Although their voices might have been antithetical (as
Mr. Romano pointed out) I find a similarity in both
structure and concept between the novels of Faulkner
and The Cantos. The execution of the concept might be
different, but not entirely. I do disagree with Mr.
Romano's comment about Yoknapatawpha County being
"isolated" in comparision to Pound's
"cosmopolitanism." Y. County is no more isolated than
Joyce's Dublin as they both transcend local color
writing into a more universal (and like Faulkner
sometimes comical) depiction of human suffering
(Homeric as in The Iliad's first chapter "The Quarrel"
or "Achilles'Anger" whatever way you translate it,
Greek against Greek, Dubliner against Dubliner, South
against South). "Go Down, Moses" is filled with Greek
undertones. Rapes, incest, half-children of slave
owners, Gavin Stevens' phrase "by Jupiter" and to many
others to metion. The characters in "Go Down Moses"
like Aeneas, Sigismundo, or Odysseus in "The Cantos"
leave and return throughtout both works. To return to
my original comment, both "The C". and "Go Down"
consist of "Live man goes down into world of Dead, the
repeat in history, and the 'magic moment'" written not
in one chronological account, but in fragmnets of
poems or stories that can be read separately or as a
whole. The content is different but the underlying
structure similar. Maybe?
-- Bill Freind <[log in to unmask]> wrote:
> Erik Volpe wrote:
> > Faulkner's "Go Down, Moses" serves as a
> > perfect example for your statement that "The
> > influenced other writers in developing not long
> > but short composite stories and poems.
> How so?
> Bill Freind
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