WEBVTT 00:00:00.000 --> 00:00:00.670 align:middle line:90% 00:00:00.670 --> 00:00:03.170 align:middle line:84% You can compare the mapping features 00:00:03.170 --> 00:00:05.210 align:middle line:84% of Digital Yoknapatawpha with one 00:00:05.210 --> 00:00:07.000 align:middle line:84% of the "visualizations" features listed 00:00:07.000 --> 00:00:08.320 align:middle line:90% at the top of the screen. 00:00:08.320 --> 00:00:11.860 align:middle line:84% Let's try the "Narrative Analysis" feature. 00:00:11.860 --> 00:00:15.500 align:middle line:84% If you select "As I Lay Dying" on the left side of the screen 00:00:15.500 --> 00:00:19.630 align:middle line:84% at the very top you'll see a map of the events that 00:00:19.630 --> 00:00:22.960 align:middle line:84% show us that this is largely a chronological story. 00:00:22.960 --> 00:00:25.840 align:middle line:84% But, given that march forward through the narrative 00:00:25.840 --> 00:00:28.580 align:middle line:84% present of July late in the 1920s, 00:00:28.580 --> 00:00:32.320 align:middle line:84% we'll have to look more closely to see what, precisely, 00:00:32.320 --> 00:00:36.600 align:middle line:84% drags us back to the past, those events that are marked in blue. 00:00:36.600 --> 00:00:39.770 align:middle line:84% We see events like Jewel's acquisition of a horse, 00:00:39.770 --> 00:00:41.880 align:middle line:84% Dewey Dell's relationship with Lafe, 00:00:41.880 --> 00:00:44.880 align:middle line:84% and Addie's memory of the birth of each of her children, 00:00:44.880 --> 00:00:46.340 align:middle line:90% listed here. 00:00:46.340 --> 00:00:49.950 align:middle line:84% Most of these events are used to justify the characters' 00:00:49.950 --> 00:00:53.260 align:middle line:84% present actions to themselves, most often, 00:00:53.260 --> 00:00:55.280 align:middle line:90% rather than to other people. 00:00:55.280 --> 00:00:57.740 align:middle line:84% But those same past events are the pieces 00:00:57.740 --> 00:01:00.480 align:middle line:84% that Darl uses to learn of Jewel's parentage, 00:01:00.480 --> 00:01:04.190 align:middle line:84% as Darl links Dewey Dell's pregnancy to Addie's earlier 00:01:04.190 --> 00:01:05.160 align:middle line:90% pregnancy. 00:01:05.160 --> 00:01:07.670 align:middle line:84% Although each character is stuck in his or her 00:01:07.670 --> 00:01:10.690 align:middle line:84% own self-justifying relationship with the past, 00:01:10.690 --> 00:01:14.020 align:middle line:84% Darl is one of few who can consider other people's 00:01:14.020 --> 00:01:17.850 align:middle line:84% past experiences as a way of understanding the present. 00:01:17.850 --> 00:01:21.210 align:middle line:84% Addie's experience with language makes her skeptical of language 00:01:21.210 --> 00:01:22.630 align:middle line:90% when she interacts with others. 00:01:22.630 --> 00:01:25.260 align:middle line:84% Vardaman's experience being stuck in a crib 00:01:25.260 --> 00:01:28.660 align:middle line:84% gives him a radical sympathy for his mother in the coffin. 00:01:28.660 --> 00:01:32.280 align:middle line:84% But Darl reaches outside his own experience, 00:01:32.280 --> 00:01:34.550 align:middle line:84% using Dewey Dell's relationship with Lafe 00:01:34.550 --> 00:01:37.960 align:middle line:84% to understand his mother's secret affair which, 00:01:37.960 --> 00:01:40.030 align:middle line:84% of course, happened a long time ago, 00:01:40.030 --> 00:01:41.930 align:middle line:90% before our narrative present. 00:01:41.930 --> 00:01:44.270 align:middle line:84% One big question, of course, is what 00:01:44.270 --> 00:01:46.990 align:middle line:84% readers should do with the signs of Darl's own past 00:01:46.990 --> 00:01:50.240 align:middle line:84% that are sprinkled through the story: when he lies awake 00:01:50.240 --> 00:01:53.730 align:middle line:84% in a "strange room" or that event that happens late 00:01:53.730 --> 00:01:56.940 align:middle line:84% in the novel, when "Darl had a spy-glass," 00:01:56.940 --> 00:02:01.240 align:middle line:84% and we learn that he had been a soldier in World War I. Is he 00:02:01.240 --> 00:02:04.550 align:middle line:84% or is he not reading others' experiences through his own war 00:02:04.550 --> 00:02:08.550 align:middle line:84% experience, or his perception maybe of maternal neglect? 00:02:08.550 --> 00:02:11.990 align:middle line:84% Is he right that he does not draw on his own experience, 00:02:11.990 --> 00:02:13.950 align:middle line:84% and draw that into the work of interpreting 00:02:13.950 --> 00:02:15.730 align:middle line:90% other people in the present? 00:02:15.730 --> 00:02:20.620 align:middle line:84% If we return to the map page, we can see that, yes, 00:02:20.620 --> 00:02:23.370 align:middle line:84% most of the events cluster in this epic journey 00:02:23.370 --> 00:02:25.440 align:middle line:84% from the Bundren home to Jefferson. 00:02:25.440 --> 00:02:28.150 align:middle line:84% But using a standard map like we see here 00:02:28.150 --> 00:02:30.270 align:middle line:84% that reflects the America we may know 00:02:30.270 --> 00:02:33.730 align:middle line:84% shows us also just how small that journey is, 00:02:33.730 --> 00:02:36.290 align:middle line:84% compared to the events that are remembered 00:02:36.290 --> 00:02:38.620 align:middle line:84% in this story, those events that were in blue. 00:02:38.620 --> 00:02:44.330 align:middle line:84% It's forty miles from their home to Jefferson and the cemetery 00:02:44.330 --> 00:02:45.220 align:middle line:90% there. 00:02:45.220 --> 00:02:47.390 align:middle line:84% And over on the right-hand side of the screen 00:02:47.390 --> 00:02:50.790 align:middle line:84% we see additional maps, including a marker for France, 00:02:50.790 --> 00:02:53.470 align:middle line:90% where Darl served in WWI. 00:02:53.470 --> 00:02:56.870 align:middle line:84% Keep in mind that each of these events, each of these points, 00:02:56.870 --> 00:03:00.850 align:middle line:84% does not correspond to, say, the France or the Texas that you 00:03:00.850 --> 00:03:01.930 align:middle line:90% know today. 00:03:01.930 --> 00:03:04.140 align:middle line:84% "Texas," in Faulkner's world, as you'll 00:03:04.140 --> 00:03:07.930 align:middle line:84% see if you click on the note, is used and reserved 00:03:07.930 --> 00:03:10.760 align:middle line:84% in Faulkner's fiction to describe a place where 00:03:10.760 --> 00:03:14.450 align:middle line:84% men run to escape shame or punishment for their crimes. 00:03:14.450 --> 00:03:17.810 align:middle line:84% Similarly, being sent to "Jackson, Mississippi," 00:03:17.810 --> 00:03:21.850 align:middle line:84% in Faulkner's fiction, is to be sent to the Mississippi State 00:03:21.850 --> 00:03:22.970 align:middle line:90% Insane Asylum. 00:03:22.970 --> 00:03:25.480 align:middle line:84% And we see that if we look across the fictions, 00:03:25.480 --> 00:03:27.870 align:middle line:84% rather than just in As I Lay Dying. 00:03:27.870 --> 00:03:30.520 align:middle line:84% If you search for "Jackson" under the "Search" bar 00:03:30.520 --> 00:03:33.280 align:middle line:84% at the very top, under "Locations," 00:03:33.280 --> 00:03:36.050 align:middle line:84% we can search all the texts that are in Digital 00:03:36.050 --> 00:03:39.460 align:middle line:90% Yoknapatawpha for "Jackson." 00:03:39.460 --> 00:03:42.460 align:middle line:84% What we see is that each reference to "Jackson" 00:03:42.460 --> 00:03:45.130 align:middle line:84% is to the Mississippi State Insane Asylum: 00:03:45.130 --> 00:03:47.510 align:middle line:84% throughout The Sound and the Fury, As I Lay Dying, 00:03:47.510 --> 00:03:49.810 align:middle line:90% Sanctuary, and so on. 00:03:49.810 --> 00:03:53.300 align:middle line:84% You can see how Faulkner creates a kind of shorthand, 00:03:53.300 --> 00:03:55.810 align:middle line:84% so that "Jackson" means "Insane Asylum," 00:03:55.810 --> 00:03:59.600 align:middle line:84% "Texas" means "a place for men to escape the repercussions 00:03:59.600 --> 00:04:00.730 align:middle line:90% of their actions." 00:04:00.730 --> 00:04:03.160 align:middle line:84% This helps us to get into the cultural knowledge that 00:04:03.160 --> 00:04:06.100 align:middle line:84% is very specific, very familiar, and very 00:04:06.100 --> 00:04:08.900 align:middle line:84% well-known to his characters, even if not to his readers 00:04:08.900 --> 00:04:11.120 align:middle line:90% until he builds that vocabulary. 00:04:11.120 --> 00:04:15.260 align:middle line:84% If we go back, we can use similar searches up here, 00:04:15.260 --> 00:04:18.790 align:middle line:84% "Keyword" searches under "Events," to examine, 00:04:18.790 --> 00:04:21.700 align:middle line:84% and if we limit this one to As I Lay Dying 00:04:21.700 --> 00:04:23.260 align:middle line:84% it'll be a little bit more apparent, 00:04:23.260 --> 00:04:27.040 align:middle line:84% if we examine how similar themes, for example, 00:04:27.040 --> 00:04:31.180 align:middle line:84% can be seen throughout the text we can begin to see, 00:04:31.180 --> 00:04:36.790 align:middle line:84% down to specific pages and lines of the text how Faulkner links 00:04:36.790 --> 00:04:40.300 align:middle line:84% Dewey Dell's initial concerns about a secret pregnancy, which 00:04:40.300 --> 00:04:42.580 align:middle line:84% we see from the early pages of the text, 00:04:42.580 --> 00:04:45.620 align:middle line:84% to Addie's secret affair, which are referred to later 00:04:45.620 --> 00:04:46.840 align:middle line:90% in the novel. 00:04:46.840 --> 00:04:48.570 align:middle line:84% Here, by drawing out these events 00:04:48.570 --> 00:04:51.090 align:middle line:84% to lay them side by side, we can see 00:04:51.090 --> 00:04:54.020 align:middle line:84% what Darl sees as he links the two women in his life 00:04:54.020 --> 00:04:56.980 align:middle line:90% through secrecy and sexuality. 00:04:56.980 --> 00:04:59.000 align:middle line:90%