Starting Any Day Now: “That Time Faulkner Rejected the Aristotelian Unities of the Poetics: If I Forget Thee, Jerusalem”–A non-Yoknapatawpha novel that often lands among his top five on critical lists, If I Forget Thee, Jerusalem is two separate stories with different characters and no unity of place or
time told in alternating parts. Yet read as Faulkner intended, each story is craftily counterpointed by the other such that each both enhances and enlarges their effects on the reader. The two tales spiral around each other, one, the messiest, hardest to look at love story ever that begins at the chronological beginning and the other, a fabula told in chronological time. A double helix? How Faulkner gives deep meaning to his statement, “Between grief and nothing, I’ll take grief.” In installments.
Starting January 7: The first installment of a series on narrative technique, “Show and Tell: Memesis and Diegesis in Narrative Art” takes a look at the two types of narration, their various critical names, and how writers use them. And in
January the series continues with
- The Narrator Abstrait Effacé: Whose Story is This?
- The Inner View–We take a look at techniques of interior monologue and how writers use them as well as point of view and perspective and using characters to focalize storytelling.
- Problems presented by the use of memesis to the exclusion of diegesis and how writers handle them.
- Tell Us A Story: Diegesis and the narrator and the distance or closeness between narrator and story.
- And more.
February: My article on New Formalist literary criticism is the number one search result when Googled by that term and has a steady readership. That post looked at the development and historic background of formalism and the emergence of new formalist criticism. But what are its methods and techniques? We’ll examine the state of the art in literary criticism.