(THESIS) - FAULKNER-S STYLE - A LECTURE ON STREAM-OF-CONSCIOUSNESS - Manoel Ferreira

I PART

Any work of Literature is to some degree and level an imposture, because it tries to make us accept as exclusively possible, we search for our world a better sense of human

being - Art and Reality come together - and even as privileged , a certain point of view - generally a very strange and bewildering one. Falkner´s concept of time may be false, as Sartre declares but its more profound significance, its

importance on meaning, lies beyond the true and the false. It is almost religions. If the word may be used for a work apparently so profane - but a work nevertheless comes from the land which make out of the Negro Spirituals. Do not the very title Sanctuary and the name Temple, of the girl who was

violated, invite us to use such a term.

No other contemporary American novelist of such a stature has been as often or as hardly criticized for his style as has William Faulkner´s admirers must have wished he had blotted a thousand infelicities. However, and enumeration of his faults in

style would leave still unsaid the most important things about his style. There is need here for a reapportionment of negative and positive criticism.

Almost every critic dreams of discovering some great work that has been neglected by other critics. Some day might he come upon an author whose reputation is less than his achievement and in fact is scandalously out of proportion with it, só that

other voices will be added to the critic´s voice, in a swelling chorus, as soon as he has made the discovery? That is the dream. Time comes to live. "Time and style reveal men´s need to go forward his soul by hoping to construct their essence"

It is true that the fundamental features of Faulkner´s prose, when recognized, make his faults all the more conspicuous and irritatin. And under criticism Faulkner has not only remained guilty of occasional carelessness, especially in sentence

construction, but seem to have persisted in mannerisms. On the other hand, his progress as a stylist has been steady in mannerisms and rapid. To find anything like his feeling, one would have to go back and the abhorrence for published

gossip that he expressed in short novel like "The Reverberator" and "The Papers". But he reveals in his persistence in mannerism´s men´s feelings couldn´t be turned into an intellectual image of another sense of consciousness. His persistence identifies men´s hopeness of searching their

spirit.

His third novel, "Sartoris", while still experimenting toward a technique, was a notable advance over his first tow in style as well as "in theme and narrative structure", - the narrative structure has revealed it through men´s struggle for understanding timelessness and stylesness beyond his style

chained into the psychological dimension - and in his fourth novel, "The Sound and the Fury", style is what it has continued to be in all his subsequent work, a significant factor, masterfully controlled. By presenting events right from the start through the vision of an Imbecile - Benjamin Compson

opens the dismal round of interior monologues which takes us sinuously through

the novel´s landscape.

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Notes

While I had been putting up the ideas and thoughts, I had thought of "Crime and Punishment", Dostoiévski - how this author worked the imposture, how he develops his ideals of this dimension. I should say Dostoiévsk only describes

this trouble in "Crime and Punishment."But in "The

Possessed" the trouble faces the whole level.

Certainly it´s need to comprehend the meaninglessness" in Sartre´s style of writing as has he done. In Modern English, we could say: "William Faulkner has..." We preferred to use a classical one which expresses time. That´s

why we underlined "... as has Faulkner."

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Manoel Ferreira Neto.