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Faulkner's influence
The theme of Faulkner's works
William Faulkner literary criticism
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Use of Stream of Consciousness in Faulkner and Salinger
How does an author paint a vivid picture of a character’s thoughts? Stream of consciousness, an elaborate, somewhat complicated technique of writing, is a successful method of getting inside of a character’s head. It is not only seeing their actions and environment, it is also understanding their entire thought process through what seems to be a chain reaction.
While a character is performing actions and taking in surroundings through senses, thought flows through his or her mind mimicking the mind of a real person. Faulkner deliberately avoids using punctuation usage to encourage the selection of images and random recollections. Indirect interior monologue is interior monologue in the third person. (1, 210) The term interior monologue is sometimes used interchangeably with “stream of consciousness,” although not some claim the words are not the same exact thing. These people claim that “stream of consciousness” is a kind of fiction. It is a narrative technique that is the multi-faceted movement of rational and irrational thoughts and ideas not constrained by syntax, grammar, and sensible transitions. There are two types: indirect and direct interior monologue. In indirect interior monologue, the narrator sometimes interjects flow of ideas (1, 209). It is a combination of successive impressions in the present interjected by related thoughts, past experiences, and recollections (1, 210). They consider interior monologue a type of the fiction, as opposed to free indirect discourse and simple first-person narration. (15, 217) There is a tendency for people to consider stream of consciousness to be a kind of fiction that represents the consciousness of a characte...
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Faulkner, William. Collected Stories of William Faulkner. 1st Vintage
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Kerr, Christine, and Harold Bloom. Bloom’s How to Write About J.D.
Salinger. New York: Bloom’s Literary Criticism, 2008. Print.
McCort, Dennis. “Hyakujo’s Geese, Amban’s Doughnuts and Rilke’s
Carrousel: Sources East and West for Salinger’s Catcher.” Bloom’s Literature. Facts on File, Inc. Web. 30 Sept. 2013.
Quinn, Edward. “Interior Monologue.” Literary and Thematic Terms.
New York: Facts on File. 2006.
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Salinger, J.D. The Catcher in the Rye. New York: Bantam, 1951. Print.
Faulkner, William. “All the Dead Pilots.” Random House, Inc. New
York City: 1959. Language and Literature Resource Guide. United States Academic Decathlon.
What makes reader to see an feel that ? The literary elements used by author to describe and coll or this main character through his journey to find the answer to all of the question arisen in a upcoming situations.
J.D Salinger gives his personal vision of the world successfully through his persona Holden Caulfield in the ‘Catcher in the Rye’. Caulfield struggles with the background of New York to portray Salinger’s theme – you must live the world as it is, not as you would like it to be. There by exposing Salinger’s vision on the world.
Salinger, J. D.. The Catcher in the Rye. [1st ed. Boston: Little, Brown, 19511945. Print.
...acters who cannot speak their minds to communicate nonverbally, such as with Cash’s audible response to Darl’s silent thought (AILD 144) and Darl and Dewey Dell’s unspoken conversation about Addie’s imminent death (AILD 27) in As I Lay Dying. However, even then there is uncertainty, and the stream-of-consciousness style of parts of that novel and The Sound and the Fury reflect Faulkner’s fixation on the process of developing words and explanation. In “Spotted Horses,” the men characters watch Eck as he is motionless: “Watching him, they could almost see him visibly gathering and arranging words, speech” (PF 339). This is what Faulkner and his characters do throughout his works: personify the human need to organize the mind to gather and arrange words—a goal that cannot be achieved perfectly; however, to Faulkner, it can be approached and therefore must be attempted.
Salerno, Shane, dir. Salinger. American Masters. PBS, 3 Sept. 2013. Web. 6 Mar. 2014. .
n.d. Web 12 Nov 2013 Salinger, J.D. The Catcher in the Rye. Boston: Little, Brown and Company. 1951.
Roemer, Danielle M. "The Personal Narrative and Salinger's Catcher in the Rye". Western Folklore 51 (1992): 5-10.
is the reason we can immerse ourselves in the narrator’s mind. The third person point of
Stevick, Philip. "J(erome) D(avid) Salinger." American Short-Story Writers, 1910-1945: Second Series. Ed. Bobby Ellen Kimbel. Detroit: Gale Research, 1991. Dictionary of Literary Biography Vol. 102. Literature Resource Center. Web. 3 Feb. 2014.
perceive the novel in the rational of an eleven-year-old girl. One short, simple sentence is followed by another , relating each in an easy flow of thoughts. Gibbons allows this stream of thoughts to again emphasize the childish perception of life’s greatest tragedies. For example, Gibbons uses the simple diction and stream of consciousness as Ellen searches herself for the true person she is. Gibbons uses this to show the reader how Ellen is an average girl who enjoys all of the things normal children relish and to contrast the naive lucidity of the sentences to the depth of the conceptions which Ellen has such a simplistic way of explaining.
William Faulkner, As I Lay Dying, and Yoknapatawpha William Faulkner, one of America’s great modernist writers, born in New Albany, Mississippi on September 25, 1897 and died on July 6, 1962. He was the author of many novels and short stories… and was even awarded the Nobel Prize for Literature in 1950. One of his most famous novels written was, As I Lay Dying. Faulkner spent most of his writing life in Mississippi and set all of his fiction there. Using his literary prowess, Faulkner ultimately created an entire world out of his various novels in which he named Yoknapatawpha.
Bergson’s philosophy apparently influenced Faulkner’s notion of time, an admission he has made in an interview with Loic Bouvard. He remarked, “In fact I agree pretty much with Bergson’s theory of the fluidity of time” (Lion in the Garden 70). In the Bergsonian scheme, man experience time as period, a continuous stream, according to which, past, present, and future are not rigid and clear-cut points of difference in time, but they flow in one’s consciousness, persistently impacting one another. From this angle, the past is not strictly past; on the other hand, it is conserved in the present as a living force that influences the way in which one undergoes the present. Furthermore, in different interviews, Faulkner explained that his outlook of time was linked to his aesthetic view:
One of the largest goals of modern literature is to explore the psyche; a collection of the conscious and subconscious actions of humans. Generally, the human mind is explored through the use of a character that is subjected to a series of emotional challenges and tests. This character may often reflect on the author himself or simply what the author’s take on psychology and the human mind is. In the novel Demian, by Hermann Hesse, the author invites the reader to explore the mind of the character Emil Sinclair by including forms of stream of consciousness narration and an open-ended ending to the book.
But Faulkner develops his own, more structured variety of stream of consciousness. In his densest paragraphs, he often lets his characters fall into reveries in which they perceive more deeply than their conscious minds possibly could. His characters connect past and present and reflect on the meaning of events and on the relationships between them in a manner that sounds more like Faulkner himself than like the characters in their usual states of mind.
Wildermuth, April. "Nonconformism in the Works of J.D. Salinger." 1997 Brighton High School. 24 November 2002. <http://ww.bcsd.org/BHS/english/mag97/papers/Salinger.htm>