By Arthur F. Kinney
The awesome French philosopher Simone Weil is likely one of the prime highbrow and non secular figures of the 20th century. A mythical essayist, political thinker and member of the French resistance, her literary output belied her tragically brief existence. such a lot of her paintings was once released posthumously, to frequent acclaim. constantly serious about the character of person freedom, Weil explores in Oppression and Liberty its political and social implications. studying the motives of oppression, its mechanisms and kinds, she questions innovative responses and offers a prophetic view of a manner ahead. If, as she famous in other places, 'the destiny is made up of an analogous stuff because the present', then there'll regularly be a necessity to proceed to hear Simone Weil.
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Additional info for Faulkner's narrative poetics: style as vision
As I Lay Dying fractures the novel into fiftynine discrete segments. The Wild Palms demands that we trace concordances between two narratives rather than the sequence of events in either one of them. Requiem for a Nun, despite its typographical arrangements as a play and Camus's attempted staging in Paris is, as Faulkner always said it was, a novel which in Faulkner's usual way Page xii traces the hesitant, confused, rationalizing consciousness of Temple Drake transforming into that of Temple Drake Stevens.
Elsewhere friends of Faulkner and critics of his work assure us that Old Reel-Foot is not simply and wholly Old Ben; William Clark Falkner is not Colonel John Sartoris; the criminal who suggested Popeye to Faulkner used something "more horrific" than a corncob (whatever that might be); and an unrelated lynching prompted Faulkner to describe the death of Lee Goodwin. The final focus is never on source as it is never on fact, but is rather on the perception of fact or the alternative ways of seeing facts.
We know instinctively that what words most powerfully and naturally do is hang together, combine both ideationally and syntactically, and that certain clusters of words lead to anticipations of consciousness. To aid us in the process of reading his work, then, Faulkner makes all his narratives cognitive in aim and means while making them distinctive, from time to time, with perceptual synapses. So such baffling moments as Young Bayard's apparently arbitrary death, or the multiple ending of Pylon, or the temporal and modal dislocations at the center of chapter 5 of Go Down, Moses ("The Bear") followed by a flashback to an earlier day, require some explanation beyond the explicit data: while on the one hand Faulkner exercises a total claim on us, at the same time his novels remain limited and partial.