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Product Details

  • Series: Vintage International
  • Paperback: 240 pages
  • Publisher: Vintage; Reprint edition (January 3, 2012)
  • Language: English
  • ISBN-10: 0307946800
  • ISBN-13: 978-0307946805
  • Product Dimensions: 7.9 x 5.2 x 0.7 inches
  • Shipping Weight: 11.2 ounces (View shipping rates and policies)
  • Average Customer Review: 3.1 out of 5 stars  See all reviews (11 customer reviews)
  • Amazon Best Sellers Rank: #307,975 in Books (See Top 100 in Books)

Editorial Reviews

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.

Excerpt. © Reprinted by permission. All rights reserved.

ACT I

The Courthouse

(a name for the city)

The courthouse is less old than the town, which began somewhere under the turn of the century as a Chickasaw Agency trading-post and so continued for almost thirty years before it discovered, not that it lacked a depository for its records and certainly not that it needed one, but that only by creating or anyway decreeing one, could it cope with a situation which otherwise was going to cost somebody money;

The settlement had the records; even the simple dispossession of Indians begot in time a minuscule of archive, let alone the normal litter of man’s ramshackle confederation against environment—that time and that wilderness;—in this case, a meagre, fading, dogeared, uncorrelated, at times illiterate sheaf of land grants and patents and transfers and deeds, and tax- and militia-rolls, and bills of sale for slaves, and counting-house lists of spurious currency and exchange rates, and liens and mortgages, and listed rewards for escaped or stolen Negroes and other livestock, and diary-like annotations of births and marriages and deaths and public hangings and land-auctions, accumulating slowly for those three decades in a sort of iron pirate’s chest in the back room of the postoffice- tradingpost-store, until that day thirty years later when, because of a jailbreak compounded by an ancient monster iron padlock transported a thousand miles by horseback from Carolina, the box was removed to a small new leanto room like a wood- or tool-shed built two days ago against one outside wall of the morticed-log mud-chinked shake-down jail; and thus was born the Yoknapatawpha County courthouse: by simple fortuity, not only less old than even the jail, but come into existence at all by chance and accident: the box containing the documents not moved from any place, but simply to one; removed from the trading-post back room not for any reason inherent in either the back room or the box, but on the contrary: which—the box—was not only in nobody’s way in the back room, it was even missed when gone since it had served as another seat or stool among the powder- and whiskey- kegs and firkins of salt and lard about the stove on winter nights; and was moved at all for the simple reason that suddenly the settlement (overnight it would become a town without having been a village; one day in about a hundred years it would wake frantically from its communal slumber into a rash of Rotary and Lion Clubs and Chambers of Commerce and City Beautifuls: a furious beating of hollow drums toward nowhere, but merely to sound louder than the next little human clotting to its north or south or east or west, dubbing itself city as Napoleon dubbed himself emperor and defending the expedient by padding its census rolls—a fever, a delirium in which it would confound forever seething with motion and motion with progress. But that was a hundred years away yet; now it was frontier, the men and women pioneers, tough, simple, and durable, seeking money or adventure or freedom or simple escape, and not too particular how they did it.) discovered itself faced not so much with a problem which had to be solved, as a Damocles sword of dilemma from which it had to save itself;

Even the jailbreak was fortuity: a gang—three or four—of Natchez Trace bandits (twenty-five years later legend would begin to affirm, and a hundred years later would still be at it, that two of the bandits were the Harpes themselves, Big Harpe anyway, since the circumstances, the method of the breakout left behind like a smell, an odor, a kind of gargantuan and bizarre playfulness at once humorous and terrifying, as if the settlement had fallen, blundered, into the notice or range of an idle and whimsical giant. Which—that they were the Harpes—was impossible, since the Harpes and even the last of Mason’s ruffians were dead or scattered by this time, and the robbers would have had to belong to John Murrel’s organization—if they needed to belong to any at all other than the simple fraternity of rapine.) captured by chance by an incidental band

of civilian more-or-less militia and brought in to the Jefferson jail because it was the nearest one, the militia band being part of a general muster at Jefferson two days before for a Fourth of July barbecue, which by the second day had been refined by hardy elimination into one drunken brawling which rendered even the hardiest survivors vulnerable enough to be ejected from the settlement by the civilian residents, the band which was to make the capture having been carried, still comatose, in one of the evicting wagons to a swamp four miles from Jefferson known as Hurricane Bottoms, where they made camp to regain their strength or at least their legs, and where that night the four—or three—bandits, on their way across country to their hideout from their last exploit on the Trace, stumbled onto the campfire. And here report divided; some said that

the sergeant in command of the militia recognised one of

the bandits as a deserter from his corps, others said that one

of the bandits recognised in the sergeant a former follower of

his, the bandit’s, trade. Anyway, on the fourth morning all of them, captors and prisoners, returned to Jefferson in a group, some said in confederation now seeking more drink, others said that the captors brought their prizes back to the settlement in revenge for having been evicted from it. Because these were frontier, pioneer, times, when personal liberty and freedom were almost a physical condition like fire or flood, and no community was going to interfere with anyone’s morals as long as the amoralist practised somewhere else, and so Jefferson, being neither on the Trace nor the River but lying about midway between, naturally wanted no part of the underworld of either;

But they had some of it now, taken as it were by surprise, unawares, without warning to prepare and fend off. They put the bandits into the log-and-mudchinking jail, which until now had had no lock at all since its clients so far had been amateurs—local brawlers and drunkards and runaway slaves—for whom a single heavy wooden beam in slots across the outside of the door like on a corncrib, had sufficed. But they had now what might be four—three—Dillingers or Jesse Jameses of the time, with rewards on their heads. So they locked the jail; they bored an auger hole through the door and another through the jamb and passed a length of heavy chain through the holes and sent a messenger on the run across to the postoffice- store to fetch the ancient Carolina lock from the last Nashville mail- pouch—the iron monster weighing almost fifteen pounds, with a key almost as long as a bayonet, not just the only lock in that part of the country, but the oldest lock in that cranny of the United States, brought there by one of the three men who were what was to be Yoknapatawpha County’s coeval pioneers and settlers, leaving in it the three oldest names—Alexander Holston, who came as half groom and half bodyguard to Doctor Samuel Habersham, and half nurse and half tutor to the doctor’s eight-year-old motherless son, the three of them riding horseback across Tennessee from the Cumberland Gap along with Louis Grenier, the Huguenot younger son who brought the first slaves into the country and was granted the first big land patent and so became the first cotton planter; while Doctor Habersham, with his worn black bag of pills and knives and his brawny taciturn bodyguard and his half orphan child, became the settlement itself (for a time, before it was named, the settlement was known as Doctor Habersham’s, then Habersham’s, then simply Habersham; a hundred years later, during a schism between two ladies’ clubs over the naming of the streets in order to get free mail delivery, a movement was started, first, to change the name back to Habersham; then, failing that, to divide the town in two and call one half of it Habersham after the old pioneer doctor and founder)—friend of old Issetibbeha, the Chickasaw chief (the motherless Habersham boy, now a man of twenty- five, married one of Issetibbeha’s grand-daughters and in the thirties emigrated to Oklahoma with his wife’s dispossessed people), first unofficial, then official Chickasaw agent until he resigned in a letter of furious denunciation addressed to the President of the United States himself; and—his charge and pupil a man now—Alexander Holston became the settlement’s first publican, establishing the tavern still known as the Holston House, the original log walls and puncheon floors and hand-morticed joints of which are still buried somewhere beneath the modern pressed glass and brick veneer and neon tubes. The lock was his:

Fifteen pounds of useless iron lugged a thousand miles through a desert of precipice and swamp, of flood and drouth and wild beasts and wild Indians and wilder white men, displacing that fifteen pounds better given to food or seed to plant food or even powder to defend with, to become a fixture, a kind of landmark, in the bar of a wilderness ordinary, locking and securing nothing, because there was nothing behind the heavy bars and shutters needing further locking and securing; not even a paper weight because the only papers in the Holston House were the twisted spills in an old powder horn above the mantel for lighting tobacco; always a little in the way, since it had constantly to be moved: from bar to shelf to mantel then back to bar again until they finally thought about putting it on the bi-monthly mail-pouch; familiar, known, presently the oldest unchanged thing in the settlement, older than the people since Issetibbeha and Doctor Habersham were dead, and Alexander Holston was an old man crippled with arthritis, and Louis Grenier had a settlement of his own on his vast plantation, half of which was not even in Yoknapatawpha County, and the settlement rarely saw him; older than the town, since there were new...

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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9 of 9 people found the following review helpful By D. Lowbrow on February 1, 2011
Format: Hardcover
Eight years ago Temple Drake, a privileged young Mississippi debutante, hopped off the back of a train to spend the afternoon with a young man and his motor car. It was a terrible mistake. Her date, Gowan Stevens, drank rather more than he could handle and abandoned his nubile protégée in a remote house crawling with Memphis gangsters. One sexual assault and one murder later, Temple found herself in residence at a Memphis brothel under the tutelage of the monstrous psychopath Popeye. But it wasn't all bad news: not only did Temple have access to funds sufficient to buy the very latest fashions, but she found love with a dashing local thug named Red. By the time she was liberated from her captivity, it was far from clear that she preferred the chaste comforts of home to the meretricious charms of Gayoso Street. Naturally, Temple's adventure caused quite a stir in little Jefferson, Mississippi. But Gowan Stevens, a southern gentlemen born and bred, stepped in to assuage his own sense of guilt and rescue Temple's honour by marrying her, thereby giving them both the chance to put their past behind them.

But "the past is never dead. It's not even past." Worse, "everyone must, or anyway may have to, pay for your past; that past is something like a promissory note with a trick clause in it which, as long as nothing goes wrong, can be manumitted in an orderly manner, but which fate or luck or chance, can foreclose on you without warning". And the past sure has caught up with Mrs Gowan Stevens: her infant daughter has been murdered by her black nurse Nancy, and it appears that Temple is somehow deeply implicated in the crime.
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4 of 4 people found the following review helpful By keetmom on December 10, 2012
Format: Paperback
William Faulkner is a master story teller, but his books are never an easy read. Requiem for a Nun is unusual because he tries to combine two literary forms and the result is not altogether successful, but it gets you thinking. The main part of the book is a moving historical narrative of the lost people and forgotten places of his mythical Yoknapatawpha county in Mississippi. This is truly lyrical writing and with its mourning for the displaced communities and pristine wonderland the original inhabitants inherited echoes very contemporary environmental themes. What is prosperity and what is progress Faulkner asks rhetorically of each successive generation. He takes no sides but it is very evident where his sympathies lie.

Interspersed with this account is a play set in the present day (the early 1950s) with questions this time about identity, truth and redemption. The play was reportedly staged by Albert Camus shortly after publication, but with its dense monologues is unlikely to have been accessible to most audiences. As a play to be read however, it is very cleverly constructed and its treatment of the key message that "little children, as long as they are little children, shall be intact, unanguished, untorn, unterrified" is one likely to remain with readers for a long time.

The book is certainly memorable and if you have pieced together bits about the complex history of Yoknapatawpha from Faulkner's other writings, its narrative half provides a very useful primer and enriching way of filling in some of the gaps.
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5 of 6 people found the following review helpful By An admirer of Saul on September 24, 2007
Format: Hardcover
Nancy, a negro servant, redeemed from the gutter by Temple Drake, murders her mistresses baby. Only Nancy and Temple know why,and Temple once again tries to redeem herself by saving Nancy from her fate.
The modern day thread is written in the form of a stage play, whilst this is interwoven with the ebb and flow of history and its monuments,legends and flotsam.
I've always hated James Joyce.I can appreciate his influence, but I've always felt other writers were better at being James Joyce than James Joyce himself was. And one of those-better by far-is William Faulkner.
He always admitted his debt to Joyce, and has turned Joyces style to build up a strong image of the influences of nature and history in the deep south; emphasising how our past always carries with it a promissory note that fate can choose to foreclose on at any time and demand payment in full-particularily resonant in the south- and how we all suffer like Christ on his cross for the sins we commit and for those of our fathers.

No, not Faulkners greatest work, it was written towards the end of his career, but there is enough of his genius in this work (The Jail I particularly enjoyed) that you come out the other end a bit wiser; knowing that the history and progress Faulkner wrote about is still relentlessly carrying on; never knowing when fate will produce a promissory for redemption!
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1 of 1 people found the following review helpful By M. Buzalka on January 13, 2014
Format: Kindle Edition
William Faulkner may be the most maddening of American A list authors. After a string of masterpieces and near masterpieces capped by the greatest of all American novels, Absalom Absalom, in 1936, Faulkner floundered. Much of his subsequent work consists either of episodic jobs (The Unvanquished, The Hamlet, Wild Palms, etc.) cobbled together from previously written/published works or misfires like Intruder in the Dust, a comedy aspiring to tragedy that ends up as neither. Requiem for a Nun is a seeming desperation move that mines Faulkner's first commercial success, Sanctuary, from 20 years earlier for inspiration, and deploys it in an experimental novel/play hybrid format apparently copied from John Steinbeck's recently published Burning Bright.

Both Burning Bright and Requiem for a Nun are stage plays with dialogue and stage directions fleshed out with novelistic narrative. I haven't read Burning Bright but I can say that the hybrid approach doesn't work very well in Requiem. For one thing, Faulkner's style is extremely ill-suited to the stage play format under the best of circumstances, given the requirement for extended dialogue. Dialogue is not a Faulkner strength as his characters all tend to talk in exactly the same way, that is, like William Faulkner, which can be jarring when you have hillbillies firing off ten-dollar words like academic pedants and mythological allusions like classics professors.

Requiem takes the story of Sanctuary's Temple Drake and fast-forwards about ten years. Temple in Sanctuary was a teenaged college freshman who wound up imprisoned in a Memphis whorehouse with a bad case of Stockholm Syndrome. In Requiem, she has been liberated and has married the drunken jackass who got her in the Sanctuary situation in the first place.
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