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UNIVERSITY OF FLORIDA LIBRARIES
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 Books by Carvel Collins The American Sporting Gallery
Literature in the Modern World (With Others) Editor Frank Norris:
McTeague (Rinehart Edition) William Faulkner: New Orleans Sketches
William Faulkner: The Unvanquished (Signet Classics Edition) Erskine
Caldwell's Men and Women Faulkner's University Pieces William
Faulkner: Early Prose and Poetry
William Faulkner: Early Prose and Poetry
 William Faulkner: Early Prose and Poetry Compilation and
Introduction by Carvel Collins by. (fcSL-Hfcs WITH ILLUSTRATIONS
An Atlantic Monthly Press Book LITTLE, BROWN AND COMPANY ■
BOSTON • TORONTO
 c COPYRIGHT (C) I962 BY CARVEL COLLINS ALL RIGHTS
RESERVED. NO PART OF THIS BOOK MAY BE REPRODUCED IN ANY
FORM WITHOUT PERMISSION IN WRITING FROM THE PUBLISHER,
EXCEPT BY A REVIEWER WHO MAY QUOTE BRIEF PASSAGES IN A
REVIEW TO BE PRINTED IN A MAGAZINE OR NEWSPAPER. LIBRARY
OF CONGRESS CATALOG CARD NO. 62-17953 FIRST EDITION
ATLANTIC-LITTLE, BROWN BOOKS ARE PUBLISHED BY LITTLE,
BROWN AND COMPANY IN ASSOCIATION WITH THE ATLANTIC
MONTHLY PRESS Published simultaneously in Canada by Little,
Brown & Company {Canada) Limited PRINTED IN THE UNITED
STATES OF AMERICA
 To the amiable members of the Faulkner Seminar,
University of Tokyo, 1961-62, the compilation of this volume is
warmly dedicated.
 Preface William Faulkner added to his already growing
reputation in Japan when he took part in the seminar of university
teachers and students held at Nagano in 1955. Strongly impressed
by him, members of that seminar have said they doubt they will ever
again experience such an incandescent meeting. And younger
Japanese students have volunteered that they not only admire
Faulkner's fiction but would like to thank him for the address he
wrote "To the Youth of Japan." Now that Faulkner is again the
subject of study by a seminar of students and teachers in Japan, at
the University of Tokyo, it is pleasant to present to them in this
volume some of the work he produced forty years ago while he
himself was part of a university community. When Faulkner's
University of Mississippi poetry, prose, and drawings first came to
the compiler's knowledge, it seemed well not to reprint such early
work. His great, mature books had not yet won him the Nobel Prize;
and though readers were admiring them in increasing numbers,
many critics still held them in low regard. But now, widely
recognized as a major world writer, Faulkner has such stature that
even his earliest works are of interest to many. So it no longer
seems helpful to postpone reprinting such pieces. And it seems well
to reprint them now in the hope of avoiding confusion like that
which a few years ago accompanied the reprinting of Faulkner's
early New Orleans newspaper sketches: During the same [ ix ]
 year in which the compiler came upon and postponed
reprinting these University of Mississippi pieces he came upon those
New Orleans sketches and thought it best also to postpone
reprinting them, for the same reason. But within a short time other
admirers of Faulkner published eleven of the sixteen New Orleans
sketches and later, after hearing about two more of them, published
a second volume containing just those two sketches. It then seemed
proper to bring out the complete set of sixteen New Orleans
sketches — and that postponing their reprinting had clearly not been
a service to Faulkner studies after all. The situation has begun to
repeat itself with Faulkner's University of Mississippi pieces: most of
them have been found and several projects for publishing them are
planned by scholars who have not come upon all the materials
reprinted here, already a few of the drawings have been reproduced,
parts of the prose have been quoted in articles, and an article in an
anthology of college writing has reprinted part of the poems. So,
with close students of Faulkner here and elsewhere becoming
interested in his early writings, it seems well to publish this little
compilation now to honor both Faulkner's effectiveness at Nagano
and the enthusiasm of the members of the current University of
Tokyo seminar. The many people whose reminiscences, advice, and
general assistance have made possible the gathering of these and
similar materials already know the compiler's full awareness of the
debt he owes them, which he looks forward to acknowledging in
detail elsewhere. Here he wants to take the opportunity to thank
those who sup[ x ]
 plied the documents, sanctions, and professional services
on which this little compilation immediately depends: the staffs of
The Mississippian newspaper and the Ole Miss annual for their
generosity and cooperation; Mr. George W. Healey, Jr., and the late
Dr. Raymond B. Zeller, former Editors of The Scream, and Mr.
Branham Hume, former Business Manager of that magazine, for
their support and open-handed offering of drawings and details of
publishing history; Dr. Leon Picon of the United States Embassy
here, who contributed so much in 1955 to the success of the Nagano
seminar, for information and advice; Mrs. John Pilkington for her
generous and efficient checking of Mississippi documents; the staffs
of the libraries at the University of Mississippi, the Massachusetts
Institute of Technology, the University of Texas, Harvard University,
and Yale University for assistance of many kinds; the staff of the
Microreproduction Laboratory at M.I.T. for reproductions of
illustrations and for skillful photographic salvaging of burned
manuscript pages; the staff of the office which registers the deeds of
Lafayette County, Mississippi, for unflagging patience during the
examination of their file of Oxford newspapers; as well as the staff
of the Oxford Eagle for assistance far beyond the call of hospitality.
And because it has been a pleasure to assemble this little volume,
from materials brought to Japan as seminar illustrations with no
thought of publishing them as a book, the compiler wants to thank
those Japanese students who urged its publication out of their
admiration for William Faulkner. Tokyo, 1961 [ xi ]
 Preface to the American Edition These early published
works by William Faulkner having been made available to Japanese
readers because of a seminar offered at the University of Tokyo, it
has been suggested that they be made available to Americans
interested in Faulkner's writing. This edition expands the Japanese
volume by adding photographs and "Portrait," the poem which
Faulkner published in the New Orleans Double Dealer during 1922
while he was still at the University of Mississippi. The appendix
added to this edition contains four works which Faulkner published in
the same literary magazine in 1925 shortly after leaving the
University for New Orleans: two critical essays which bear on his
University writings, and two poems — "Dying Gladiator" and "The
Faun" — which ne published before his first novel and which are not
included among the poems he later collected in A Green Bough.
Though these two essays and three poems from the Double Dealer
were among the items reprinted in 1932 by Paul Romaine in his
Salmagundi, that volume is unfortunately out of print. The compiler
and the publishers want to express their gratitude to Mrs. Lillian
Friend Marcus, Managing Editor of the Double Dealer, for her
permission to reprint here these additional works of early prose and
poetry by William Faulkner. Cambridge, Massachusetts, 1962 [ xiii ]
 Contents Preface ix Preface to the American Edition xiii
Faulkner at the University of Mississippi 3 L'Apres-Midi d'un Faune 39
Cathay 41 Landing in Luck 42 Sapphics 51 After Fifty Years 53 Une
Ballade des Femmes Perdues 54 Naiads' Song 55 Fantoches 57 Clair
de Lune 58 Streets 59 A Poplar 60 A Clymene 61 Study 62 Alma
Mater 64 To a Co-ed 70 Books and Things: In April Once by W. A.
Percy 71 Books and Things: Turns and Movies by Conrad Aiken 74
Co-education at Ole Miss 77 Nocturne 82 Books and Things: Aria da
Capo by Edna St. Vincent Millay 84 [ XV ]
 Books and Things: American Drama: Eugene O'Neill 86 The
Hill 90 Books and Things: American Drama: Inhibitions 93 Portrait 99
Books and Things: Joseph Hergesheimer 101 Appendix On Criticism
109 Dying Gladiator 113 Verse Old and Nascent: A Pilgrimage 114
The Faun 119 Notes on the Text 123 [xvi ]
William Faulkner: Early Prose and Poetry
 Faulkner at the University of Mississippi William Faulkner
drew a picture for the 1916-1917 annual of the University of
Mississippi. It began a series of contributions he was to make during
the next eight years to that annual, to the University newspaper, and
to a University humor magazine. By 1925 these three publications
had brought out at least sixteen more of his drawings, sixteen of his
poems, his first published short story and prose sketch, and six of
his reviews and literary articles — the artistic explorations of a young
man who would become the best novelist his country has produced
in this century. Faulkner's father, an officer in the administration of
the University of Mississippi, which adjoins the town of Oxford, had a
house on its campus, in which William Faulkner lived for much of the
period under discussion here. In such close physical association with
the University he found its publications open to him not only during
the time he was enrolled as a student but earlier when he worked at
a bank and later when he ran the University Post Office. [ 3 ]
 A former student of that era has kindly volunteered his
memory that Faulkner wrote in 1916 for the University's newspaper
two or three imitation "Letters of a Japanese School Boy" which
were his earliest publications. A series of such letters did appear; but
at its conclusion the newspaper identified its author as another man,
and there seems to be little possibility of attributing individual letters
from that series to Faulkner. It seems equally impossible to attribute
to him with any certainty another, shorter series of imitation letters
of the same period, though he may have written some of them.
Even high school publications as yet unavailable may contain written
juvenilia or drawings similar to ten of Faulkner's pen-and-ink school
sketches which survive from 1913. But his first published work which
this investigation has been able to identify is the signed drawing for
the 19161917 Ole Miss annual. It was followed the next year by two
signed drawings in the 1917-1918 Ole Miss, one of them for the
same "Social Activities" page his first had decorated, the other to
decorate a page listing the members of a dancing group. Faulkner
presumably supplied the staff of Ole Miss with these drawings before
April 10, 1918; for on that day he began work as a ledger clerk at an
armament company in Connecticut. Signing up with the Royal Flying
Corps, and then resigning from his job as clerk on June 15, 1918, he
made a brief trip home to visit his family before leaving Mississippi
on July 8, 1918, for Toronto, Canada, to begin training as a pilot.
Four months later came the Armistice. When the British re[ 4 ]
 William Faulkner in 1918, as a Cadet in the Royal Flying
Corps, Training in Canada [ 5 ]
 leased him from training the following month, he returned
from Canada to Mississippi. That spring and summer — according to
Phil Stone, a close associate of those days — Faulkner did even more
reading than usual and wrote much of the poetry he would revise for
The Marble Faun of five years later. On August 6, 1919, The New
Republic printed his poem "L'Apres-Midi d'un Faune," his first piece
of writing known to have been published and his first published draft
on the Symbolist poets from whom he would draw so much. At
summer's end, on September 19, 1919, he registered as a student at
the University of Mississippi, enrolling in French, Spanish, and the
sophomore survey of English literature. His first contributions to the
University's newspaper, The Mississippian, were a slightly revised
version of "L'Apres-Midi d'un Faune" in October and, on November
12, 1919, the poem "Cathay." "Cathay" illustrates some of the
uncertainties which accompany reprinting these pieces: Lines of the
poem in The Mississippian seem to have been disturbed by faulty
typesetting, but perfect guidance for emendation is not to be found
in the other three available versions. The most accessible of the
three is a typescript William Faulkner loaned to the Princeton
University Library for its exhibition of 1957, which now can be seen
as Plate 3 among the illustrations in James B. Meriwether's excellent
book The Literary Career of William Faulkner (Princeton, 1961). It
differs from the printed version at points where The Mississip[ 6 ]
 pian seems not to have made typographical errors. The
other two versions came to light about a decade after a 1941 fire
had destroyed a house containing early Faulkner papers — when I
was able, with the kind consent and help of the owners, to separate
from the debris, dry out, and read more than four hundred and
seventy pages, including a damaged holograph version of this poem
dated 1920 and an undated, damaged typescript of it. They differ at
several points not only from the version in The Mississippian but
from the version Mr. Faulkner loaned to Princeton. These documents
differ because William Faulkner revised and improved his early
poems for several years, printing some of them as late as 1933,
after he not only had become a novelist but had created that
fictional masterpiece, The Sound and the Fury. The Mississippian
launched Faulkner as an author of fiction two weeks after it had
printed his poem "Cathay," when it brought out on November 26,
1919, the first story he is known to have published, titled "Landing in
Luck" and set at a military training aerodrome in Canada. In the
same issue the newspaper published another of his poems,
"Sapphics," and in subsequent issues during the rest of that 1919-
1920 academic year published ten more. Most of them were more
sophisticated than the verse other students wrote for the newspaper,
and the discrepancy created opposition to Faulkner's work. On
February 4, 1920, the week after he published "Une [ 7 ]
 Ballade des Femmes Perdues," a fellow student parodied it.
After Faulkner published "Naiads' Song" and "Fantoches," which the
paper mis-set as "Fantouches," the parodist struck again, with
"Whotouches," signed "J." As an artist partly apprenticed to the
Symbolists, Faulkner already must have learned from them to expect
hostility of this sort; and one would like to imagine that, while he
was learning to adapt to his own circumstances and skills some of
the aesthetic practice and theory of the authors of "L'Apres-midi dun
Faune" and "Fantoches," Faulkner was also learning from les poetes
maudits to cherish more and more the natural independence and
self-containment within which he has recorded his aesthetic
perceptions with remarkable indifference to much neglect and
hostility during long early years, great adulation during recent years,
and considerable misunderstanding throughout. With his
"Fantoches," on February 25, 1920, Faulkner began the publication
of a group of four poems which he specifically connected with their
source, in this case the work of Paul Verlaine. "Clair de Lune," the
second of this group of four — all of them using Verlaine's titles —
appeared on March 3, 1920, and the third, "Streets," on March 17.
Faulkner's adaptation of Verlaine's "Streets" was not his only
contribution to that issue of The Mississippian; in addition to a poem
called "A Poplar" he published one of the very few responses he has
ever made to the reactions of his readers, a reply to the student "J"
who had parodied two of his earlier poems. Appearing under the title
"The Ivory Tower," [ 8 ]