View allAll Photos Tagged WILLIAMFAULKNER,
"So many days and nights of my life escape. It always fades away. It always fades away with time."
My lovely book collection.
Stay Home - Transit
The view down Royal Street and the Hotel Monteleone. The Monteleone was first opened in 1886 by Antonio Monteleone with later expansions in 1908. 1928 and 1954. The hotel is still owned by the family. It has been a favorite haunt of writers from Hemingway to Faulkner and Eudora Welty, Tennessee Williams and Truman Capote. Suites in the hotel are named after them and the Carousel Bar is still going after all these years.
Writers at Work - The Paris Review
edited by Malcolm Cowley
cover design by Robert Hallock
Contents
Introduction: How Writers Write (by Malcolm Cowley)
1. E.M. Forster (Interview by P.N. Furbank and F.J.H. Haskell)
2. François Mauriac (Interview translated by John Train and Lydia Moffat)
3. Joyce Cary (Interview by John Burrows and Alex Hamilton)
4. Dorothy Parker (Interview by Marion Capron)
5. James Thurber (Interview by George Plimpton and Max Steele)
6. Thornton Wilder (Interview by Richard H. Goldstone)
7. William Faulkner (Interview by Jean Stein vanden Heuvel)
8. Georges Simenon (Interview by Carvel Collins)
9. Frank O'Connor (Interview by Anthony Whittier)
10. Robert Penn Warren (Interview by Ralph Ellison and Eugene Walter)
11. Alberto Moravia (Interview by Anna Maria De Dominicis and Ben Johnson)
12. Nelson Algren (Interview by Alston Anderson and Terry Southern)
13. Angus Wilson (Interview by Michael Millgate)
14. William Styron (Interview by Peter Matthiessen and George Plimpton)
15. Truman Capote (Interview by Pati Hill)
16. Françoise Sagan (Interview by Blair Fuller and Robert B. Silvers)
Copyright 1957, 1958 by the Paris Review, Inc.
This copy is a sixth printing, November 1965, from the COMPASS BOOKS EDITION issued in 1959 by the Viking Press, Inc.
Printed in the USA by the Colonial Press, Inc.
(3,470 page views on February 5th, 2015)
(6,573 page views on December 19th, 2020)
William Faulkner : Absalom, Absalom!
Penguin Books - Harmondsworth, 1971
cover designed by Germano Facetti, shows a detail from " We Did Not Know What Happened to Us" by Ben Shahn
1955 PBO; Great Tales of the Deep South, Anthology with stories by William Faulkner, Erskine Caldwell, Richard Wright, William March, Eodora Welty, Truman Capote, Tennessee Williams. Cover art by David Fredenthal
Robert Coughlan - The Private World of William Faulkner
Avon Books G-1144, 1962
Cover design uncredited
Title / Titre :
List of personalities /
Liste des personnalités
Creator(s) / Créateur(s) : Yousuf Karsh
Date(s) : 1949-1956
Reference No. / Numéro de référence : ITEM 3932341
central.bac-lac.gc.ca/.redirect?app=fonandcol&id=3932...
Location / Lieu : Unknown / Inconnu
Credit / Mention de source :
Yousuf Karsh. Library and Archives Canada, e010751937 /
Yousuf Karsh. Bibliothèque et Archives, e010751937
William Faulkner - Sanctuary
Signet Books 632, 1949
Cover photo of William Faulkner uncredited - Library of Congress, Prints & Photographs Division. LC-USZ62-12740
Oxford, Mississippi is located in the central northern part of the state. It is home to the University of Mississippi and is the seat of Lafayette County.
William Faulkner : Le bruit et la fureur
( The Sound and the Fury)
Folio, Gallimard - Paris, 1972
n° 162
couverture : Claude Serre
John Murry was adopted at birth into the family of William Faulkner. Some have speculated that the Faulkner blood might also run in his veins, but that should be left for a Southern Gothic novel yet to be written (or perhaps re-written). Raised in Tupelo, Mississippi, in the shadow of Elvis, his undiagnosed autism led to troubles at an early age that led to prescribed medication, which led to un-prescribed medication, which led to being institutionalised for addiction and mental health issues at a too young age. Eventually, discarded onto the streets of Memphis, he found music, which became the one constant positive force in his life. Memphis led to San Francisco and San Francisco led to heroin and heroin led to a near fatal overdose on the corner of 16th and Mission, so harrowingly memorialized in his song Little Colored Balloons.
Music again came to his rescue and led him to Tim Mooney (American Music Club) and the group of musicians that helped create his 2012 masterpiece The Graceless Age. The accolades rolled in..
'A Masterpiece' UNCUT 9/10
'A work of genius' THE GUARDIAN 5/5
'Intensely beautiful… Like Father John Misty, Mark Lanegan and Josh T Pearson
rolled into one really broken dream' Q MAGAZINE 4/5
'Completely blows your mind' THE SUN 5/5
MOJO 5/5
And John toured the world. He entranced and devastated audiences with his raw, unfiltered live performances, and it looked like his trajectory was set, that music had won and would have the final word. And then Tim Mooney, John’s mentor, his beacon, his bedrock, died suddenly and unexpectedly… and John’s world fell back in to chaos. Over the next few years, John would lose the footing that he had struggled so hard to establish. He would lose his wife, his daughter, temporarily his freedom and ultimately his country.
Somewhere along this volatile journey, John crossed paths with Michael Timmins of Cowboy Junkies. John had opened for the band at a show in Glasgow and Michael watched side-stage transfixed by John’s performance. Over the next few years the two of them kept in touch, they talked about the music business, politics, books, but most of all they talked about music. And they talked about making an album together. Michael wanted to capture the rawness of John’s songs, capture the vibe that he experienced that night in Glasgow and was even more convinced of this approach when John came through Toronto opening for Chuck Prophet and did a solo set at The Horseshoe Tavern, which was as disarming and emotional as the set of music that he had experienced in Glasgow a couple of years earlier. “On The Graceless Age you can hear John’s affinity to artists such as Mark Linkous and Mark Lanegan, but seeing him on stage, with just his guitar and his songs reminded me of Townes (Van Zandt), that raw-boned, exquisite beauty, so real that it borders on the uncomfortable, you feel you should look away, but it’s just too compelling to do so. The pain, the intensity, the honesty just draws you deeper”.
Eventually John completed his descent and landed in Kilkenny, Ireland where he found some solid ground as part of a welcoming arts community. Michael then convinced him to travel to his Toronto studio where Michael put a band together consisting of brother Peter Timmins (Cowboy Junkies) on drums and Josh Finlayson (Skydiggers, Gord Downie, Lee Harvey Osmond) on bass. John brought along Cait O’Riordan (The Pogues, Elvis Costello) whom he had met in Ireland and who wanted to be a part of John’s journey. The five of them put aside five days to record all bedtracks and overdubs, with the brief that they would let the songs dictate where the journey took them, spontaneity was the order of the week. Michael Timmins describes the sessions, “I felt that it was important that John got out of his own way and that we set up a situation where he would just play and sing and the rest of us would just react, no second guessing, just react and capture the moment. It was a very inspired and inspiring week of playing and recording. Very intense. And I think we captured the raw essence of John’s writing and playing”.
A Short History Of Decay is an intensely personal document of an artist’s fall from grace. It contains all the tragic elements of that unwritten Southern Gothic novel: the revelations of a man coming to terms with the personal shortcomings, the flaws and the perverse twists of fate that led him to the end of one journey and the beginning of another.
‘Grief, divorce and excile inspire more gems of burnt, bruised Americana’ UNCUT 8/10
‘A Short History Of Decay delivers in gloriously dysfunctional bucketloads’ MOJO 4/5
‘The longer you spend in the darkness with him, the more beauty you’ll see’ COUNTRY MUSIC MAGAZINE
‘Gothic Americana from the recovery room’ 4/5 Q MAGAZINE
‘There is more than a touch of Cave’s brooding darkness about Murry, who’s rumbling voice and preoccupation with morality place him in a genre somewhere between Mark Lanegan and Mark Linkous’ THE QUIETUS
Media praise for The Graceless Age.
'A Masterpiece’ UNCUT - 9/10
'A work of genius' THE GUARDIAN - 5/5
'Intensely beautiful...Like Father John Misty, Mark Lanegan and Josh T Pearson rolled into one really broken dream' Q MAGAZINE - 4/5
'Completely blows your mind’ - THE SUN 5/5
MOJO - 5/5
Media praise for A Short History Of Decay
‘Grief, divorce and excile inspire more gems of burnt, bruised Americana’ UNCUT 8/10
‘A Short History Of Decay delivers in gloriously dysfunctional bucketloads’ MOJO 4/5
‘The longer you spend in the darkness with him, the more beauty you’ll see’ COUNTRY MUSIC MAGAZINE
‘Gothic Americana from the recovery room’ 4/5 Q MAGAZINE
‘There is more than a touch of Cave’s brooding darkness about Murry, who’s rumbling voice and preoccupation with morality place him in a genre somewhere between Mark Lanegan and Mark Linkous’ THE QUIETUS
‘Seer Of The Week’ – SUNDAY TIMES
Sanctuaire, William Faulkner
( Sanctuary)
le Livre de Poche, Paris, 1971
n° 362 / 363
couverture: Lucien Fontanarosa
(thanks to swallace!)
Dust jacket designed by E. McKnight Kauffer for Requiem for a Nun by William Faulkner. New York: Random House, 1951. PS3511.A86 R45 1951
John Murry was adopted at birth into the family of William Faulkner. Some have speculated that the Faulkner blood might also run in his veins, but that should be left for a Southern Gothic novel yet to be written (or perhaps re-written). Raised in Tupelo, Mississippi, in the shadow of Elvis, his undiagnosed autism led to troubles at an early age that led to prescribed medication, which led to un-prescribed medication, which led to being institutionalised for addiction and mental health issues at a too young age. Eventually, discarded onto the streets of Memphis, he found music, which became the one constant positive force in his life. Memphis led to San Francisco and San Francisco led to heroin and heroin led to a near fatal overdose on the corner of 16th and Mission, so harrowingly memorialized in his song Little Colored Balloons.
Music again came to his rescue and led him to Tim Mooney (American Music Club) and the group of musicians that helped create his 2012 masterpiece The Graceless Age. The accolades rolled in..
'A Masterpiece' UNCUT 9/10
'A work of genius' THE GUARDIAN 5/5
'Intensely beautiful… Like Father John Misty, Mark Lanegan and Josh T Pearson
rolled into one really broken dream' Q MAGAZINE 4/5
'Completely blows your mind' THE SUN 5/5
MOJO 5/5
And John toured the world. He entranced and devastated audiences with his raw, unfiltered live performances, and it looked like his trajectory was set, that music had won and would have the final word. And then Tim Mooney, John’s mentor, his beacon, his bedrock, died suddenly and unexpectedly… and John’s world fell back in to chaos. Over the next few years, John would lose the footing that he had struggled so hard to establish. He would lose his wife, his daughter, temporarily his freedom and ultimately his country.
Somewhere along this volatile journey, John crossed paths with Michael Timmins of Cowboy Junkies. John had opened for the band at a show in Glasgow and Michael watched side-stage transfixed by John’s performance. Over the next few years the two of them kept in touch, they talked about the music business, politics, books, but most of all they talked about music. And they talked about making an album together. Michael wanted to capture the rawness of John’s songs, capture the vibe that he experienced that night in Glasgow and was even more convinced of this approach when John came through Toronto opening for Chuck Prophet and did a solo set at The Horseshoe Tavern, which was as disarming and emotional as the set of music that he had experienced in Glasgow a couple of years earlier. “On The Graceless Age you can hear John’s affinity to artists such as Mark Linkous and Mark Lanegan, but seeing him on stage, with just his guitar and his songs reminded me of Townes (Van Zandt), that raw-boned, exquisite beauty, so real that it borders on the uncomfortable, you feel you should look away, but it’s just too compelling to do so. The pain, the intensity, the honesty just draws you deeper”.
Eventually John completed his descent and landed in Kilkenny, Ireland where he found some solid ground as part of a welcoming arts community. Michael then convinced him to travel to his Toronto studio where Michael put a band together consisting of brother Peter Timmins (Cowboy Junkies) on drums and Josh Finlayson (Skydiggers, Gord Downie, Lee Harvey Osmond) on bass. John brought along Cait O’Riordan (The Pogues, Elvis Costello) whom he had met in Ireland and who wanted to be a part of John’s journey. The five of them put aside five days to record all bedtracks and overdubs, with the brief that they would let the songs dictate where the journey took them, spontaneity was the order of the week. Michael Timmins describes the sessions, “I felt that it was important that John got out of his own way and that we set up a situation where he would just play and sing and the rest of us would just react, no second guessing, just react and capture the moment. It was a very inspired and inspiring week of playing and recording. Very intense. And I think we captured the raw essence of John’s writing and playing”.
A Short History Of Decay is an intensely personal document of an artist’s fall from grace. It contains all the tragic elements of that unwritten Southern Gothic novel: the revelations of a man coming to terms with the personal shortcomings, the flaws and the perverse twists of fate that led him to the end of one journey and the beginning of another.
‘Grief, divorce and excile inspire more gems of burnt, bruised Americana’ UNCUT 8/10
‘A Short History Of Decay delivers in gloriously dysfunctional bucketloads’ MOJO 4/5
‘The longer you spend in the darkness with him, the more beauty you’ll see’ COUNTRY MUSIC MAGAZINE
‘Gothic Americana from the recovery room’ 4/5 Q MAGAZINE
‘There is more than a touch of Cave’s brooding darkness about Murry, who’s rumbling voice and preoccupation with morality place him in a genre somewhere between Mark Lanegan and Mark Linkous’ THE QUIETUS
Media praise for The Graceless Age.
'A Masterpiece’ UNCUT - 9/10
'A work of genius' THE GUARDIAN - 5/5
'Intensely beautiful...Like Father John Misty, Mark Lanegan and Josh T Pearson rolled into one really broken dream' Q MAGAZINE - 4/5
'Completely blows your mind’ - THE SUN 5/5
MOJO - 5/5
Media praise for A Short History Of Decay
‘Grief, divorce and excile inspire more gems of burnt, bruised Americana’ UNCUT 8/10
‘A Short History Of Decay delivers in gloriously dysfunctional bucketloads’ MOJO 4/5
‘The longer you spend in the darkness with him, the more beauty you’ll see’ COUNTRY MUSIC MAGAZINE
‘Gothic Americana from the recovery room’ 4/5 Q MAGAZINE
‘There is more than a touch of Cave’s brooding darkness about Murry, who’s rumbling voice and preoccupation with morality place him in a genre somewhere between Mark Lanegan and Mark Linkous’ THE QUIETUS
‘Seer Of The Week’ – SUNDAY TIMES
The silent earth looms blackly in the dawning
Sharp as poured ink beneath the grey
Mists spectral, clutching fingers.
William Faulkner to his father, 9 September 1918
A quarter-century ago the Faulkner and Yoknapatawpha conference tackled the issue of “Faulkner and Race.” In 2013, the 40th annual conference seeks to build on and complicate this earlier work by exploring the relationships between Faulkner’s oeuvre and a hemispheric corpus of black writing, with a particular emphasis on African American literature and intellectual production, from slave narrative to the contemporary era of Toni Morrison, Ishmael Reed, John Edgar Wideman, Maryse Conde, Charles Johnson, Gloria Naylor, David Bradley, Randall Kenan, Edouard Glissant, Erna Brodber, Jesmyn Ward, Edwige Danticat, and so many others. Photo by Robert Jordan/Ole Miss Communications
taken by my husband, Gary Bridgman, (c) 2000. I used to live across the street from the cemetery and we'd often find bottles (empty and full) left in homage to WF.
I watched the old movie The Big Sleep last night on my new TV set. The technical quality of the film was OK so I tried to take a few pictures of the sreen, while watching this Hollywood classic, directed by Howard Hawks and starring Humphrey Borgart and Lauren Bacall.
The film is based on the novel by Raymond Chandler and another famous writer, William Faulkner was involved in writing the screen play.
I watched the old movie The Big Sleep last night on my new TV set. The technical quality of the film was OK so I tried to take a few pictures of the sreen, while watching this Hollywood classic, directed by Howard Hawks and starring Humphrey Borgart and Lauren Bacall.
The film is based on the novel by Raymond Chandler and another famous writer, William Faulkner was involved in writing the screen play.