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The Saddest Words: William Faulkner's Civil War Kindle Edition

by Michael Edward Gorra (Author) Format: Kindle Edition

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A New York Times Notable Book of 2020

How do we read William Faulkner in the twenty-first century? asks Michael Gorra, in this reconsideration of Faulkner's life and legacy.

William Faulkner, one of America’s most iconic writers, is an author who defies easy interpretation. Born in 1897 in Mississippi, Faulkner wrote such classic novels as Absolom, Absolom! and The Sound and The Fury, creating in Yoknapatawpha county one of the most memorable gallery of characters ever assembled in American literature. Yet, as acclaimed literary critic Michael Gorra explains, Faulkner has sustained justified criticism for his failures of racial nuance—his ventriloquism of black characters and his rendering of race relations in a largely unreconstructed South—demanding that we reevaluate the Nobel laureate’s life and legacy in the twenty-first century, as we reexamine the junctures of race and literature in works that once rested firmly in the American canon.

Interweaving biography, literary criticism, and rich travelogue, The Saddest Words argues that even despite these contradictions—and perhaps because of them—William Faulkner still needs to be read, and even more, remains central to understanding the contradictions inherent in the American experience itself. Evoking Faulkner’s biography and his literary characters, Gorra illuminates what Faulkner maintained was “the South’s curse and its separate destiny,” a class and racial system built on slavery that was devastated during the Civil War and was reimagined thereafter through the South’s revanchism. Driven by currents of violence, a “Lost Cause” romanticism not only defined Faulkner’s twentieth century but now even our own age.

Through Gorra’s critical lens, Faulkner’s mythic Yoknapatawpha County comes alive as his imagined land finds itself entwined in America’s history, the characters wrestling with the ghosts of a past that refuses to stay buried, stuck in an unending cycle between those two saddest words, “was” and “again.” Upending previous critical traditions, The Saddest Words returns Faulkner to his sociopolitical context, revealing the civil war within him and proving that “the real war lies not only in the physical combat, but also in the war after the war, the war over its memory and meaning.”

Filled with vignettes of Civil War battles and generals, vivid scenes from Gorra’s travels through the South—including Faulkner’s Oxford, Mississippi—and commentaries on Faulkner’s fiction, The Saddest Words is a mesmerizing work of literary thought that recontextualizes Faulkner in light of the most plangent cultural issues facing America today.

Editorial Reviews

Review

"Gorra's complex and thought-provoking meditation on Faulkner is rich in insight, making the case for the novelist's literary achievement and his historical value--as an unparalleled chronicler of slavery's aftermath and its damage to America's psyche."

-- "New York Times Book Review"

"The Saddest Words, [is] an entry point into one of the secret themes of Faulkner's oeuvre: the Civil War, and the collective madness that underlay the Southern resistance to abolition."

-- "New Republic"

"In his rich, complex, and eloquent new book...setting out to explore what Faulkner can tell us about the Civil War and what the war can tell us about Faulkner, Gorra engages as both historian and literary critic. But he also writes, he confesses, as an 'act of citizenship.'"

-- "The Atlantic"

About the Author

The author of Portrait of Novel, a finalist for the Pulitzer Prize, Michael Gorra is the Mary Augusta Jordan Professor of English Language and Literature at Smith College and the editor of the Norton Critical Editions of As I Lay Dying and The Sound and the Fury.

Product details

ASIN ‏ : ‎ B07ZTSSLFZ
Publisher ‏ : ‎ Liveright (August 25, 2020)
Publication date ‏ : ‎ August 25, 2020
Language ‏ : ‎ English
File size ‏ : ‎ 5700 KB
Text-to-Speech ‏ : ‎ Enabled
Screen Reader ‏ : ‎ Supported
Enhanced typesetting ‏ : ‎ Enabled
X-Ray ‏ : ‎ Enabled
Word Wise ‏ : ‎ Enabled
Sticky notes ‏ : ‎ On Kindle Scribe
Print length ‏ : ‎ 447 pages

Best Sellers Rank: #743,053 in Kindle Store (See Top 100 in Kindle Store)
- #300 in Reconstruction History of the U.S.
- #649 in History of Southern U.S.
- #1,257 in American Civil War Biographies (Books)

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4.6 343 ratings

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Charles S. Houser

An amazing study of Faulkner’s key works

Reviewed in the United States on December 23, 2023

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William Faulkner is my favorite author so I was both excited and leary when I read early reviews of Michael Gorra’s study of Faulkner’s so-called Yoknapatapha stories and novels. I purchased the book immediately but delayed reading it for fear that Gorra’s analysis of the texts would present Faulkner unfavorably in regard to the novelist’s understanding of race, the Civil War, and the New South. Gorra, however, undertakes no such character assassination. Nor is The Saddest Words a defensive apology. Gorra’s study is probing, text-based, insightful, and fair. His discovery and use of relevant historical and modern texts (including many authored by African Americans) is key to making this a door-opening work for scholarly examination of American attitudes on race, the Civil War, and Reconstruction—and much more.

Other reviewers go into Gorra’s arguments in detail so I’ll just add that I was awestruck by Gorra’s craftsmanship, a factor that often goes uncommented upon in reviews of non-fiction. The Saddest Words is free of scholarly jargon, is well-organized, and reads as a coherent whole (rather than like a collection of hastily edited conference papers, my personal pet peeve). Best of all, Gorra has given me much to think about as I begin my own re-reading of Faulkner’s great, ever-inspiring novels.

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Don

Great Sensitivity to Faulkner’s Conflicts

Reviewed in the United States on December 18, 2020

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This is a beautifully written book that presents with sensitivity Faulkner’s own conflicted views of the Civil War. Sometimes when you read Faulkner’s talks, like those to students at UVA, you wonder if this man really wrote those novels. But I think Gorra is particularly good at showing how Faulkner’s imagination engaged with issues like race and history in a way his ordinary self did not. Gorra isn’t smug or condescending in his distinctly Northern perspective of the South (I live in the South but was born in Connecticut—and I like the South much better btw), and I particularly enjoyed his insights on what Quentin would have seen and experienced at Harvard. Why Harvard? Why not UVA? From a narrative perspective, I understand, though I still don’t think Compson would have sent his son to Harvard. Still, I digress. This is an excellent book that provides relevant insights far beyond the petty quarrels of literary criticism and into the quarrels with ourselves as a nation.

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Dan Hely

The ultimate guide to Faulkner’s work.

Reviewed in the United States on May 7, 2023

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This book is a master work. Explains why Faulkner’s work mattered in the 1930s and most importantly why it still matters now. Well written, well footnoted, insightful and a pleasure to read. Very hip.

4 people found this helpful

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Dr. Fuerte

Realistic insights on a great writer’s southern heritage

Reviewed in the United States on March 16, 2022

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I’ve never read Faulkner. Previous attempts required more patience and concentration that I could muster. I know him only through his historiography so as to speak. Had I actually read the books that Michael Gorman refers to as he collates Civil War history with Faulkner’s writings I might have gained more insight. Unlike others who have reviewed this book, I do not see it as an indictment of Faulkner as a racist, or the whole Southern culture as an aberrant despicable culture. Given the period when Faulkner came of age and the cultural atmosphere of the defeated ex-Confederacy, The Saddest Words, to me, is an attempt to understand the feelings and attitudes of a proud culture that saw, through its own eyes, a noble tradition that no longer existed. The idea of things like racism and slavery, while abhorrent in their practice during this period, were not paramount in the Southern gentry’s vision of its shattered past. The book provides considerable insight into the conflicted attitudes that affected Southern generations after the war, especially those who still had memories of their ancestors who fought in it. The book is well written and worth reading for anyone who still grapples with trying to understand how and why the Civil War could have been fought in the first place

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Stan Prager

Superlative Synthesis of Faulkner’s Fiction & Civil War Memory

Reviewed in the United States on March 15, 2024

For every Southern boy fourteen years old, not once but whenever he wants it, there is the instant when it’s still not yet two o’clock on that July afternoon in 1863, the brigades are in position behind the rail fence, the guns are laid and ready in the woods and the furled flags are already loosened to break out and Pickett himself with his long oiled ringlets and his hat in one hand probably and his sword in the other looking up the hill waiting for Longstreet to give the word and it’s all in the balance …

No, that is not a snippet plucked from a Shelby Foote anecdote delivered with mellifluous voice in his signature cadence on the Ken Burns docuseries, The Civil War, but a passage from William Faulkner’s 1948 novel, Intruder in the Dust. Foote, writer and raconteur, who masqueraded as historian, is celebrated as much in some circles for his three volume narrative history of the Civil War as he is by a much wider audience for his extensive on-camera commentary on the docuseries that articulates the southern perspective in thinly disguised “Lost Cause” soundbites that deftly excised slavery from any conversation about the war. Faulkner also was no historian, nor did he pretend to be, but he certainly understood that slavery was the central cause of the war as well as its tragic aftermath for the denizens of the south, for blacks as well as for whites, even if he had difficulty saying that out loud, although we do hear it quite loud and clear through his carefully crafted characters in the drama and poetry that decorated the prose of his magnificent fiction. Slavery and its Jim Crow offspring poisoned the south, and the toxin was no less potent in Faulkner’s day than it was on that July afternoon in 1863.
The excerpt above references the moment just prior to the doomed Confederate assault known as Pickett's Charge on the third and final day of the Battle of Gettysburg, seen by many then and now as the turning point of the Civil War, although careful students of the conflict would tell you that another far more consequential Union victory, the fall of Vicksburg, which cut the Confederacy in half, took place just one day later, more than a thousand miles distant in Faulkner’s native Mississippi. Faulkner aficionados glean that too, not least because its significance is subtly underlined in the short story “Ambuscade” (1934) that later serves as the opening installment of The Unvanquished (1938), when Colonel Sartoris’ young son Bayard and his enslaved companion Ringo eavesdrop on the colonel’s revelation that Vicksburg is gone just as the family’s silver, packed in a trunk, is shuttled out to be buried in the orchard.
But the point here, for the purposes of Faulkner’s fiction—as well as the real-life tragedy of the south that still prevails today, well beyond the sesquicentennial of the Civil War—is that the “what-if” of the war’s outcome persistently echoes across far too much of the southern landscape in 2024: if not as loudly as it did in 1865 or in 1962, the year of Faulkner’s death, it yet remains all too perceptible socio-economically and politically. Nothing ever spoke to that phenomenon better than a more famous Faulkner quotation found in another novel, Requiem for a Nun (1951): “The past is never dead. It's not even past.” And possibly nothing proves its endurance better than the fact that this election year has seen at once bans against teaching about slavery and race in some southern states and, more remarkably, pro-secession candidates vying for office in Texas, perhaps grown men still fantasizing about that instant when it’s still not yet two o’clock on that July afternoon in 1863.
The past and present together underscore the relevance of The Saddest Words: William Faulkner's Civil War, a brilliant and extremely well-written blend of history, biography, literary criticism, and travel writing by Michael Gorra, professor of literature at Smith College. After years of reading, studying, and teaching Faulkner, Gorra decided to take it to the next level, and he set out to visit the various geographies where Faulkner walked the earth, battlefields where southern blood was shed, and the likely environs of the fictional characters—Compsons, Sutpens, Snopes, and a host of memorable African Americans—that inhabited the author’s imaginary Yoknapatawpha County. Had he stopped there, the end result might have been another academic biography peppered with literary analysis. But instead, Gorra—who correctly identifies the Civil War and its repercussions as existential to Faulkner’s literary themes—assigned himself a rigorous self-study of the war and its wider implications. In the process, the author discovered what today’s historians have long recognized, that there was and remains more than one war: the actual war as it occurred, with all of its ramifications, and the way the war is remembered, especially in the south. There are multiple versions of the latter, both conflicting and overlapping, informed at once by truth and by imagination.
The most twisted and most stubborn of these is known as the “Myth of the Lost Cause,” that has the south waging a righteous if hopeless quest for liberty against a rapacious north intent on domination. Eventually, the heroic south is overwhelmed by sheers numbers of men and materiel, and goes down to an honorable defeat, only to fall victim to northern plunderers in the Reconstruction days that follow. Here it is solely a white man’s war, brother against brother, forged by incompatible forces arrayed in opposition: states’ rights vs. federalism, agriculture vs. industry, rural vs. urban, free trade vs. tariffs. In this version, slavery is almost beside the point, and blacks are essentially expunged from history. African Americans appear in cameo roles when they show up at all, as harmless servants in the south’s peculiar institution, which is presented as something benign, even benevolent, that would have simply faded away on its own had Lincoln not launched what is still known in some circles as the “War of Northern Aggression.” More recently, blacks make an awkward reappearance in some odd strands of Lost Cause, now recast as comprising legions of imaginary uniformed “Black Confederates” who eagerly stand guard with their masters to defend southern sovereignty. Otherwise, blacks disappear almost without a trace. Gone are the millions held in chattel slavery, the half million that self-emancipated by fleeing to the Union lines, the nearly two hundred thousand that fought for Union in the United States Colored Troops (USCT)—and most thoroughly erased are the many, many thousands of camp slaves that accompanied Confederate armies throughout the war, including Lee’s infantry at Gettysburg, a fact likely unknown to that fourteen year old dreaming of southern victory.
The Lost Cause is a vile lie, but like all effective lies it is infused with elements of truth. Of course, slavery was not the only cause of the Civil War—just ninety-five percent of it! The key is to focus on the other five percent, and that effort was so successful that this fictitious story became America’s story. So successful that the United States became the only nation in the world to host hundreds of monuments to traitors and rebels across its landscape, many that still preside over public squares today. So successful that it was integrated into the historiography that dominated American education for a century to follow. And ingredients of that distorted curriculum even touched me, growing up in New England in the 1960s, dramatically reinforced on our family’s console TV as the networks commonly replayed Gone with the Wind, the histrionic paean to Lost Cause: an endless loop of the hapless enslaved Prissy incongruously shrieking the “De Yankees is comin!” in terror rather than celebration. I was a Connecticut boy, a state that saw thousands of lives sacrificed in the cause of Union, but I pretended to be a Confederate soldier when I played war, so deeply sympathetic was I to the southern cause. There was only one black child in my elementary school, so I did not find it odd that blacks made few appearances in my textbooks.
But I was a voracious reader, even as a young teen, and books shaped me. I read deeply in American history, fell in love with the Civil War era, and began to discover that what I had learned in school was not only superficial but woefully incomplete and conspicuously misleading. I also read a good deal of fiction in those days, across multiple genres. I think I was fifteen when I discovered Faulkner, and the first novel I read is one of his most challenging to follow or comprehend, The Sound and the Fury (1929). The first section consists of nearly sixty pages propelled solely by a vehicle manufactured from disjointed bits of the stream of consciousness of Benjy Compson, a severely intellectually disabled adult—tagged as an “idiot” in Faulkner’s day—who experiences time as directionless in an interior monologue that speeds along a twisting road of sharp turns from 1928 to 1912 to 1902 and swerves back again repeatedly, with no signs or guard rails to assist the reader, a marvelous journey motif in nonlinear time instead of distance. I found myself reading and re-reading paragraphs and pages, again and again, often lost but relishing the long, strange trip, a dictionary habitually at my elbow as I struggled against an onslaught of vocabulary both unfamiliar and intimidating. I loved every minute of it! And, in that early 1970s acid-infused era, Faulkner’s style here, verging on the phantasmagoric, seemed the perfect companion to the likes of Jefferson Airplane and Pink Floyd.
In my teens, I did not connect Faulkner to the Civil War, but literature and history were then, and today remain, my two great passions. I would read many more Faulkner novels and short stories in the years to come, and my fascination with the Civil War was a part of my motivation, decades later, to return to school to obtain a master’s degree in history. By then the connection between Faulknerian themes and the tortured legacy of the war was apparent.
But it was not until I read The Saddest Words that I came to understand how inextricable that link truly was. Faulkner (and Foote for that matter) grew up indoctrinated in a version of Lost Cause more virulent than that which touched my northern classroom, a memory of the war and Reconstruction so far removed from reality that it amounted to a greater fiction than any of Faulkner’s novels—a fairy tale mandatory to explain to later generations why the weird world they inhabited existed as it did, lest they be crushed by cognitive dissonance. But, as Gorra detects in his superb analysis, it is Faulkner’s characters who speak to truth, even if the living, breathing William Faulkner could not articulate those contradictions. The violence, the rape, the incest, the guilt, the despair that are part and parcel of the body of Faulkner’s works are a kind of subliminal confession that the author is well aware of the actual horror that disfigures southern life that real life pretends away. His white protagonists voice this. His black characters—who speak in dialect now judged offensive—bear authentic witness in what is left unsaid.
In The Sound and the Fury and its cousin, the even more daunting Absalom, Absalom! (1936), Faulkner dwells upon “miscegenation,” a term anachronistic today that once served in the white south as an epithet for race-mixing. Gorra notes that the neologism itself only dates to 1863 (and I recall it still wielded as a cudgel in Dixiecrat rhetoric in the 1960s), although it certainly reflected a fear deeply rooted in the antebellum. But what could never be uttered aloud in the south was that the kind of race-mixing deemed revolting was strictly limited to that which might occur consensually between a white woman and a black man. Because the reality was that the institution of slavery sponsored a vast mixing of the races, but that was primarily the product of the white men of the planter aristocracy coupling with black girls and black women held as chattel property, and it was almost always nonconsensual.
They preached against a dread of a “racial amalgamation” while essentially engineering it; the enslaved population on any given plantation frequently included those who were children of those who owned and worked them. There were contemporary observations at Monticello that among the enslaved were light-skinned blacks with red hair and freckles who bore more than a passing resemblance to Jefferson. Gorra cites the familiar observation from southern diarist Mary Chestnut that: “The mulattos one sees in every family ... resemble the white children. Any lady is ready to tell you who is the father of all the mulatto children in everybody's household but her own. Those, she seems to think, drop from the clouds.” Of course, we now know that none of this is strictly hypothetical: genome-wide analysis reveals that the DNA of African Americans contains on average about twenty-five percent European ancestry. We can make an educated guess that there are few traces of consent in those numbers.
Blacks and whites were always together in those days, although in clearly defined roles. Gorra refers to an episode in The Sound and the Fury when Harvard-bound Quentin Compson has cause to reflect on race when he sits next to a black man on a bus in 1910, something that was common to the north then but taboo in Jim Crow Mississippi. But that was not always the case; segregation was invented in the north. At one time, free Boston blacks, subject to discrimination on rail travel, while hardly envying their enslaved brethren marveled that southern railroads did not separate the races. (Massachusetts finally desegregated railcars in the 1840s.) It was not until the 1880s that segregation was characteristic to southern life, and that was only obtained by the failure of Reconstruction and the rise of “Redemption.” No longer enslaved, blacks were terrorized and murdered as former Confederate officers and officials returned to power and cowed the southern black population into second class status, stripped of rights granted by the Fourteenth and Fifteenth Amendments, while the rest of the nation collectively averted its eyes. This is, by the way, not ancient history; I was seven years old when Congress passed the Civil Rights Act in 1964: “The past is never dead. It's not even past.”
Of course, “separate but equal” always translated into separate and unequal, but southern whites and blacks could not ever really be separate—and that’s the rub! Faulkner saw that through the eyes of his white characters who lived in terror of incest and race-mixing only to turn around and see a world outlined inescapably by these implications. It is likely that the enslaved Sally Hemings, who bore Jefferson several children, was the half-sister of his late wife, Martha.
It is said Foote and Faulkner met, and even developed a sort of friendship. Foote was a stubborn defender of southern culture. Deep down, many of Faulkner’s characters seem to hate the south. I can’t help but wonder if the two ever talked about that. The Sound and the Fury’s Quentin Compson was certainly consumed by it, by the purity of southern women, by the conundrum of race, by a devotion to honor, so much so that he discovers that he cannot leave the ill-fated south behind him even at Harvard, more than a thousand miles from Mississippi, and in his anguish he takes his own life. But first he conjures a memory of something his father once said to him:

every man is the arbiter of his own virtues but let no man prescribe for another mans well-being and i temporary and he was the saddest word of all there is nothing else in the world its not despair until time its not even time until it was

Gorra’s synthesis of Faulkner’s fiction, Civil War memory, and the echo of systematic racism that yet stains America is nothing short of superlative. That he achieves this while probing sometime arcane avenues of literature, history, and historiography—while ever maintaining the reader’s interest—is especially impressive. If I was to find fault, it is only that towards the end of the volume, the author seems to drift away from the connective tissue in his thesis and wander off into what is clearly his first love, a detailed literary analysis of Faulkner’s prose. But that is a quibble. And truth be told, I now feel inspired to turn to my own shelves and once more dig deeply into my Faulkner collection. In this arena, I must confess that Gorra has truly humbled me: I have read The Sound and the Fury no less than three times, but his commentary on it makes it clear that I still did not entirely understand what Faulkner was trying to say, after all. I suppose I must go back and get to know Benjy again, one more time!

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Peter Henry

A magnificent book

Reviewed in the United Kingdom on February 9, 2022

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This is several books in one: an investigation into the causes of the American Civil War and it’s lasting legacy on the Southern States in particular; it also looks at the differing interpretations and perspectives on the causes of the War throughout the late nineteenth and early twentieth century.

The major focus of the book is on William Faulkner and it contains some excellent critical insights into Faulkner’s major novels: particularly Absalom, Absalom, The Sound and the Fury and Go Down, Moses. It also shows how Faulkner made use of his own ancestors in his novels and shows his conflicted views on slavery and the South.

Michael Gorra specialises in this hybrid form of book: part biography, part history and part literary criticism. His other major venture of this type is his book on Henry James’ Portrait of a Lady entitled The Making of an American Masterpiece.

Very few books have given me more insight, pleasure and enjoyment than these two books and I recommend them unreservedly.

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