<i>Absalom, Absalom!</i>, Haiti, and Labor History: Reading Unreadable Revolutions

Godden, Richard

doi:10.1017/cbo9780511585432.003

Fictions of Labor 1997

DOI: 10.1017/cbo9780511585432.003

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Absalom, Absalom!, Haiti, and Labor History: Reading Unreadable Revolutions

Richard Godden

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Cited by 8 publications

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References 25 publications

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“…Godden () foregrounds the importance of this scene and of labor dynamics in Absalom, Absalom! based on Hegel's master–slave dynamic.…”

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confidence: 99%

Building plantation America: Creolized design and captive labor in Wright, Faulkner, and Chesnutt

Emery

2020

Literature Compass

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Pairing Wright's Auldbrass and Faulkner's Absalom, Absalom! in light of Chesnutt's earlier novel, The House Behind the Cedars, we can read across literature and architecture to foundational myths of plantation America. These myths are embedded in the material structure of the veranda, framed architecturally and also verbally in the structures of literary narrative. However, in these modernist versions of the southern plantation, the myths repeat differently. Like the “guilty secret” screened behind the cedars of Chesnutt's fiction, an obscured global history of captive labor, entwined from its beginnings with creolized architectural design, comes into view. While Chesnutt brings our attention to the “back of the Big House,” Wright and Faulkner's reworkings of the plantation veranda display a contested aesthetic. Echoing the iconic features of the antebellum Big House, they also carry forward an alternate vision, one that counters the rigid patterning and control of racialized labor. Appreciated as “beyond plumb,” this aesthetic recalls different stories, different architects, and the creativity of enslaved plantation workers of earlier centuries.

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“…Godden () foregrounds the importance of this scene and of labor dynamics in Absalom, Absalom! based on Hegel's master–slave dynamic.…”

mentioning

confidence: 99%

Building plantation America: Creolized design and captive labor in Wright, Faulkner, and Chesnutt

Emery

2020

Literature Compass

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“Happen Is Never Once”: The Temporality of Modernism’s Black Atlantic

Recker¹

2014

arq

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The works of William Faulkner and Aimé Césaire demonstrate that the Black Atlantic’s circuits join the triangle trade not only spatially, but also temporally and historically. Furthermore, they articulate the temporality of a twentieth-century subject defined along the axis of the African diaspora—one who must manage both the (presumably) linear and progressive order of global capitalist industry and the historical vertigo and disenfranchisement of the transatlantic slave trade. This essay analyzes the formal techniques of both writers, particularly their use of temporal conflation, to show that rendering the “shock” of modernity demands addressing the slave trade that linked, and in many ways produced, the modern world.

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(Dis) Figuring the Dead: Embalming and Autopsy in Absalom, Absalom!

Bielawski¹

2009

The Faulkner Journal

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Absalom, Absalom!, Haiti, and Labor History: Reading Unreadable Revolutions

Cited by 8 publications

References 25 publications

Building plantation America: Creolized design and captive labor in Wright, Faulkner, and Chesnutt

Building plantation America: Creolized design and captive labor in Wright, Faulkner, and Chesnutt

“Happen Is Never Once”: The Temporality of Modernism’s Black Atlantic

(Dis) Figuring the Dead: Embalming and Autopsy in Absalom, Absalom!

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