Defining a "Faulkner Novel"

If there is one to be learned from this semester, it is that trying to pigeon-hole Faulkner into sets of broad, general categories often leaves us with explanation that wants for further explication. However, it is worth trying to find some stylistic and thematic threads to pull at (for grins and a grade if for no other reason).

1. His elements are macabre.Faulkner's characters often struggle with incest, violent impulses (both on sending and receiving end), sexual assault, delusions of grandeur, and a systematic breakdown of both physical and metal capacity. In many characters--such as Darl, Quentin, or Temple--their breakdowns are multi-faceted and incorporate more than one element. To make matters worse for his characters, they are very intelligent enough to understand the intricacies of what's happening (ignorance is bliss after all) and too sensitive to adequately cope with the trauma.  

2. He intentionally misapplies the "grand style" to characters and events most authors and audiences would consider unworthy of such grandiose verbiage. His verbose style often gives characters--Sarty or Benjy for example--unable to communicate complex ideas or observations the ability to do so. His sentence structure makes liberal use of periodic and loose forms--providing details and delving into multiple layers of consciousness within a single sentence. Faulkner's stream of consciousness sections run on (and are sometimes run-ons) seamlessly without pause; whether it's Rosa recalling the demon Sutpen or Addie's postmortem confession, Faulkner often lets his characters digress from their digressions which themselves digress, bounding from one insight to the next without a clear transition.

3. His metaphors are often complex and bizarre. Whether words are spiders or men are mirrors, Faulkner's metaphors require detailed explanations (and some explication at times) for readers to understand both parts of the metaphor in order to grasp the contrast. The imagery is bizarre and seemingly disjointed, adding a layer of complexity to already complex metaphors.

Faulkner employs his complex language to unravel equally complex issues: the dichotomy of the illusion of the old South and its harsh reality, the nature of evil, or death and delirium, Faulkner paints a darkly ironic picture of characters stuck in loops--linguistic, metaphorical, and literal--with the hope readers might recognize the various follies and avoid the pitfalls (or perhaps he did it simply to perplex readers and frustrate publishers, I can't be sure).