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. Welty notes carefully, What animates and possesses me is what drivesMiss Eckhart, the love of her art and the love of giving it, the desire to give it untilthere is no more left. It was not in the character as she stands solidly and almostopaquely in the surround of her story, but in the making of her character out of mymost inward and most deeply feeling self, I would say I have found my voice in myfiction (One Writer s Beginnings, III).78.William Styron, Jimmy in the House, New York Times Book Review, December 20, 1987,30.79.James Baldwin, Go Tell It on the Mountain (New York: Alfred A.Knopf, 1953), 27; JamesBaldwin, Everybody s Protest Novel, in his Notes of a Native Son (Boston: Beacon Press,1955; reprint 1964), 21.80.Baldwin, Go Tell It on the Mountain, 228.81.James Baldwin, Another Country (New York: Dial Press, 1962), 22.82.Baldwin, Everybody s Protest Novel, 13 23; Styron, Jimmy in the House, 30.83.Richard Wright, Native Son (New York, 1940), 17, 101; James Baldwin, Many ThousandsGone, in Notes of a Native Son, 29.84.CONT, 172, 349, 255 56. Notes to Pages 207 212 28785.Baldwin, Another Country, 22; Wright, Native Son, 81 85, 108; Eldridge Cleaver, Soul onIce (New York: McGraw-Hill, 1968), 14.86.Wright, Native Son, 108 109, 101.87.Ralph Ellison, Invisible Man (New York: Random House, 1952), 7 8.88.Herman Melville, Benito Cereno, in his Piazza Tales (New York: Dix and Edwards,1856). Benito Cereno is based on an actual slave mutiny that took place on board aSpanish ship off South America in 1799.89.Harriet Beecher Stowe, Dred: A Tale of the Great Dismal Swamp (Boston: Phillips, Sampson,and Co., 1856).Dred is less concerned with the black rebel of the dismal swamp thanwith the interlocking relationships among an interracial family, like that of ThomasSutpen in Faulkner s Absalom, Absalom! According to Higginson, Mrs.Stowe s Dredseems dim and melodramatic beside the actual Nat Turner. See his Nat Turner sInsurrection, 209.90.Arna Bontemps, Black Thunder (New York: Macmillan, 1936), 82.As a matter of fact,Styron had planned to write his Nat Turner novel from an omniscient point of view,from many reactive standpoints, such as that of one of the white victims, one of thefarmer types. But it just didn t seem right to me, and he eventually realized that hewould have to risk leaping into a black man s consciousness.Not only did I want therisk alone which was an important thing, to see if it could be done but by doing so,I thought I could get a closer awareness of the smell of slavery. Filtering through theconsciousness of the I , the first person, he hoped, would somehow allow you to enterthe consciousness of a Negro of the early decades of the nineteenth century. He addedthat if you start finding out about Nat, discovering things about Nat, well, of course,every passage, every chapter, every section is kind of a revelation both for yourself andfor Nat. See Canzoneri and Stegner, Interview with William Styron, Conversations, 6970, and Brazelan and Sussman, William Styron on The Confessions of Nat Turner, Con-versations, 103.91.Styron, This Quiet Dust, 247.Of course, the Faulkner influence on Styron, as on virtuallyall Southern writers, is palpable as both god and demon. Writers as disparate asFlannery O Connor and Walker Percy have expressed their despair at laboring in theshadow of such a colossus, Styron has written, and I felt a similar measliness (ThisQuiet Dust, 292).It is interesting to ponder how Nat Turner might have fared in Faulk-ner s hands.John A.Williams suggests that he might well have resembled the cold,unremitting Lucas Beauchamp of Go Down, Moses and Intruder In the Dust.See Williams, The Manipulation of History, in TBWR, 48.92.See F.Garvin Davenport, Jr., The Myth of Southern History: Historical Consciousness in Twen-tieth-Century Southern Literature (Nashville: Vanderbilt University Press, 1970), 131 70;Richard H.King, A Southern Renaissance: The Cultural Awakening of the American South,1930 1955 (New York: Oxford University Press, 1980), 72 76, 231 41, 277 86; DanielJoseph Singal, The War Within: From Victorian to Modernist Thought in the South, 1919 1945(Chapel Hill: University of North Carolina Press, 1982), 339 72; C.Vann Woodward, History in Robert Penn Warren s Fiction, in his The Future of the Past, 221 34.93.Peter H.Wood, Nat Turner: the Unknown Slave as Visionary Leader, in Black Leadersof the Nineteenth Century, ed.Leon Litwack and August Meier (Urbana: 1988), 37 39.94.Styron, This Quiet Dust, 9 34.The quotes are on pp.10, 12, 11, 14.The essay, ThisQuiet Dust, was originally published in Harper s, April, 1965; Granville Hicks, RaceRiot, 1831, Saturday Review, October 7, 1967.95.Ellison et al., The Uses of History in Fiction, Conversations, 128, 130, 142; C.VannWoodward, Fictional History and Historical Fiction, New York Review of Books.November16, 1987, 38.According to Roland Barthes, myth is constituted by the loss of thehistorical reality of things: in it, things lose the memory that they once were made. See his Mythologies (London: Paladin, 1973), 134 42.The quotation is on p.155.See also Tony Bennett, Text, Readers, Reading Formations, Literature and History 9(1983).96.Ralph Ellison, Twentieth-Century Fiction and the Black Mask of Humanity, in hisShadow and Act (New York: Random House, 1953), 42 43; Willie Lee Rose, Slavery andFreedom (New York: Random House, 1982), 169; Ellison, The Invisible Man. 288 Notes to Pages 212 24897.Ellison, Twentieth-Century Fiction, in Shadow and Act, 43; Kaiser, Failure of WilliamStyron, TBWR, 56; Killens, Confessions of Willie Styron, TBWR, 36; Genovese, Wil-liam Styron before the People s Court, 203 204.Genovese points out that the novelist sdepiction of Nat Turner shared many characteristics with the historical ToussaintL Ouverture, the successful black revolutionary of Saint Domingue.A privileged bondsman, Toussaint led his own master s family to safety, remained aloof from theviolence while his fellow slaves put the North Plain to the torch. Not being a statue, he writes, Toussaint possessed all the frailties and contradictions common even to thegreatest of men (204 205).98 [ Pobierz całość w formacie PDF ]
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. Welty notes carefully, What animates and possesses me is what drivesMiss Eckhart, the love of her art and the love of giving it, the desire to give it untilthere is no more left. It was not in the character as she stands solidly and almostopaquely in the surround of her story, but in the making of her character out of mymost inward and most deeply feeling self, I would say I have found my voice in myfiction (One Writer s Beginnings, III).78.William Styron, Jimmy in the House, New York Times Book Review, December 20, 1987,30.79.James Baldwin, Go Tell It on the Mountain (New York: Alfred A.Knopf, 1953), 27; JamesBaldwin, Everybody s Protest Novel, in his Notes of a Native Son (Boston: Beacon Press,1955; reprint 1964), 21.80.Baldwin, Go Tell It on the Mountain, 228.81.James Baldwin, Another Country (New York: Dial Press, 1962), 22.82.Baldwin, Everybody s Protest Novel, 13 23; Styron, Jimmy in the House, 30.83.Richard Wright, Native Son (New York, 1940), 17, 101; James Baldwin, Many ThousandsGone, in Notes of a Native Son, 29.84.CONT, 172, 349, 255 56. Notes to Pages 207 212 28785.Baldwin, Another Country, 22; Wright, Native Son, 81 85, 108; Eldridge Cleaver, Soul onIce (New York: McGraw-Hill, 1968), 14.86.Wright, Native Son, 108 109, 101.87.Ralph Ellison, Invisible Man (New York: Random House, 1952), 7 8.88.Herman Melville, Benito Cereno, in his Piazza Tales (New York: Dix and Edwards,1856). Benito Cereno is based on an actual slave mutiny that took place on board aSpanish ship off South America in 1799.89.Harriet Beecher Stowe, Dred: A Tale of the Great Dismal Swamp (Boston: Phillips, Sampson,and Co., 1856).Dred is less concerned with the black rebel of the dismal swamp thanwith the interlocking relationships among an interracial family, like that of ThomasSutpen in Faulkner s Absalom, Absalom! According to Higginson, Mrs.Stowe s Dredseems dim and melodramatic beside the actual Nat Turner. See his Nat Turner sInsurrection, 209.90.Arna Bontemps, Black Thunder (New York: Macmillan, 1936), 82.As a matter of fact,Styron had planned to write his Nat Turner novel from an omniscient point of view,from many reactive standpoints, such as that of one of the white victims, one of thefarmer types. But it just didn t seem right to me, and he eventually realized that hewould have to risk leaping into a black man s consciousness.Not only did I want therisk alone which was an important thing, to see if it could be done but by doing so,I thought I could get a closer awareness of the smell of slavery. Filtering through theconsciousness of the I , the first person, he hoped, would somehow allow you to enterthe consciousness of a Negro of the early decades of the nineteenth century. He addedthat if you start finding out about Nat, discovering things about Nat, well, of course,every passage, every chapter, every section is kind of a revelation both for yourself andfor Nat. See Canzoneri and Stegner, Interview with William Styron, Conversations, 6970, and Brazelan and Sussman, William Styron on The Confessions of Nat Turner, Con-versations, 103.91.Styron, This Quiet Dust, 247.Of course, the Faulkner influence on Styron, as on virtuallyall Southern writers, is palpable as both god and demon. Writers as disparate asFlannery O Connor and Walker Percy have expressed their despair at laboring in theshadow of such a colossus, Styron has written, and I felt a similar measliness (ThisQuiet Dust, 292).It is interesting to ponder how Nat Turner might have fared in Faulk-ner s hands.John A.Williams suggests that he might well have resembled the cold,unremitting Lucas Beauchamp of Go Down, Moses and Intruder In the Dust.See Williams, The Manipulation of History, in TBWR, 48.92.See F.Garvin Davenport, Jr., The Myth of Southern History: Historical Consciousness in Twen-tieth-Century Southern Literature (Nashville: Vanderbilt University Press, 1970), 131 70;Richard H.King, A Southern Renaissance: The Cultural Awakening of the American South,1930 1955 (New York: Oxford University Press, 1980), 72 76, 231 41, 277 86; DanielJoseph Singal, The War Within: From Victorian to Modernist Thought in the South, 1919 1945(Chapel Hill: University of North Carolina Press, 1982), 339 72; C.Vann Woodward, History in Robert Penn Warren s Fiction, in his The Future of the Past, 221 34.93.Peter H.Wood, Nat Turner: the Unknown Slave as Visionary Leader, in Black Leadersof the Nineteenth Century, ed.Leon Litwack and August Meier (Urbana: 1988), 37 39.94.Styron, This Quiet Dust, 9 34.The quotes are on pp.10, 12, 11, 14.The essay, ThisQuiet Dust, was originally published in Harper s, April, 1965; Granville Hicks, RaceRiot, 1831, Saturday Review, October 7, 1967.95.Ellison et al., The Uses of History in Fiction, Conversations, 128, 130, 142; C.VannWoodward, Fictional History and Historical Fiction, New York Review of Books.November16, 1987, 38.According to Roland Barthes, myth is constituted by the loss of thehistorical reality of things: in it, things lose the memory that they once were made. See his Mythologies (London: Paladin, 1973), 134 42.The quotation is on p.155.See also Tony Bennett, Text, Readers, Reading Formations, Literature and History 9(1983).96.Ralph Ellison, Twentieth-Century Fiction and the Black Mask of Humanity, in hisShadow and Act (New York: Random House, 1953), 42 43; Willie Lee Rose, Slavery andFreedom (New York: Random House, 1982), 169; Ellison, The Invisible Man. 288 Notes to Pages 212 24897.Ellison, Twentieth-Century Fiction, in Shadow and Act, 43; Kaiser, Failure of WilliamStyron, TBWR, 56; Killens, Confessions of Willie Styron, TBWR, 36; Genovese, Wil-liam Styron before the People s Court, 203 204.Genovese points out that the novelist sdepiction of Nat Turner shared many characteristics with the historical ToussaintL Ouverture, the successful black revolutionary of Saint Domingue.A privileged bondsman, Toussaint led his own master s family to safety, remained aloof from theviolence while his fellow slaves put the North Plain to the torch. Not being a statue, he writes, Toussaint possessed all the frailties and contradictions common even to thegreatest of men (204 205).98 [ Pobierz całość w formacie PDF ]