WEBVTT

1
00:00:00.000 --> 00:00:03.033
[Closed Captions]

2
00:00:03.033 --> 00:00:07.033
Along with the main display and the suite of

3
00:00:07.033 --> 00:00:11.033
visualization tools, Digital Yoknapatawpha also offers users

4
00:00:11.033 --> 00:00:15.033
a rich repository of curated archival materials

5
00:00:15.033 --> 00:00:19.033
that allows students, teachers, and scholars to

6
00:00:19.033 --> 00:00:24.033
think about Faulkner’s creative process and consider different interpretations of the texts.

7
00:00:24.033 --> 00:00:28.033
If there are relevant archival materials for a text,

8
00:00:28.033 --> 00:00:32.033
a Manuscript link will show up on the bottom

9
00:00:32.033 --> 00:00:34.399
left of the map display controls.

10
00:00:34.400 --> 00:00:38.400
The link takes users to digital copies of archival materials

11
00:00:38.400 --> 00:00:44.100
provided by the University of Virginia’s Albert and Shirley Small Special Collections Library.

12
00:00:44.100 --> 00:00:48.100
Clicking on the image of the individual pages,

13
00:00:48.100 --> 00:00:53.300
brings up a zoomed in page along with a transcription of the manuscript or typescript.

14
00:00:53.300 --> 00:00:59.000
The materials also include a commentary to elucidate how these particular items

15
00:00:59.000 --> 00:01:00.866
are relevant to the story.

16
00:01:00.866 --> 00:01:04.866
With regard to “A Rose for Emily,” the early manuscript pages

17
00:01:04.866 --> 00:01:10.299
reveal some crucial differences between Faulkner’s initial draft and the final published version.

18
00:01:10.300 --> 00:01:14.300
In his earlier versions, there is actually an extended conversation

19
00:01:14.300 --> 00:01:18.300
between Emily and Tobe. This conversation is

20
00:01:18.300 --> 00:01:22.300
the only time we ever get a glimpse of Tobe’s inner life.

21
00:01:22.300 --> 00:01:26.300
Among other things, he admits that he’s known all along what is locked in

22
00:01:26.300 --> 00:01:30.300
the room upstairs. Furthermore, it's revealed that

23
00:01:30.300 --> 00:01:34.300
he would inherit the house from Emily when she died, whereupon he had a plan

24
00:01:34.300 --> 00:01:38.300
to sell it and move to Chicago. Now, at the end

25
00:01:38.300 --> 00:01:42.300
of Emily’s life, he is abandoning his plan to be rich,

26
00:01:42.300 --> 00:01:44.766
and aims to live in the poorhouse.

27
00:01:44.766 --> 00:01:48.166
It is unclear why the cryptic passage did not make it

28
00:01:48.166 --> 00:01:52.166
into the final version, but like so much of the story it is haunting in the way

29
00:01:52.166 --> 00:01:56.166
it draws attention to the fraught intersections of class, gender,

30
00:01:56.166 --> 00:02:00.166
and race in the Jim Crow South. One has to wonder

31
00:02:00.166 --> 00:02:04.166
how it is that Tobe could feel compelled to live in the eerie house for so

32
00:02:04.166 --> 00:02:08.166
long, only to realize he wants no part of it.

33
00:02:08.166 --> 00:02:12.166
For Emily’s part, the passage shows a sense of self-awareness

34
00:02:12.166 --> 00:02:16.166
that appears missing from the final story, and its omission in the

35
00:02:16.166 --> 00:02:20.166
final version perhaps underscores Emily’s lack of agency.

36
00:02:20.166 --> 00:02:25.199
These are some of the questions that come to mind when studying this passage.

37
00:02:25.200 --> 00:02:29.200
Many other stories also have manuscript pages attached

38
00:02:29.200 --> 00:02:33.200
to them, and they can be accessed directly by clicking on the indexes

39
00:02:33.200 --> 00:02:36.533
tab and clicking on Manuscripts.

40
00:02:36.533 --> 00:02:40.533
Of course, these pages only represent a fraction of the

41
00:02:40.533 --> 00:02:44.533
archival material available, but these curated pages are a great

42
00:02:44.533 --> 00:02:48.533
starting point for thinking about how Faulkner shaped and re-shaped

43
00:02:48.533 --> 00:02:51.899
his fiction over the course of his career.