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Publisher. Random House. Publication date. 1951. Pages. 254. Requiem for a Nun is a work of fiction written by William Faulkner. [1] It is a sequel to Faulkner's early novel Sanctuary, which introduced the characters of Temple Drake, her friend (later husband) Gowan Stevens, and Gowan's uncle Gavin Stevens.
- William Faulkner
- 1951
1. Nov. 2020 · Während Requiem for a Nun, von Faulkner selbst ursprünglich als Lesedrama konzipiert, in den USA zunächst für kaum aufführbar gehalten wurde, konnte es sich auf deutschsprachigen und vor allem auf französischen Bühnen (vgl. das Vorwort zu Albert Camus' Bearbeitung von 1956) rasch durchsetzen.
Requiem for a Nun (1951) is the source for Faulkner's best-known aphorism: "The past is never dead," Gavin Stevens tells Temple Drake in Act I, Scene III; "It's not even past" (73). The novel's own history is two decades long, and too complicated to do more than sketch out here.
5. Sept. 2023 · Requiem for a Nun is the sequel to William Faulkner's bestselling novel Sanctuary. It centers on the character of Temple Drake eight years after her harrowing kidnapping ordeal by the...
Requiem for a Nun—arguably Faulkner’s most historiographic novel—provides one compelling answer. In the three extended prose narratives that introduce the hybrid text’s dramatic “acts,” Faulkner gives us a grand vision of the emergence of Mississippi from the primal muck, the foundation of Jefferson as an incorporated town, and the ...
Summary. Anthony West. “Requiem for a Dramatist.”. New Yorker, September 22, 1951, pp. 109–12. Mr. Faulkner's new offering, Requiem for a Nun, is in the main a sequel to Sanctuary, and is concerned with the further misadventures of Temple Drake, a tomboy whose qualities have always had an unsettling effect on her creator.
Requiem for a Nun In Requiem for a Nun (1951), William Faulkner undertakes what has been construed as the feminist project of many women novelists: to ask how women whose lives have been made into social narratives can counteract those narratives and reclaim their own subjectivities, or, put another way, how two disempowered women can change their
