civil war within him and proving that “the real war lies not only in the physical combat, but also in the war after the war, the war over its memory and meaning.” Filled with vignettes of Civil War battles and generals, vivid scenes from Gorra’s travels through the South—including Faulkner’s Oxford, Mississippi—and commentaries on Faulkner’s fiction, The Saddest Words is a mesmerizing work of literary thought that recontextualizes Faulkner in light of the most plangent cultural issues facing America today.

In Sacred Groves and Ravaged Gardens, Louise Westling explores how the complex, difficult roles of women in southern culture shaped the literary worlds of Eudora Welty, Carson McCullers, and Flannery O'Connor. Tracing the cultural heritage of the South, Westling shows how southern women reacted to the violent, false world created by their men--a world in which women came to be shrouded as icons of purity in atonement for the sins of men. Exposing the actual conditions of women's lives, creating assertive protagonists who resist or revise conventional roles, and exploring rich matriarchal traditions and connections to symbolic landscapes Welty, McCullers, and O'Connor created a body of fiction that enriches and complements the patriarchal version of southern life presented in the works of William Faulkner, John Crowe Ransom, Allen Tate, and William Styron.

Originally published in 1986. William Faulkner’s major novels represent one of the earliest American explorations into the paradoxes inherent in both literary discourse and racial segregation in the American South. Figures of Division demonstrates that these works reject conventional divisions and a social and linguistic deception, and discover a reality where people merge across social boundaries. This analysis of Faulkner’s narrative discourse shows for the first time that the mechanisms of social division profoundly affect both the content and the form of his major novels.