Guide Cream: Collected Stories Revised Edition

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But I have not always been successful and so there may be question marks where I am uncertain, or approximate dates. Why do you hate the South? I dont! I dont hate it! Light in August is tied for second in my Faulkner collection for total copies. Though Pylon was one of the first Faulkner books I read, it is one of the least known.

The majestic story of the disintegration of the South — Absalom, Absalom! The Unvanquished — another good way to ease yourself into Faulkner. Editions: U. The Hamlet — the start of the Snopes Trilogy. In spite of the first title, Go Down Moses is a novel. Intruder in the Dust — the novel that may have helped Faulkner win the Nobel Prize. Faulkner returns to the story of Temple Drake in Requiem for a Nun.

Faulkner won his first Pulitzer Prize for A Fable. Faulkner returned to the story of Snopes 17 years later with The Town. The Mansion — the third in the Snopes Trilogy.

It appeared in my Top novel list at Because it was written over a period of some 30 years, it does encompass some contradictions. The books together as a trilogy were first published together in , as a box set of hardcovers with no dust jackets. They would later be printed together in one volume in by the Modern Library.


  • First Edition;
  • Feueraugen (German Edition)?
  • The Private Enemy?
  • How to Link Up a Short Story Collection: A Fairy Tale;
  • The Tall Blonde with the Hot Boiler (Frank Swiver Stories Book 1)!
  • Cream: Collected Stories Revised Edition by Laura Steele;
  • Skin Deep.

Mayday and Father Abraham — both printed in their original forms long after Faulkner had died. It is difficult to find, even in reprints it has been reprinted with A Green Bough , his collection of poetry. The various Faulkner collections and miscellany. These are various collections of works that Faulkner wrote that have been published outside the format of his novels or the specific collections of short stories. A few of them were published in his lifetime, but most are part of the great amount of his work, either published or previously unpublished, that have been gathered together after his death.

The various covers to the Portable Faulkner through the years. The complete Faulkner in the Library of America. My various reference, critical and biographical books on Faulkner.

E-list # - Short Stories for the Shorter Days. Signed by the Author. | Ken Lopez Bookseller

Of course, I have a good size collection of reference books about Faulkner. Most of them are either reference guides or critical works. There are also a few biographies. The Faulkner obituary from the Boston Globe that came in my second copy of the small little William Faulkner book. The first group of books are all missing dust jackets and none of them are in particularly great shape.

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Starting with Absalom , all of them are published by Random House with a couple of rare exceptions among the posthumous publications. These are really the crown jewel of my Faulkner collection. They are listed in order of appearance in the picture, from left to right, top to bottom.

The top shelf are all things printed while he was alive Big Woods is moved down because of height and are in chronological order. My First Edition Library Faulkner collection. They reprinted classic literature exactly as it first appeared, typos and errors included. The only differences between an actual 1st Edition and something from the First Edition Library are the slipcases they come in, that the new ones are printed on acid-free paper, a small box on the copyright page indicating it as part of the FEL and a small indication on the inside rear flap of the dust jacket so that neither book nor jacket can be used to fool people.

I have four of the titles from Faulkner, though there are three others available that I have never seen Soldiers Pay, Mosquitoes, The Reivers. These titles are listed chronologically. The gorgeous leatherbound Franklin Library Faulkner books. There are not a whole lot of uniform characteristics about the various Faulkner books published by the Franklin Library except for the fact that they are all bound in leather and they all look gorgeous. The complete selection of Faulkner books I have from the Modern Library.

There are several different forms of Modern Library books and I will be discussing them in total. A selection of the more picturesque Faulkner Modern Library books. This is the series that was begun in Sanctuary was the only Faulkner title to be printed during the old flexible bindings of the Modern Library. Dating a specific copy of a Modern Library book is very easy if you have the dust jacket and almost impossible to do so without it.

I will talk more about each individual book below. They are printed in order of when they were added to the Modern Library.

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While many books entered and exited the Modern Library between and , no Faulkner title ever stopped being printed before In , the Modern Library ceased publication. But in , it was revived on a more moderate scale. Only selected titles were printed during this stretch and they were all given matching tan dust jackets and had the numbering system dropped they were given ISBNs, some of which matched the old numbers. The only two Faulkner titles during this time were The Faulkner Reader which had never been printed by Vintage and Selected Short Stories which had always been a Modern Library exclusive.

In this edition, The Wild Palms was added in The four titles from the rather short-lived Modern Library paperback series. The Modern Library paperback series began in and lasted until , when it went defunct in favor of the Vintage mass markets. There were four different Faulkner titles published with a fifth one planned and announced The Town , though the series would go defunct before it was printed. The first titles that they printed were titles already available in the Modern Library and thus we have a printing of The Sound and the Fury with As I Lay Dying , complete with the same cover.

But the paperback series would end that and take the same number and assign it to The Sound and the Fury by itself. There would be two covers of The Hamlet — a red one and a blue one scarce. Both episodes in the short story and the autobiography convey the same combination of guilt and awe as the meeting with the dentist : the child's uneasiness at witnessing something strange, forbidden, and beyond his grasp. Thus there are elements of Isidore Miller in the kind-hearted, easy-going Papa of the story.

When, on his way back from the service, he is embarrassed by the little boy's questions about the Cantor gesticulating on the beach, it is said that "he looks down [at the little boy] with his kind incomprehension and his wish for happy behaviour" At this stage, the character is not the forbidding father he becomes later but a benevolent one: when, back home, it falls to him to punish Martin for his cruel words to Mama, Papa thinks it suffices to threaten him with his leather belt, for in fact he much prefers sipping a tiny glass of whisky in his rocker by the window.

Papa is also the one of the family who is the most impatient to break the fast: pursued and baffled by the little boy's question "Who is the Cantor's boss?

She is not as bright as Miller describes his mother as being and she sounds more homely, but like the latter, she is emotional and intense, more unpredictable than Papa; her devastating love for her younger son, her pride and the great expectations she has in him, echo Miller's words when he writes humorously in Timebends "I needed only to draw a straight line to hear myself praised as a coming da Vinci" During the conversation about the Cantor, Mama is far more sanctimonious than the real Augusta was, but the latter's shallow, superstitious approach to religion, unquestioned acceptance of rites and of the high morality of Jews shine through: Papa is taken aback by the Cantor's performance on the beach; Mama is not, she takes the Cantor at his face value, she thinks he is not a faker but a genuine religious man.

Another reminder of Augusta is Mama's propensity to dramatize situations and her lack of humour as described in the scene that follows the "bathroom incident. When Papa, on seeing that she has recovered from her fright, risks a little joke at her expense to relax the atmosphere, saying to Ben, "Why didn't you report to her that you were going to the bathroom, because if you don't report, you might've got killed," "grinning and angry," Mama says "Stop it! Augusta's quick temper and fits of bitterness after having been married off too young by an authoritarian father, or after the bankruptcy of the family business come through in Mama's words when, being told by Papa that she should not help Martin anymore to cut his matzoh balls because he is a big boy now, she snaps at him, "He's going to cut his own maztoh ball?

You crazy? I slave like a dog all day and you come home and he should do whatever he wants" Similarly, like Augusta, Mama is educated in comparison with Papa; at least she can write and spell correctly and the three books that are placed on her bedside table bear witness to her intellectual pretensions. When Papa ventures to say that at Martin's age he was already out selling newspapers, she snaps at him, as Augusta often did at Isidore whose illiteracy she was never able to accept, "That's why you got such a good education!

His being in the story like Papa, though of a more sensitive, emotional, graver cast of mind, echoes Miller writing in Timebends , "I early on paired Kermit with our father as a force for order and goodness" 11 , and religion is to him no laughing matter, which explains why he remains terribly upset by Martin's callous behaviour towards their mother, why he likes to converse at all times with his father about what is or what is not against the Law, and why the saying of grace at the beginning of the meal is devolved upon him.

Unlike Papa who, unable to resist hunger, has already started to eat, Ben takes time "to adjust his satin cap on his head and he stares meaningfully at the silver centrepiece which is full of fruit […] now there [is] quiet [he begins to pray] Mama standing in the doorway is caught by this outward gravity and unlike Papa, who as soon as the prayer is finished, resumes eating, "she [takes] Ben's grave permission to move" Ben, still under the shock of the incident, is described as unable to eat, delaying the moment "to break his terrible fast, selecting his spoon and stirring his soup so long that it seems he is even reluctant to eat at all, and finally eating in grief" The story being told from the little boy's point of view which is obviously Miller's in hindsight is the weakness of the text; whatever pains Miller takes to recapture the way a little boy's mind works, some of his remarks—particularly at the end of the narrative when he decides to become "the guardian of his brother's and parents' innocence" 51 —sound a little unlikely, Miller giving him more intellectual capacities than the reader expects to find in a five-year-old child.

As Allen Shepherd writes, "the story is irritating to read at times because Miller undertakes to raise to the level of metaphysical tragedy what is virtually by definition the poignant-pathetic experience of a little boy. Almost, in self-defense, one doubts the insight, suspects ersatz sensitivity. One cannot say that is an untrue account but one can resist being played upon.

Martin lives in a family which, unlike the Millers, is imbued with and very respectful of traditions: his parents and brother are orthodox Jews and the influence of the Law is very strong on them. The festival punctuates the tempo of family life—the father and the elder son go to the synagogue to pray, while the mother busies herself at home, cooking a good meal and giving the dining room table a festive look: "the tablecloth and silverware sparkle" 24 and soup is eaten out of "gold-bordered plates" Thus, sitting alone on the beach, he thinks the ocean is stormy— "the waves [are] banging down on the sand He feels guilty for having breakfast in the morning and for the piece of jam-spread rye bread his mother forced on him at 11 o' clock and on which he compromised to please her.

At this stage of the narrative, such guilt has apparently no spiritual value, being prompted not by repentance but mostly by resentment and rebellion against the mother's authority for he rightly suspects that it was she and not his father who objected to his going to the synagogue and who insisted on his being dispensed from fasting and the desire to behave like his father and brother. The feeling of frustration and exasperation, combined with the empirical, disturbing discovery recently of some changes in his mother's physical aspect—her puffy face, slow-moving gait—and of her failing attention to him, turns into open aggressiveness when, in the afternoon, she dares present him with a glass of milk and suggests to him, with unbelievable disrespect, that he take off his holiday tweed suit and change into his shorts, and finally culminates in the terrible cry which gives its title to the story.

After uttering it, Martin does not feel guilty, for "it did not seem a bad thing to say, only the truth; she did not need him, so he did not need her" Back on the beach, because there, at least, there is a privacy" 10 , he knows he has done something bad but does not know why; he is only full of fright: on seeing several men dressed in black moving on the beach, he is afraid that "God might appear and not just the Scrolls of the Ark" 16 10 and that the sound of The Shofar the curved ram horn in which the Cantor blows to remind God that the time has come for him to forget his wrath and give vent to his mercy "might drive HIM out of the ocean to burn them all with his blue-eyed gaze" Ben, deeply upset, cannot forget Martin's cruel words to their mother.

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Mama is ensconced in her grief and resentment; Papa, mostly looking forward to the good meal that is awaiting him, hardly listens when being told about Martin's bad behaviour and contents himself with chastizing the culprit with a flat "you should not say a thing like that Marty" Only the little boy, though feeling relieved to see that "the sea-roaring evil has not been brought into the room" 23 , knows that a showdown is inevitable.

There are two violent, almost apocalyptic scenes in the story—the dinner scene and the bedroom scene. Staged by God, they have a double purpose: to lay bare everybody's souls and initiate a process of change and repentance in them.

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On seeing her "gasp and hold her breast," the cause of her recent "strangeness" begins to dawn on him, as does the realization that she has a share of the responsibility in the havoc made of the dining room table it looks like a land devastated by a hurricane or a battlefield where a slaughter has just taken place : he screams at her "you made me do it" However, even if the incident gives the little boy some insight into his mother's behaviour, it does not bring about the change God expects to find either in him—now he says he is not guilty because "[he] didn't kick that baby [because he] didn't see it" 31 —or in Ben and Papa.

The former keeps sulking, unable to forgive his brother and the latter, though "now frowning with no trace of a smile even in his eyes" 31 , carried away as usual by his propensity to smooth things over, contents himself to enjoin Martin "to be a man" and to decide that he will start school on the morrow. Unlike the dinner scene which showed her as an innocent victim, the bedroom scene exposes the mother's evil, not only her devastating motherly love, but the secret motive that lies under it: when she boasts to Papa, who has just said he had left school when he was six, that Martin is eager to go to school, and, when she urges the latter to spell the word "beach," it is not so much to show how bright he is as how blatantly he is her son and not Papa's.

Similarly the scene reveals not only Martin's complicity with his mother but the secret motive that also lies under it: the pleasure of usurping his brother's place in their mother's heart. He enjoys his mother calling him "her bandit" because she never addresses Ben this way; "he lowers his eyes with pleasure," the pleasure "to be distinguished by his crimes" Yet, aware of his father's innocence, won over by his "warm and magnanimous smile, wholly selfless gaze and wonder" 40 , he refrains from spelling the word because he sees through his mother's trick; he strikes her hand for her falseness which brings the meeting with the dentist to his mind.

When finally his father, sensing things are getting out of order, decides to take him to bed and Ben gives the correct spelling, the little boy, struck by what he regards wrongly as an iniquity—to be robbed of the opportunity to surpass his brother when he was only trying to spare his father's self-respect—flies into a terrible fit of anger and, kicking out, hits his father's belly and thus reiterates his gesture against his mother in the dinner scene.

Carried forcibly to bed half-unconscious, he comes to his senses and notices that now his parents—as God, after hearing the Shofar, changes places, leaving his throne of Wrath and Judgement to sit on that of Mercy—occupy "novel positions" 43 at his bedside: Papa is seated by his side, whereas Mama is now at the foot of the bed. His nearness and her distancesuggest that some changes are underway in the family order.

Yet such changes cannot be achieved until the final showdown has taken place. It is the mother once more who provokes it. The little boy can protest as much as he can that he still does not know what has been so terrible about what he said, it is beyond Ben to forgive him. Left to his own thoughts, he realizes that although Papa has taken his defence, his judgement is flawed: unable to see harm, he cannot know how bad he is; Ben knows that Martin secretly enjoys their mother's infatuation for him….