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re: "Wildcat" by Flannery O’Connor (1947)

Posted on November 28th, 2010

My reading of the third story in Flannery O’Connor’s 1947 thesis collection prompts me to make the following observations:

(1) This is perhaps the weakest story in O’Connor’s thesis collection.

(2) Blind Gabriel, both as young boy and as old man in the story, with his thinly disguised fear of the wildcat, gives readers something to think about—especially in terms of his claim of a primal awareness of matters beyond normal sensibility, and in terms of his thin veneer of courage that barely covers a not-so-insensible fear of something out there (ostensibly the wildcat)—but Gabriel’s story is encumbered by the author’s attempts at dialect (not very well managed) and the characters’ dialogue and diction (also not well managed).

(3) Again, with apologies to O’Connor, the influences of William Faulkner and Erskine Cauldwell are everywhere evident in the derivative and awkward (but mercifully short) “Wildcat.”

(4) If I had been her thesis advisor (which is a fanciful time-travel imagining that is presumptuous on a variety of levels), I would say, “Ms.

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Review: Mudbound

Posted on November 20th, 2010


Mudbound

by Hillary Jordan



Algonquin, 2008 (2008)
Hardcover

A wonderful voice in southern American literature – reminiscent of the best of William Faulkner and Eudora Welty – has emerged in Hillary Jordan’s uncommonly powerful debut novel, Mudbound.

As a fiercely haunting and paradoxically beautiful tale of love, neglect, betrayal, and justice within and among families, Mudbound introduces readers to some of the most remarkable characters to have appeared recently in American literature:

In one family you have Henry McAllan (the successful engineer and wounded veteran of the Great War whose ties to southern traditions and his Mississippi farm dominate his and his family’s life); his much younger brother Jamie (an emotionally scarred veteran of World War II whose devotion to his family and friends will be sorely tested); Pappy McAllan (the ‘sour, bossy, and vain‘ family patriarch whose attitudes towards others in his family and his virulent bigotry threaten to destroy the entire family); and Laura Chappell (the Memphis-born English teacher, lover of Dickens and the Brontë sisters, and wife of Henry McAllan whose life becomes overturned by her husband’s decisions, her brother-in-law’s passion, her father-in-law’s spiteful disposition, and her adjustment to a very different way of life).

In another family you have Florence and Hap Jackson (African-American tenant farmers whose reluctant relationship with and dependence upon the McAllan family will lead to strained friendships and unspeakable tragedy); and Ronsel Jackson (the World War II tank battalion veteran whose return to his family and whose friendship with Jamie McAllan will lead to consequences no one could have possibly imagined).

With the Mississippi Delta dirt of the McAllan farm as the novel’s dominant symbol – an iconic allusion to the Hebrew adamah of the Old Testament Genesis – and with the author employing each of the main characters as the novel’s alternating narrators, Mudbound, one of the best novels about the American south and American families to have appeared in the last quarter century, is an extraordinarily effective examination of the terrifying collision of values and attitudes in Mississippi in the late 1940s.

So, readers of quality literature, here is the bottom line: Mudbound is intense, beautiful, and unforgettable

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Literature and Undergraduates

Posted on July 20th, 2010

Here are questions I confront once again as I prepare for my classes in the upcoming fall semester:

Why should undergraduate university students pursuing degrees other than the ones offered in English Departments be required to study literature?

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Why I cannot (and will not) persist in my attempt to read FINNEGAN’S WAKE

Posted on June 26th, 2010

Here is a typical “sentence” from James Joyce”s Finnegan’s Wake:


“It is the circumconversioning of antelithual paganelles by a huggerknut cramwell energuman, or the caecodedition of an absquelitteris puttagonnianne to the herreraism of a cabotinesque exploser?

(Note: I borrow the foregoing excerpt from a recent Wall Street Journal article by the superb critic Terry Teachout; the article focuses on modernism in the arts, especially music; the article–as included at Frank Wilson’s blog [Books, Inq.]–coincides with my recent attempt to give Finnegan’s Wake another chance.)

The so-called sentence from Joyce’s novel stands as succinct, unimpeachable evidence in support of my claim that Finnegan’s Wake remains unworthy of any sensible reader’s extended expenditure of time.

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Book Review Revisited (Courtesy of BookLoons)

Posted on June 25th, 2010


Mudbound
by Hillary Jordan
Amazon.com order for Mudbound by Hillary Jordan

Algonquin, 2008 (2008)
Hardcover
* * * Reviewed by Tim Davis

A wonderful voice in southern American literature – reminiscent of the best of William Faulkner and Eudora Welty – has emerged in Hillary Jordan’s uncommonly powerful debut novel, Mudbound.

As a fiercely haunting and paradoxically beautiful tale of love, neglect, betrayal, and justice within and among families, Mudbound introduces readers to some of the most remarkable characters to have appeared recently in American literature:

In one family you have Henry McAllan (the successful engineer and wounded veteran of the Great War whose ties to southern traditions and his Mississippi farm dominate his and his family’s life); his much younger brother Jamie (an emotionally scarred veteran of World War II whose devotion to his family and friends will be sorely tested); Pappy McAllan (the ‘sour, bossy, and vain‘ family patriarch whose attitudes towards others in his family and his virulent bigotry threaten to destroy the entire family); and Laura Chappell (the Memphis-born English teacher, lover of Dickens and the Brontë sisters, and wife of Henry McAllan whose life becomes overturned by her husband’s decisions, her brother-in-law’s passion, her father-in-law’s spiteful disposition, and her adjustment to a very different way of life).

In another family you have Florence and Hap Jackson (African-American tenant farmers whose reluctant relationship with and dependence upon the McAllan family will lead to strained friendships and unspeakable tragedy); and Ronsel Jackson (the World War II tank battalion veteran whose return to his family and whose friendship with Jamie McAllan will lead to consequences no one could have possibly imagined).

With the Mississippi Delta dirt of the McAllan farm as the novel’s dominant symbol – an iconic allusion to the Hebrew adamah of the Old Testament Genesis – and with the author employing each of the main characters as the novel’s alternating narrators, Mudbound, one of the best novels about the American south and American families to have appeared in the last quarter century, is an extraordinarily effective examination of the terrifying collision of values and attitudes in Mississippi in the late 1940s.

So, readers of quality literature, here is the bottom line: Mudbound is intense, beautiful, and unforgettable.

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