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Boxing Yoknapatawpha: Faulkner, Race, and Popular Front Boxing Narratives by Grant Bain One powerful and productive trend in recent Faulkner scholarship has been to situate "Count No Count" within the popular culture of the 1930s and early 1940s, examining his appropriation of its themes and narrative tactics. John T. Matthews has demonstrated, for example, how Faulkner both used and challenged Hollywood formulas in his script writing, and how he exported his experiences as a screenwriter to his fiction, as in the story "Artist at Home." 1 Read under this light, novels like Sanctuary (1931) and Intruder in the Dust (1948) clearly borrow from the popular genres of detective novels and noir film, unsurprising in light of Faulkner's time in Hollywood and his friendship with detective novelist Dashiell Hammett. Such scholarship so far has not recognized Faulkner's use of yet another highly popular trend -- the boxing narrative. While Faulkner never wrote a boxing story nor prominently featured boxers in his fiction, much of his best known work deftly and subtly borrows from the boxing narratives well known to naturalist writers of the late nineteenth and early twentieth centuries, and to Popular Front writers of the 1930s. Exploring the
The Southern Literary Journal – University of North Carolina Press
Published: Feb 13, 2013
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