Eudora Welty, Home by Dark/Yalobusha County. 1936. Via. This is also the cover image for the 1990 Vintage edition of Go Down, Moses.
What follows is some thinking-out-loud that will be part of the chapter on Go Down, Moses and Tent of Miracles–specifically, an attempt to tie together land and cultural expression in the two novels. (Progress report: It’s coming along, but it has felt at times like I am a vulture circling high in the sky over an animal to make sure it is dead before I will alight on it. I’m pretty sure it’s dead now.)
It’s below the fold to spare those who won’t be interested; here, though, is the tl;dr version: 1) At the time he wrote it, Go Down, Moses was Faulkner’s most intimate exploration of not just black-white relations but of black lives and black interiority. Still, though, it is a novel that is ultimately more concerned with white attempts to come to terms with the post-bellum South. Thus, those glimpses of black lives we have are (mis)read by whites, but some of them resist any attempt to read them. This brings me to: 2) You can learn a heck of a lot about how to read Faulkner from Minrose Gwin.
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The cover of a Brazilian(?) edition of Amado’s novel, via (though this particular copy of the book is no longer for sale at that site).
I have begun my reread of Brazilian writer Jorge Amado’s novel Tent of Miracles, which I have paired with Faulkner’s Go Down, Moses in chapter 2 of the book project. I’ll start off this post by making a couple of points regarding Ike McCaslin’s relationship to the land, and then I’ll make some comparisons between that and Tent of Miracles‘ treatment of Bahia, along with some initial remarks comparing Ike to Tent of Miracles‘ protagonist, Pedro Archanjo. A good starting point for where I will be headed, though, is to compare the cover art for the Amado novel (which appears to be a scene from the 1977 film version) with that of the first edition of Go Down, Moses, which I posted here. Though admittedly a bit of a cherry-pick on my part, that cover, with its depiction of a vast landscape empty of people, contrasted with the cover of Amado’s novel–the frame crowded with people, dressed and equipped with a fusion of Western and African-diaspora clothes and instruments–serves quite nicely as a starting point for this post.
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