In June 2005, Oprah Winfrey announced a surprising choice as the 55th selection for her influential book club. The coming months would be, she proclaimed, a “Summer of Faulkner,” focused on three of his novels—As I Lay Dying, The Sound and the Fury, and Light in August, available in a special 1,100-page box set weighing in at two pounds. Oprah’s website posted short videotaped lectures by three literature professors to assist readers in making sense of the writer’s notoriously demanding prose. The Faulkner trilogy quickly rose to the No. 2 spot on Amazon’s best-seller list. Some literary critics hailed Winfrey for bringing William Faulkner back into popular consciousness; others challenged any notion of recovery or revival, asking whether he had ever really gone away.
In the decade and a half since then, the issues of race and history so central to Faulkner’s work have grown only more urgent. How should we now regard this pathbreaking, Nobel Prize–winning author, who grappled with our nation’s racial tragedy in ways that at once illuminate and disturb—that reflect both startling human truths and the limitations of a white southerner born in 1897 into the stifling air of Mississippi’s closed and segregated society? In our current moment of racial reckoning, Faulkner is certainly ripe for rigorous scrutiny.
Michael Gorra, an English professor at Smith, believes Faulkner to be the most important novelist of the 20th century. In his rich, complex, and eloquent new book, The Saddest Words: William Faulkner’s Civil War, he makes the case for how and why to read Faulkner in the 21st by revisiting his fiction through the lens of the Civil War, “the central quarrel of our nation’s history.” Rarely an overt subject, one “not dramatized so much as invoked,” the Civil War is both “everywhere” and “nowhere” in Faulkner’s work. He cannot escape the war, its aftermath, or its meaning, and neither, Gorra insists, can we. As the formerly enslaved Ringo remarks in The Unvanquished (1938) during Reconstruction-era conflict over voting rights, “This war aint over. Hit just started good.” This is why for us, as for Jason and Quentin Compson in The Sound and the Fury (1929), was and again are “the saddest words.” As Gorra explains, “What was is never over.”
In setting out to explore what Faulkner can tell us about the Civil War and what the war can tell us about Faulkner, Gorra engages as both historian and literary critic. But he also writes, he confesses, as an “act of citizenship.” His book represents his own meditation on the meaning of the “forever war” of race, not just in American history and literature, but in our fraught time. What we think today about the Civil War, he believes, “serves above all to tell us what we think about ourselves, about the nature of our polity and the shape of our history.”