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Pylon: The Corrected Text [Mass Market Paperback]

William Faulkner (Author)
3.5 out of 5 stars  See all reviews (12 customer reviews)


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Book Description

March 12, 1987
The new Vintage edition of the corrected text.

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From the Inside Flap

The new Vintage edition of the corrected text.

About the Author

William Faulkner was born in New Albany, Mississippi, on September 25, 1897. His family was rooted in local history: his great-grandfather, a Confederate colonel and state politician, was assassinated by a former partner in 1889, and his grandfather was a wealth lawyer who owned a railroad. When Faulkner was five his parents moved to Oxford, Mississippi, where he received a desultory education in local schools, dropping out of high school in 1915. Rejected for pilot training in the U.S. Army, he passed himself off as British and joined the Canadian Royal Air Force in 1918, but the war ended before he saw any service. After the war, he took some classes at the University of Mississippi and worked for a time at the university post office. Mostly, however, he educated himself by reading promiscuously.

Faulkner had begun writing poems when he was a schoolboy, and in 1924 he published a poetry collection, The Marble Faun, at his own expense. His literary aspirations were fueled by his close friendship with Sherwood Anderson, whom he met during a stay in New Orleans. Faulkner's first novel, Soldier’s Pay, was published in 1926, followed a year later by Mosquitoes, a literary satire. His next book, Flags in the Dust, was heavily cut and rearranged at the publisher’s insistence and appeared finally as Sartoris in 1929. In the meantime he had completed The Sound and the Fury, and when it appeared at the end of 1929 he had finished Sanctuary and was ready to begin writing As I Lay Dying. That same year he married Estelle Oldham, whom he had courted a decade earlier.

Although Faulkner gained literary acclaim from these and subsequent novels—Light in August (1932), Pylon (1935), Absalom, Absalom! (1936), The Unvanquished (1938), The Wild Palms (1939), The Hamlet (1940), and Go Down, Moses (1942)—and continued to publish stories regularly in magazines, he was unable to support himself solely by writing fiction. he worked as a screenwriter for MGM, Twentieth Century-Fox, and Warner Brothers, forming a close relationship with director Howard Hawks, with whom he worked on To Have and Have Not, The Big Sleep, and Land of the Pharaohs, among other films. In 1944 all but one of Faulkner's novels were out of print, and his personal life was at low ebb due in part to his chronic heavy drinking. During the war he had been discovered by Sartre and Camus and others in the French literary world. In the postwar period his reputation rebounded, as Malcolm Cowley's anthology The Portable Faulkner brought him fresh attention in America, and the immense esteem in which he was held in Europe consolidated his worldwide stature.

Faulkner wrote seventeen books set in the mythical Yoknapatawpha County, home of the Compson family in The Sound and the Fury. “No land in all fiction lives more vividly in its physical presence than this county of Faulkner’s imagination,” Robert Penn Warren wrote in an essay on Cowley’s anthology. “The descendants of the old families, the descendants of bushwhackers and carpetbaggers, the swamp rats, the Negro cooks and farm hands, the bootleggers and gangsters, tenant farmers, college boys, county-seat lawyers, country storekeepers, peddlers—all are here in their fullness of life and their complicated interrelations.” In 1950, Faulkner traveled to Sweden to accept the 1949 Nobel Prize for Literature. In later books—Intruder in the Dust (1948), Requiem for a Nun (1951), A Fable (1954), The Town (1957), The Mansion (1959), and The Reivers (1962)—he continued to explore what he had called “the problems of the human heart in conflict with itself,” but did so in the context of Yoknapatawpha’s increasing connection with the modern world. He died of a heart attack on July 6, 1962.


From the Trade Paperback edition.

Product Details

  • Mass Market Paperback: 336 pages
  • Publisher: Vintage; Vintage Books ed edition (March 12, 1987)
  • Language: English
  • ISBN-10: 0394747410
  • ISBN-13: 978-0394747415
  • Product Dimensions: 4.2 x 0.7 x 6.8 inches
  • Shipping Weight: 5.1 ounces
  • Average Customer Review: 3.5 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #1,254,851 in Books (See Top 100 in Books)

More About the Author

Born in 1897 in New Albany, Mississippi, William Faulkner was the son of a family proud of their prominent role in the history of the south. He grew up in Oxford, Mississippi, and left high school at fifteen to work in his grandfather's bank.

Rejected by the US military in 1915, he joined the Canadian flyers with the RAF, but was still in training when the war ended. Returning home, he studied at the University of Mississippi and visited Europe briefly in 1925.

His first poem was published in The New Republic in 1919. His first book of verse and early novels followed, but his major work began with the publication of The Sound and the Fury in 1929. As I Lay Dying (1930), Sanctuary (1931), Light in August (1932), Absalom, Absalom! (1936) and The Wild Palms (1939) are the key works of his great creative period leading up to Intruder in the Dust (1948). During the 1930s, he worked in Hollywood on film scripts, notably The Blue Lamp, co-written with Raymond Chandler.

William Faulkner was awarded the Nobel Prize for Literature in 1949 and the Pulitzer Prize for The Reivers just before his death in July 1962.

 

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Average Customer Review
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7 of 8 people found the following review helpful:
3.0 out of 5 stars Faulkner's curiously detached portrait of New Orleans and barnstormers, December 28, 2006
This review is from: Pylon: The Corrected Text (Mass Market Paperback)
Set in New Orleans (referred to as New Valois in the story), "Pylon" is a rare Faulkner work that takes place outside Mississippi. In it, an unnamed, down-on-his-luck reporter follows a small crew of barnstormers in town for an air show and is smitten by the tomboyish mechanic Laverne, who is involved in a menage a trois with the pilot and the parachute jumper. Their outmoded, ramshackle plane is held together by not much more than memory, and the pilot often has to take death-defying risks in order to win competitions for their hand-to-mouth income.

Complicating their hard existence is a fourth crew member, Jiggs, who suffers from unpredictable and terrifyingly deleterious alcohol binges. The reporter's well-meaning sociability starts Jiggs on an especially noteworthy bout of drinking and sets off a serious of events with tragic consequences.

The novel contains some of the most harrowing passages of drunkenness ever composed in English. The reporter acquires a "special" bottle of absinth (which is probably just really some bad moonshine) and ends up locking himself out of his apartment in a nightmarish sequence of blurry events. Then Jiggs starts on his bender and becomes consumed with the acquisition of just one more drink. Faulkner knows drunk: these Dantesque passages are as disturbing as anything offered later by Burroughs or by Philip K. Dick.

Less real and persuasive, however, are Faulkner's portraits of New Orleans and of the barnstormers themselves. Faulkner detested the city and especially the vulgarity of Mardi gras, and his distaste infuses his descriptions with the stance of a critical bystander rather than (as in his other works) the awareness of an understanding resident. Similarly, Faulkner spent the years 1933 and 1934 flying and participating in air shows (they were even billed as "William Faulkner's Air Circus"), and the members of the crew are based on real-life counterparts, but the novel's characters feel researched rather than lived. It's clear he both loves flying and sympathizes with the hard lives of the barnstormers, but the close-woven prose seems almost in conflict with the journalistic stance of the narrative.

Reminiscent at times of "Sanctuary" (particularly of the terrifying sections describing Temple Drake's horrifying captivity among the whiskey-runners at the Goodwin place), "Pylon" contains many memorable passages on drunken, confused, despairing lives--and these passages rescue the novel from its seemingly misplaced realism. "Pylon" is less than the sum of its parts--but some of those parts are still undeniably and uniquely Faulkner.
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9 of 11 people found the following review helpful:
3.0 out of 5 stars The Lovesong of W. C. Faulkner, January 2, 2003
This review is from: Pylon: The Corrected Text (Mass Market Paperback)
The financial success that Faulkner realized with the publication of "Sanctuary" made one thing very clear to the author: sex and violence would sell many books. And when in 1935, as he was at work on his monumental novel, "Absalom, Absalom," and needed a break from the complexities of that novel, he turned to pruriency once again in the hopes of making a few more easy dollars. But while many other authors would have fallen back on a tried and proven type of novel, Faulkner took his art to new areas. The novel is not set in Yoknapatawpha County, but in New Orleans (New Valois in the novel) and does not concern the interwoven family of characters that he had developed over the years, but a group of barnstorming aviators who follow the air race circuit across the country. There is the foolhardy pilot, his wife, a parachute jumper and a child who might be the issue of either man. That this menage a trois is carried out in the open and with the full complicity of all three members fascinates the newspaper reporter who is assigned to cover the air meet.

No doubt this is great stuff for the making of a sensational novel. But once again Faulkner fools his readers. While it is true that the novel has the tone of many of the contemporary crime novels of his day, Faulkner throws in enough Joycean word play, obscure symbolism, and obtuse prose to make it clear that, even when trying to make a buck, the author is playing by his own rules. The influence of T.S. Eliot is everywhere and there are obvious references to Eliot's "The Hollow Men," "The Waste Land" and "The Lovesong of J. Alfred Prufrock" (one of the novel's chapters bears this title). Balanced against the literary experiments with which Faulkner was playing is a narrative that is full of excitement and sexual tension, including what surely is the first description of a "Mile High Club" encounter in literature.

This is a dark and pessimistic novel, one that looks at the uncertainty of American society created by the dehumanizing effects of the machine age. Character development is kept to a minimum and the reader never gets to know any of the characters very well. They are all, like Eliot's poem, merely hollow men adrift in an indifferent world. To enhance the general tone of malaise that permeates the novel, Faulkner sets the action during the hedonistic celebrations of Mardi Gras and the effect is startling as the reader is submerged in an atmosphere of drunkenness, aimlessness, sexual obsession, and death. But no matter how inventive the narrative style or how powerful some of the passages, the novel does not match up to Faulkner's mature fiction and is more a curiosity piece than anything else - a harrowing respite of sorts before the publication of "Absalom, Absalom."

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2 of 3 people found the following review helpful:
4.0 out of 5 stars Liked It-Didn't Love It, March 16, 2002
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This review is from: Pylon: The Corrected Text (Mass Market Paperback)
Faulkner's humor, even in such lighthearted books as the Reivers, could never be called madcap. Even when Lena hands Byron Bunch down from the truck bed as though he were an infant, the comedy is derived from a sense of startling humiliation and debasement. That or it's as dark as shoe polish. This latter option is the case in Pylon, which, despite its overall gravity, has many funny moments.

The story: An unnamed reporter in New Valois, some forgotten hamlet with the sole distinction of having a regulation airport that hosts diverting but empty and pretentiously-hyped plane races. This reporter discovers a polyganous relationship between one pilot (Roger Schumman) and Laverne, whose shared son is of dubious origin. Then, as always happens in a Faulkner novel, a great, sinuous spate of events kicks in. The reporter is fired from his job (only to be rehired later) for obsessing over his new crew at the expense of his correspondence. Later, the reporter embezzles a considerable sum from his office (this in addition to many times cadging money from his boss) to pay for a dangerous plane for Roger to fly against the owner's wishes. Roger dies, the child falls by mother's indifference to the custody of the paternal grandparents.

Faulkner has, to my knowledge, never written a bad book. This good, but often spotty book comes the closest to out-and-out failure as any work in the Faulkner canon of which I know. I agree with an earlier reviewer, though: I'd sooner read Faulkner or Turgenev than the [stuff] most writers call popular fiction these days.

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