Miss Emily’s Death: The Truth Revealed (Faulkner/ Hemingway Dialogue)

Saturday, October 11, 2008

“The hills across the valley of the Ebro were long and white. On this side there was no shade and no trees and the station was between two lines of rails in the sun. Close against the side of the station there was” (120 Hills Like White Elephant, Hemingway) “a big squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street.” (26 A Rose for Emily, Faulkner) “The American and [William Faulkner]…sat at a table in the shade, outside…It was very hot…” (120 Hills Like White Elephant, Hemingway)

American (Hemingway): “It’s pretty hot…Let’s drink beer.” (120 Hills Like White Elephant, Hemingway)

Faulkner: “What’s your name, boy?” (163 Barn Burning, William Faulkner)

American (Hemingway): “Oh, cut it out.” (121 Hills Like White Elephant, Hemingway)

Faulkner: “I was being amused. I was having a fine time.” (121 Hills Like White Elephant, Hemingway) “We are two different kinds…It is not only a question of youth and confidence although those things are very beautiful.” (161 A Well Lighted, Clean Place, Hemingway)

American (Hemingway): “It’s the only thing that’s made us unhappy.” (121 Hills Like White Elephant, Hemingway) “When Miss Emily Grierson died, our whole town went to her funeral.” (26 A Rose for Emily, Faulkner)

Faulkner: “I told you…You’re getting to be a man. You got to learn.” (165-166 Barn Burning, Faulkner)

American (Hemingway): “But, Miss Emily—“(27 A Rose for Emily, Faulkner)

Faulkner: “Alive, Miss Emily had been a tradition, a duty, and a care; a sort of hereditary obligation upon the town, dating from that day in 1894 when Colonel Sartoris, the mayor…remitted her taxes, the dispensation dating from the death of her father on into perpetuity.” (26A Rose for Emily, Faulkner)

American (Hemingway): “But…We are city authorities…” (27 A Rose for Emily, Faulkner)

Faulkner: “She died in one of the downstairs rooms, in a heavy walnut bed with a curtain, her grey head propped on a pillow yellow and moldy with age and lack of sunlight.” (31 A Rose for Emily, Faulkner)

American (Hemingway): “But that’s not proof. Don’t you see that’s not proof?” (163 Barn Burning, Faulkner)

Faulkner: “This case is closed.” (164 Barn Burning, Faulkner) “Would you please please please please please please please Stop talking.” (123 Hills like White Elephant, Hemingway)

American (Hemingway): “You talk like an old man yourself.” (161 A Well Lighted, Clean Place, Hemingway)

Faulkner: “Are you trying to insult me?” (161 A Well Lighted, Clean Place) “Perhaps…you can gain access to the city records and satisfy [yourself].” (27 A Rose for Emily, Faulkner)

American (Hemingway): “No!” [Hemingway] said violently, explosively.” (164 Barn Burner, Faulkner) “I want some poison.” (29 A Rose for Emily, Faulkner)

Faulkner: “Come on back in the shade…You mustn’t feel that way.” (122 Hills like White Elephants) “Do like I told you…I don’t want to have to hit you!” (173 Barn Burning, Faulkner)

American (Hemingway): “I’m sure that won’t be necessary.” (27 A Rose for Emily, Faulkner) “I aim to…leave this country…I don’t figure to stay in a country among people who…” (164 Barn Burner, Faulkner)

Faulkner: “That’ll do” (164 Barn Burner, Faulkner) “The train comes in five minutes.” (Hills like White Elephants)

American (Hemingway): “Would you do something for me now?” (123 Hills like White Elephants, Hemingway)

Faulkner: “Come on stop talking nonsense…” (161A Well Lighted, Clean Place)

American (Hemingway): “You decline to answer that, [Faulkner]?” (171 Barn Burning, Faulkner)

Faulkner: “You do not understand…I want to go home and into bed…I’m sleepy now. I never get into bed before three o’clock.” (160 A Well Lighted, Clean Place, Hemingway)

American (Hemingway): “See you do then.” (173 Barn Burning, Faulkner)

Faulkner: “Don’t you see I can’t…” (174 Barn Burning, Faulkner) “I don’t care anything about it.” (122 Hills Like White Elephants) “Lemme be, I tell you” (165 Barn Burning, Faulkner)

American (Hemingway): “All right.” (123 Hills Like White Elephant, Hemingway)


Jenny L said...

In beginning to write my Faulkner/ Hemingway dialogue, I first printed out copies of the works of both Faulkner and Hemingway. I approached this assignment with no idea as to how the conversation would look like or what it would be about. My intentions were to just skim through each author’s stories and find potential conversation lines. However after 15 minutes of searching, I realized that I need to have an actual idea of what the conversation will be like in order to be productive. I first focused on the setting of where the actual conversation will take place. When thinking of setting, I immediately thought of Hills Like White Elephants and the isolation that that setting created. Therefore I chose to begin the conversation in a Hemingway-esque style trying to isolate Faulkner and Hemingway in their dialogue. However since the dialogue should portray both the styles of Hemingway and Faulkner, I decided to use a piece of the setting from Faulkner’s A Rose for Emily as well. As I developed the dialogue between Hemingway and Faulkner I noticed that both use very simple words in their character’s conversations but a greater syntax and diction in their descriptions. Their use of simple words made it simpler to create coherent sentences. When reading the works of both writers there is always this sense of ambiguity and mystery that arises in their characters’ conversations and I aimed to achieve that as well in their dialogue. I wanted their conversation to be vague and alluding to points that readers will come to a conclusion to. I wanted to make it seem as though Hemingway and Faulkner both played a role in the death of Miss Emily.
After listening to comments from Matt and Melissa, I realized that at certain points the conversation may be a bit confusing. However I think the confusion that certain lines of the dialogue create is similar to the confusion that may arise when first reading the works of Hemingway or Faulkner. They also reminded me to properly cite the lines because I had forgotten to put page numbers. In addition, they pointed out that a title that gives hints as to what the conversation would be like would help enhance the dialogue.
Of all three choices for the possible assignment I had assumed that this one in particular would be the easiest and least tedious of them all. However, I was wrong. This assignment required a lot of planning, creativity, and searching for not only lines that would fit, but that would lead to an interesting conversation. I found being able to find lines that would help to continue the conversation the hardest. There were many points in which I got stuck in not knowing where the conversation would go. Finding a proper closing line for the dialogue was difficult for me as well. Working on the dialogue, I found that the stories, Hills Like White Elephants, and A Rose for Emily were the easiest to find lines from because one was written in almost complete dialogue form and the latter is written under a narrative that includes “we”. This assignment allowed me to have a closer observation of both the works of Faulkner and Hemingway. I was surprised that even though both authors’ writing styles are so different, their lines can still flow together.
I find that my dialogue can be more in depth and provide more details as to their surroundings and mood as well. Though I liked how certain parts of the dialogue fit in together even though lines are taken from two completely different stories, I believe that their conversation can be more detailed and include more. The ending of the conversation can be improved as well to give it more of a definite conclusion. Working on this assignment was enjoyable because it was funny to imagine Faulkner and Hemingway sitting together, in the setting of both their stories, taking on roles and topics they have created themselves.
Overall, I was not only able to learn about the unique styles of Hemingway and Faulkner but I also saw some similarities between the two great American writers. Working on the dialogue, I realize that throughout the process I continue coming upon blocks in which I do not know what direction my writing will go. It is not only in the dialogue that this problem comes up but also in my writing of essays as well. I mostly allow my thoughts to flow in no particular direction waiting for an idea to come up. I realize that in order to be more efficient in my writing and create clearer points and messages, I must begin each of my writing assignments with a more organized plan.

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