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 > Cantos" > > influenced other writers in developing not long > poems, > > but short composite stories and poems. > > How so? > > > Bill Freind > __________________________________________________ Do You Yahoo!? Talk to your friends online with Yahoo! Messenger. http://im.yahoo.com