In barn burning the climax of the story occurs when

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It is a simple story, although presented in a convoluted structure, surrounding the death of Miss Emilys father when she is in her 30s, in the late nineteenth century. For three days, Miss Emily prevents her fathers burial in a refusal to accept his death.

Because her father has driven off all of Miss Emilys suitors, she is alone, a spinster, in a large house. In the summer after her fathers death, Miss Emily meets Homer Barron, the Yankee foreman of a crew contracted to pave the sidewalks of Jefferson.

They appear on the streets in a fancy buggy, provoking gossip and resentment. Meanwhile, her cousins, the antagonists, pay a visit in an attempt to persuade Miss Emily to behave more respectably. To avoid the cousins, Homer leaves town, and at the climax, Miss Emily buys rat poison from the druggist. The cousins leave, and Homer returns, although he is never seen again. A foul odor emanates from Miss Emilys house, and in response to complaints, citizens spread lime around the house and in her cellar. In a week or so, the smell goes away.

She is seen only occasionally for the rest of the story, and a aura of mystery shrouds the activities at the house. However, at her death, her house is invaded and upon breaking into a locked upstairs room, and the corpse of Homer Barron is discovered, having moldered in the bed for forty years. On a pillow beside him, is a long strand of iron-gray hair, evidencing Miss Emilys position beside him and the resolution of the mystery. Barn Burning is the straightforward story of Colonel Sartoris Snopes, the protagonist, and his family.

As the family, including Sarty, his parents, two sisters, an older brother, and an aunt traverse the country in an effort to elude justice in the events surrounding his fathers barn burning, coldness and a lack of emotion permeate the story. Moving from one run-down tenant farmer shack to another has become a way of life for the family, and Sarty in particular. He's committed to the South, he loves it, but his commitment and love are tangled up with the outrage that whips him forward, lashing him from book to book. He's like a horse racing through a burning forest.

In his case, though, the fire is one he has set himself: Faulkner has the imagination of an arsonist.

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His story "Barn Burning" takes arson as its subject, and the obsession of the arsonist as its theme. We see the barn burner, Ab Snopes, through the tormented and loving eyes of his son. Ab has a reputation for setting fires and causing trouble, and the reputation persecutes him and drives him to commit more burnings everywhere he goes. His son disapproves yet understands. He knows how self-destructive the father is, but also recognizes the gossip and narrow-mindedness that others constantly jab at him, like sticks poking a hive, keeping the swarm of his emotions in a constant state of rage.

It's a state that Faulkner knew all too well. His brother John once said Faulkner was "the most even-tempered man who ever lived, mad as a hornet all the time. His prose is an inferno: it burns up everything in its path and flames on, ravenous for more. From the breakthrough of The Sound and the Fury in up to The Wild Palms in , Faulkner raged through a decade of often brilliant works, a firestorm of masterpieces. None of them attempts to be polished: with Faulkner the roughness and rawness are as important to the texture of his sentences as the abrasions of Patti Smith's singing are to the sound of "Ask the Angels.

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The seven connected Civil War stories in The Unvanquished are dynamic, unruly historical fictions, and the book includes an especially good tale about a woman who disguises herself as a soldier. Absalom, Absalom! Trying to make sense of Sutpen's past, the young Harvard student Quentin Compson ends up defeated, dismayed by his efforts to put together a bearable interpretation of his Southern heritage of racism and violence. The novel closes with Quentin's near-hysterical protests that he doesn't hate the South. We know from The Sound and the Fury , though, that his suicide is coming: he walks through "the cold air, the iron New England dark" with the blaze of his anguish already consuming him, as it consumes so many of Faulkner's characters.

During this same nine year span, Faulkner wrote seven full-length novels. The sustained concentration that Fitzgerald lavished on Tender Is the Night -- the antithesis of Faulkner's headlong rush through book after book -- makes it one of the most consciously crafted American novels of its era. Disillusionment is central to Tender , and Fitzgerald builds the process of disillusionment into our reading.

The contrast between the glamorous warmth of the opening section and the increasingly bitter chill of the rest of the book displeased most of its early critics, and continues to displease nearly everyone on a first encounter. Yet a longer acquaintance with Tender brings out the story's full heft: slowly, its compressed emotional and psychological weight begins to bear down on us. Fitzgerald tried to put his whole life into the novel, everything he knew about people and the world, and he crammed it all into a pretty short book, only about three hundred pages long.

The best reason to reread Tender might be to enjoy its sheer density of material. It's the opposite of one of those novels where you feel the writer is stretching things a bit thin to keep the plot going. In Tender , the story is often weirdly compacted under the pressure of Fitzgerald's effort to make sure each chapter contains as much substance as possible, substance that other writers might have assembled more loosely and gradually.

As in Gatsby , but more daringly this time, Tender Is the Night combines the Romantic poetic tradition with a harsher Modernist strain. The title and the epigraph try to prepare us for this, and tell us much of what we need to know about the novel's deliberately alienating structure. Keats's " Ode to a Nightingale " was one of Fitzgerald's favorite poems, and the four lines he takes from it are revealing:.

Already with thee! But here there is no light, Save what from heaven is with the breezes blown Through verdurous glooms and winding mossy ways. The entire movement of the book is disclosed here. Keats is, among other things, writing his version of Hamlet's soliloquies. Later in the novel, Fitzgerald will refer to Hamlet and the Ode at the same time, keeping one eye on Shakespeare much as Keats does. The Ode takes for its apparent occasion the moment when the poet listens to a nightingale as he walks through a starlit forest. He imagines the sensations of drinking wine or hemlock or "some dull opiate" -- the ambiguity is typical of the writing's luxuriant suggestiveness.

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He then pictures fading into the forest with the nightingale as the bird soars through the dark. The lines that Fitzgerald uses come from the fourth stanza. When the poet says he is "Already with thee," he means he has, in his thoughts, joined the nightingale in flying over the forest.

The words "tender is the night" express the moment of the poet's escape into the sky, where the moon is surrounded by clusters of stars. It's this moment of sublimity -- the imaginary transcendence of hanging aloft in the night -- that suffuses Part One of Fitzgerald's novel.

Rosemary, a hardworking young actress, spends her holiday on the French Riviera and meets the psychiatrist Dick Diver and his rich wife Nicole. Rosemary falls in love with Dick, and sees him and his marriage through a trance of admiration. She becomes part of the Divers' personal expat circle, and adores Dick's kindness, intelligence, energy, and wit, whether he's having a small dinner party or bringing some of his friends to a World War I battlefield for a reflective visit.

For the first third of the book, Fitzgerald immerses us in Rosemary's fantasy of Dick's desirability and worth. Even if we wonder about the hints of trouble that she largely ignores along the way, we never doubt that her time with Dick will become her lifelong definition of paradise.

William Faulkner Barn Burning: Igniting Prejudice English Mrs. N - ppt download

Part Two brings us sharply down from these romanticized heights, just as Keats brings us down from the moon and the cluster of stars. The flight into the sky has been an illusion. Beneath the trees, where the poet actually stands, the moonlight and the starlight only come through obscurely, when the wind moves the patterns of shadows over the "verdurous glooms and winding mossy ways. In Tender , Fitzgerald matches the Ode's abrupt termination of the poet's idealized vision, and dives backward in time, in a jarring jump from to Rosemary vanishes from the novel, and doesn't return except for two brief later appearances, each bleaker than the one before.

In place of her adoring viewpoint, Part Two introduces some of the stark facts behind Dick's marriage to Nicole: precisely the aspect of Dick's life that Rosemary has taken pains to diminish or ignore. As a promising young psychiatrist, Dick first encounters Nicole accidentally, during her professional treatment.

Her rich father, who raped her and carried on an incestuous relationship with her, has placed her in a private mental health clinic. Nicole sees Dick at the clinic when he visits a colleague. Initially, he pretends to be interested merely in encouraging her recovery. Gradually he realizes he's in love with her, and marries her despite his knowledge that he's taking a great and highly unprofessional risk.

When we return to , we're at nearly the exact midpoint of the novel. From here on, Dick goes to pieces, and we never know quite why.

The Initiation Of Sarty Into Manhood In "Barn Burning"

We're given too many explanations, which all overlap in dense combinations. Here's a partial list: Dick drinks too much, feels emasculated by Nicole's wealth, can't separate his role as her doctor from his role as her husband, loses his belief in his personal honor and determination, can't decide how to finish the great psychiatric study he has spent most of his career researching and preparing, and thinks Nicole is gaining strength in direct proportion to his deterioration. No single item on the list can account for the speed and ugliness of Dick's collapse, and the motion of all these collective forces within him encloses a core of calm and frightening darkness. The closest Fitzgerald offers to a summation leads us back to the mysteries in the Ode. In one of the last chapters, after it's clear Nicole will leave him, Dick recalls his decision when he first confronted her case: "he had made his choice, chosen Ophelia, chosen the sweet poison and drunk it. Even more open-ended is the choice of Ophelia, who enters through the Ode's Hamlet connections.

I imagine that, for Fitzgerald, Hamlet was more an appendage to the Ode than the other way around. Is Fitzgerald saying that Dick chose to follow the same path to self-destruction Ophelia followed? Or is he saying that Dick chose to marry Ophelia, the young woman driven insane by the irresponsibility of the people who loved her, and that in rescuing her from madness and despair Dick has taken on those qualities himself? We don't need to clarify this: the confusion about whether Dick identifies with Ophelia or with being Ophelia's savior carries on from his confusion about his entire relationship with Nicole.

Fitzgerald understands both the beauty and the horror of how certain husbands and wives begin to bleed together, mentally and emotionally, until they can hardly separate themselves from each other. Dick's tragedy might be that he has seen his merger with Nicole as magical and permanent.

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