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Marking Time with Faulkner:
A Study of the Symbolic
Importance of the Mark and of Related Actions
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Literary Criticism of Marking
Time with Faulkner
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"This is a youthful book (not because it
would be a student's thesis, a researcher's work—it's that too—but
because its author thinks she has the eye to see the truth of what
she reads and she has too the spirit to tell exactly what she
sees). And seeing that truth, the lady who wrote it did something very valuable for
the Faulkner studios us (who, anyway, has a hard time, with such
bibliographies in front of him—or her): For Margaret Harrell makes
us see and feel what it would be like to be Faulkner. Of course,
one could guess what that would be like, the more so because the
Master himself has said it: "An artist is a creature driven by demons
. . . and he doesn't know why they should choose him, and he's usually
too busy to wonder why." Now, Margaret Harrell, herself an artist
(for she is a very delicate, and at the same time, very thoughtful,
serious, meditative poet, the author of that wonder, a many-volumed
poem, Love in Transition), wisely imitated the Master, not
trying to write about why Faulkner was who he was but how
he did that. So that her slender but brilliantly intelligent
book looks for that alone which in the many sounds and deep furies
of Faulkner's world (where, of course, it is not very easy to live
and to endure) make up that instant "of timeless beatitude," that
instant in which all that it takes to make a life, "take on a splendid
and timeless beauty." And, of course, being a poet herself, Ms.
Harrell finds that moment and that beauty—and, what is more—and,
I think this is the point of her book—she finds the mark Faulkner
made, in creating and recreating his world. For, as Margaret Harrell
tells us in her book—man leaves behind and after him what he does.
And being, as she says, an heir to Faulkner's birthday, chances
are she is right."
Mircea Ivanescu
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Last Modified on
September 30, 2002
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