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A Fable

A Fable is a 1954 novel by American author William Faulkner, published by Random House.^[1]
Set on the Western Front in France during World War I, the narrative centers on a corporal—the unrecognized illegitimate son of a French general—who incites a regiment of 3,000 soldiers to mutiny by refusing to advance in a planned assault, thereby halting the fighting in a manner paralleling the Passion of Christ and prompting his subsequent execution.^[2]^[3]
The work, which Faulkner composed over nearly a decade, blends historical events like the 1918 mutinies with biblical allegory to explore themes of sacrifice, authority, and the futility of war.^[4]
A Fable received the Pulitzer Prize for Fiction and the National Book Award for Fiction in 1955, marking the first time a single novel won both honors.^[1]^[5]

Despite its critical acclaim and prizes, the novel elicited divided responses, with some reviewers praising its ambitious scope while others criticized its dense style and overt symbolism as overly pretentious.^[6]^[7]

Background and Composition

Origins and Inspirations

William Faulkner conceived the central premise of A Fable during conversations with film director William Bacher and producer Henry Hathaway while working as a screenwriter in Hollywood.^[8] The idea emerged from discussions about a mutiny in a French regiment during World War I, which Faulkner developed into an allegory paralleling the Passion of Christ, with a corporal leading twelve men in refusing to advance against German lines in 1918.^[7] He acknowledged Bacher's influence specifically for incorporating elements from an earlier story about a stolen racehorse, which became a subplot involving the marshal's pursuit of a black jockey and horse.^[9] Faulkner began composing the novel shortly after World War II concluded in 1945, outlining the plot on the walls of his small office at Rowan Oak, his home in Oxford, Mississippi.^[4] The work spanned over a decade of intermittent effort amid his screenwriting commitments and other projects, reflecting his ambition to craft a philosophical exploration of war, faith, and human endurance beyond his Yoknapatawpha saga.^[6] Childhood accounts of the Battle of Verdun, heard in Mississippi, shaped the novel's grim depiction of static trench warfare and mass slaughter, evoking the 1916 offensive's scale of over 700,000 casualties.^[6] Though Faulkner's own World War I involvement was limited—he trained with the Royal Air Force in Canada but saw no combat—the era's global cataclysm informed his portrayal of mechanized futility and individual defiance.^[7] The narrative's Christian symbolism drew from Faulkner's longstanding engagement with biblical motifs, reimagining redemption amid modern warfare's secular horrors rather than deriving from direct theological innovation.^[10]

Writing and Revision Process

Faulkner conceived A Fable in 1943 during his tenure as a screenwriter in Hollywood, initially developing it as a film treatment inspired by historical precedents such as the 1917 mutinies in the French army and Humphrey Cobb's novel Paths of Glory. On January 15, 1944, he articulated the work's core premise in a letter to his publisher Robert Haas, framing a corporal's execution for mutiny as a modern parallel to the crucifixion of Jesus Christ, emphasizing themes of sacrifice and redemption amid wartime authority. The novel's composition extended from December 1944 through November 1953, spanning nine years of intermittent effort interrupted by screenwriting obligations, personal financial pressures, and other literary projects, including a temporary halt in January 1948 to compose Intruder in the Dust.^[11]^[12]^[13] To navigate the narrative's intricate structure—encompassing parallel timelines, allegorical layers, and a sprawling cast—Faulkner scrawled detailed day-by-day plot outlines directly on the walls of his study at Rowan Oak, his Oxford, Mississippi home, beginning around 1950. These annotations, written in graphite and red pencil under headings for days of the week, served as a visual map to maintain coherence across the fable's historical and symbolic dimensions. When his wife repainted the walls, erasing the notes, Faulkner meticulously rewrote them and applied shellac for permanence, underscoring his methodical approach to revision amid the project's prolonged evolution.^[4]^[4] Revisions transformed the work from its origins as a concise anti-war script into a denser philosophical novel, with thematic shifts toward affirming moral order and paternal authority over initial pacifist leanings, influenced by Faulkner's post-World War II reflections and personal experiences. Bassett notes that these changes reflected a revision of filial conflict motifs recurrent in Faulkner's oeuvre, adapting earlier Yoknapatawpha dynamics to a European war setting. Eleventh-hour alterations in 1953-1954 refined the allegory's execution scenes and character arcs, ensuring alignment with the intended fable-like universality before Random House published the novel on August 2, 1954.^[13]^[13]^[14]

Publication History

Release and Commercial Performance

A Fable was published by Random House in 1954 as Faulkner's first novel following his 1949 Nobel Prize in Literature.^[15] A limited edition of 1,000 copies, numbered and signed by the author, preceded the trade edition.^[16] The novel received mixed initial reviews, with some critics praising its ambition and others finding its allegorical structure challenging, yet it garnered significant literary recognition.^[7] In 1955, A Fable won the Pulitzer Prize for Fiction, awarded for distinguished fiction dealing preferably with American life.^[1] It also received the National Book Award for Fiction that year, making it one of the rare works to claim both honors simultaneously.^[17] While specific sales figures for the initial release are not widely documented, the dual awards elevated its profile beyond Faulkner's typical critical acclaim, contributing to sustained interest rather than immediate bestseller status akin to his earlier Sanctuary.^[18] Faulkner's oeuvre generally prioritized artistic depth over mass-market appeal, and A Fable's performance aligned with this pattern, bolstered by prestigious accolades.^[19]

Plot Summary

Narrative Structure and Key Events

A Fable employs a linear narrative structure compressed into a few pivotal days in May 1918, during the closing stages of World War I on the Western Front in France, with events unfolding chronologically across military, civilian, and symbolic threads that interweave to form a cohesive allegorical progression.^[20] The novel lacks formal divisions into parts or chapters explicitly marked as such, instead advancing through a sequence of escalating confrontations—from collective refusal to individual reckonings—mirroring historical and biblical timelines without overt interruptions for extended flashbacks, though brief contextual digressions provide depth to character motivations.^[20] This tight temporal frame heightens dramatic tension, focusing on cause-and-effect chains within the chaos of war, as actions in the trenches ripple outward to command levels and civilian spheres.^[20] The central action commences on a Monday when approximately 3,000 soldiers from a French regiment abruptly halt an offensive against entrenched German forces, refusing to advance into no-man's-land and thereby imposing an unauthorized ceasefire that disrupts the broader war effort.^[20] Division commander General Gragnon responds by demanding the mutineers' execution to preserve hierarchical order and prevent contagion among other units.^[20] By Wednesday, military authorities identify 13 ringleaders, led by an unnamed corporal of mysterious origins, who are court-martialed and conveyed under guard to the nearby town of Chaulnesmont for processing, where a crowd of locals gathers in hostility but disperses without incident.^[20] Parallel to the prisoners' transport, high-level Allied generals convene under the supreme commander (the Marshal) to negotiate an armistice on favorable terms, during which a German counterpart dramatically executes his own aviator to underscore national resolve.^[20] A lone runner, acting as a quasi-messianic figure, urges troops across lines into exposed terrain, resulting in heavy casualties from artillery fire that wounds him severely and scatters survivors.^[20] In a personal confrontation, three women assert kinship with the corporal, prompting the Marshal—who recognizes him as potentially his own illegitimate son—to offer clemency, which the corporal rejects in solidarity with his comrades.^[20] The climax builds to the corporal and his 12 companions sharing a final meal reminiscent of ritual observance, after which their regimental priest takes his own life in despair; the group is then executed by firing squad alongside two condemned thieves, marking the narrative's peak of sacrificial violence.^[20] Post-execution, the corporal's body vanishes under unexplained circumstances, later interred anonymously as a symbol of collective loss, while the Marshal succumbs to illness, and the runner publicly challenges authority at the funeral proceedings, closing the arc with unresolved echoes of rebellion and renewal.^[20] These events, interwoven with subplots involving a prized racehorse and familial legacies, underscore the novel's progression from stasis in the trenches to transcendent aftermath, emphasizing inevitability over resolution.^[20]

Characters

Central Figures and Archetypes

The Corporal, identified as Stephan in the narrative, functions as the novel's messianic archetype, a humble soldier of mixed racial heritage from a French colony who inspires a battalion of approximately 3,000 men to mutiny and withhold fire on Easter morning in 1918, thereby enforcing a temporary armistice along the Western Front.^[21]^[22] This act symbolizes a radical pursuit of peace amid industrialized warfare, paralleling Christ's entry into Jerusalem and transfiguration of conflict into brotherhood through non-violent refusal rather than miracles.%20analysis%20by%2015%20critics.pdf) His leadership emerges from intuitive conviction rather than rhetoric, embodying agape—selfless, transcendent love—and Bergsonian élan vital, a dynamic life force opposing mechanistic authority; he rejects his father's offer of escape, accepts execution by firing squad between two condemned criminals (evoking the thieves at Calvary), and is ultimately interred in the Tomb of the Unknown Soldier, suggesting themes of anonymous resurrection and enduring human aspiration beyond institutional dogma.^[23]%20analysis%20by%2015%20critics.pdf) The Marshal, the supreme Allied commander and the Corporal's biological father—conceived during a youthful seduction in Lucania—represents the archetypal patriarch of institutional power, blending Old Testament authority with satanic temptation as he both recognizes his son's moral transcendence and enforces the execution to preserve martial order.^[22]^[23] As the novel's rational intellect incarnate, he defends war as an inevitable ritual sustaining civilization's closed society, tempting the Corporal with survival and later thwarting the Runner's defiance at the funeral by reclaiming a discarded medal; this duality underscores a Bergsonian closed system of static habits and eros (possessive love), where sacrifice is co-opted to perpetuate hierarchy rather than upend it.^[21]%20analysis%20by%2015%20critics.pdf) Critics note his role preserves the Corporal's legacy within the very structures it challenges, embodying the paradox of paternal betrayal akin to God permitting crucifixion or Pilate's acquiescence.^[23] Supporting archetypes include the Runner, a maimed British officer and ethical disciple who defects to champion the Corporal's vision, hurling his Iron Cross into the grave as an act of spiritual rebellion and symbolizing humanity's quest for faith amid war's ironies.^[22]^[23] Within the Corporal's inner circle of twelve squad members—mirroring the Apostles—figures like Polchek (the betrayer, akin to Judas) and Pierre Bouc (the denier, paralleling Peter) highlight human frailty, while Reverend Tobe Sutterfield, a Black lay preacher, embodies innate belief bridging instinct and moral insight.^[22]%20analysis%20by%2015%20critics.pdf) The English Groom, in a parallel vignette, archetypes the instinctual sinner seeking profane redemption through a stolen horse, contrasting the Corporal's selfless transcendence with egocentric eros.^[23] These figures collectively allegorize a secularized Passion, prioritizing lived ethical rebellion over doctrinal imitation.%20analysis%20by%2015%20critics.pdf)

Themes and Symbolism

Christian Allegory and Redemption

In A Fable, William Faulkner constructs a Christian allegory centered on the unnamed corporal, a regimental runner who emerges as a Christ-like figure during the 1918 Meuse-Argonne offensive. The corporal, depicted as a 33-year-old peasant born in a stable, leads a mutiny of 3,000 French soldiers who refuse to advance, holding their position for over fifty hours in a symbolic act of pacifist defiance akin to Christ's teachings on peace and brotherhood.^[23] Parallels to the Passion abound: his squad of twelve includes a betrayer who identifies him for execution; he shares a final meal evoking the Last Supper; he is tried before military authorities mirroring Pilate's court; and he is shot between two thieves on a barren hill, wearing a crown of barbed wire that draws blood from his brow.^[24] His silent endurance during interrogation and execution underscores a mystic detachment, refusing defense or appeals, much like Christ's acceptance of the cross.^[23] ^[24] The theme of redemption manifests through the corporal's sacrificial death, intended as a transcendent act to break the cycle of war and affirm humanity's capacity for selfless love (agape). Unlike orthodox atonement theology, Faulkner's portrayal emphasizes a humanistic redemption, where the corporal's mutiny and martyrdom inspire limited moral awakenings—such as in the Jewish runner who carries his message—but fail to halt the broader conflict, highlighting the tension between individual sacrifice and collective inertia.^[23] His body's anonymous interment in the Tomb of the Unknown Soldier evokes a ironic resurrection, symbolizing the eternal recurrence of human striving amid unresolved duality: the pull between compassion and the "closed society" of rigid authority.^[23] ^[24] Critics interpret this as Faulkner's extension of his Nobel Prize themes, positing salvation not through divine intervention but via man's enduring spirit of pity, sacrifice, and potential for open, intuitive moral evolution over static dogma.^[24] This allegorical framework critiques institutionalized Christianity by subordinating doctrinal legend to the corporal's lived presence, portraying redemption as an ongoing, precarious human achievement rather than guaranteed eschatology.^[23] The marshal, revealed as the corporal's natural father, embodies a paternal authority—evoking God the Father—yet opts for execution over mercy, underscoring the novel's ambivalence toward hierarchical power in facilitating or obstructing redemptive acts.^[24] Ultimately, the allegory affirms sacrifice's tragic necessity for glimpsed transcendence, aligning with Faulkner's view of humanity prevailing through compassion amid inevitable folly.^[24]

War, Mutiny, and Human Sacrifice

In A Fable, the backdrop of World War I trench warfare in 1918 France underscores the novel's exploration of industrialized conflict as a mechanism for perpetuating human violence and obedience to hierarchical authority. Faulkner's depiction draws on historical events like the static fronts and mass casualties of the Western Front, where French forces suffered over 1.3 million deaths, to illustrate war not merely as tactical engagement but as a ritualistic extension of societal rapacity and control.^[8]^[10] The mutiny forms the narrative core, occurring when an entire French battalion, commanded by General Gragnon, halts an assault on a strategic hill held by German forces, refusing to advance despite orders. Led by the unnamed Corporal—a 33-year-old figure with twelve disciples—the act of collective refusal symbolizes a Christ-like rebellion against the compulsory logic of war, where soldiers recognize the pointlessness of mutual destruction amid mirrored trenches. This event, unfolding over a single day paralleling Good Friday, exposes tensions between mass conformity and individual moral awakening, with the troops' brief solidarity crumbling under restored military discipline.^[25]^[26]^[27] Human sacrifice emerges through the Corporal's swift court-martial and execution by firing squad, enacted by his own regiment at the generals' insistence to restore order and deter further dissent. This ritual killing inverts traditional wartime heroism, portraying the Corporal's death as both a scapegoat mechanism to preserve institutional power and a redemptive act challenging the sacrificial underpinnings of conflict, where lives are expended for abstract gains like territory or glory. Faulkner critiques this as rooted in primal violence, akin to ancient rites, yet amplified by modern state's capacity for mechanized death, questioning whether such sacrifices yield progress or merely entrench cycles of retribution.^[8]^[10]^[28]

Authority, Rebellion, and Moral Order

In William Faulkner's A Fable, authority is epitomized by the Marshal, a figure who wields supreme military and intellectual control as generalissimo, civilian leader, and enforcer of ritualistic order, viewing humanity as a malleable mass shaped by hierarchical giants to sustain war's necessities.^[23] This static authority relies on closed societal structures, where intellect preserves the status quo against disruption, as seen in the Marshal's manipulation of events to execute the Corporal despite their revealed father-son bond.%20analysis%20by%2015%20critics.pdf) Critics interpret the Marshal as embodying a pragmatic cynicism that equates war with ingrained human behavior, countering idealistic challenges through institutional power.^[23]%20analysis%20by%2015%20critics.pdf) The novel's central rebellion unfolds through the Corporal, a Christ-like regimental runner who incites a mutiny among 3,000 French troops on November 7, 1918, halting an offensive against German lines in a direct defiance of martial hierarchy and the perpetuation of industrialized slaughter.%20analysis%20by%2015%20critics.pdf) Supported by twelve legionnaires—one acting as betrayer—the Corporal's action symbolizes intuitive resistance to authority's ritualized violence, paralleling Gospel narratives but emphasizing human experience over doctrine, as he rejects temptations of survival in favor of repudiating war itself.^[23]%20analysis%20by%2015%20critics.pdf) This insurrection extends symbolically when a British runner attempts to propagate it, only to face suppression, underscoring rebellion's fragility against entrenched powers allied via secret pacts to resume conflict.%20analysis%20by%2015%20critics.pdf) Faulkner's portrayal frames the Corporal as a model of insurrection, supplanting traditional scriptural authority with a figure testing dynamic faith against institutional impregnability.^[8] Moral order emerges from the irreconcilable clash between the Marshal's intellect-driven stasis—preserving hierarchy through war's "honorable tenet"—and the Corporal's agape-fueled intuition, which seeks transcendence via open, experiential ethics drawn from Bergsonian dualities of morality.^[23]%20analysis%20by%2015%20critics.pdf) The mutiny's suppression and the Corporal's crucifixion-like execution restore superficial order, yet his reburial as the Unknown Soldier beneath the Arc de Triomphe implies a persistent, sacrificial critique of authority's moral legitimacy, where pacifist ideals fail practically but endure as humanistic hope.%20analysis%20by%2015%20critics.pdf) Faulkner articulates this through the protagonists' confrontation, positing them as articulations of inimical conditions—the Corporal's "comprehension" overpowering myth, though ultimately yielding to durable institutional realism.^[23] The narrative thus interrogates moral structures not as abstract doctrines but as causal outcomes of rebellion's collision with hierarchy, revealing war's embeddedness in civilization's religious and martial frameworks.^[23]%20analysis%20by%2015%20critics.pdf)

Style and Structure

Narrative Techniques

Faulkner's A Fable employs a third-person omniscient narration that allows for shifts between multiple perspectives, contrasting the intellectual viewpoint of the Marshall with the intuitive stance of the Corporal, thereby underscoring the novel's central dialectic between closed and open societies.^[23] This approach facilitates exploration of moral oppositions without the fragmented interior monologues common in Faulkner's earlier works like The Sound and the Fury.^[29] The narrative structure adopts a wheel-like configuration, with the Corporal's mutiny serving as the central hub linking episodic elements through parallels and contrasts rather than chronological linearity, as seen in the juxtaposition of the horsethief episode (pages 151-197) and the exhumation scene (pages 403-425).^[23] Techniques such as symbolic mimesis integrate biblical motifs—like the Corporal's crucifixion paralleled by a barbed-wire crown (page 215)—with World War I realism, using repetition of symbols (e.g., food and medals) to reinforce thematic unity.^[23] Flashbacks and intrusions, particularly in the horsethief interlude originally published separately as "Notes on a Horsethief," elevate mundane actions into allegorical ideals, parodying the main plot with reduced motives in later sections.^[29]^[23] Stylistically, the prose is dense and rhetorical, featuring extended apostrophes (e.g., the Quartermaster's speeches on pages 259-260) and an ironic tone that highlights human endurance amid suffering, with vivid imagery portraying war as a "rich carnival" (page 242).^[23] The Corporal's minimal dialogue until late in the text (page 276) emphasizes experiential action over verbal exposition, while olfactory and bodily imagery in scenes like the exhumation (page 229) grounds abstract allegory in physical reality.^[23] These elements collectively prioritize philosophical depth over plot momentum, distinguishing A Fable as Faulkner's most explicitly structured allegory.^[23]^[29]

Allegorical Framework

A Fable employs a Christian allegorical framework to explore themes of sacrifice, redemption, and the human capacity for peace amid industrialized warfare, transposing the narrative of Jesus Christ's Passion into the context of a World War I mutiny led by a nameless corporal in a French regiment. The corporal, executed for inciting 3,000 troops to refuse an assault on November 7, 1918—mere days before the Armistice—mirrors Christ as a humble figure preaching nonviolence against entrenched authority, with his battalion's refusal paralleling the Sermon on the Mount's call to turn the other cheek.^[30] This structure draws explicit parallels: the corporal's squad of twelve men evokes Christ's disciples, their betrayal by a Judas-like figure underscores themes of loyalty and denial, and the military tribunal's hasty judgment echoes Pontius Pilate's trial, culminating in a firing squad execution that substitutes mechanized rifles for the cross.^[23] ^[24] Faulkner described this allegorical scaffolding as providing structural integrity akin to "square corners" in carpentry, enabling a fable-like moral inquiry into whether humanity can transcend cycles of violence through individual moral choice rather than institutional reform.^[31] The supreme commander, a grizzled marshal who orders the offensive yet privately recognizes the corporal as his illegitimate son, embodies a complex divine archetype—blending paternal authority with reluctant judgment—whose decision to execute the mutineers reinforces the allegory's tension between inexorable fate and free will.^[32] Interwoven subplots, such as the runner's futile quest for a lost battalion watch symbolizing fractured time and memory, extend the framework beyond strict biblical mapping, blending historical realism with mythic resonance to critique modern war's dehumanizing machinery.^[33] Critics note that while the allegory's overt parallels risk didacticism, Faulkner's compression of events—collapsing Christ's ministry into a single day's mutiny—intensifies causal realism, positing the corporal's act as a pivotal, if futile, intervention against war's momentum, evidenced by the regiment's symbolic halt at the precise moment of Christ's historical crucifixion.^[23] This framework privileges empirical parallels to biblical texts over abstract symbolism, grounding redemption in observable human behaviors like the troops' brief fraternity during the standoff, yet underscores systemic barriers: the corporal's message of peace dissolves not through rejection but absorption into military hierarchy, as survivors reintegrate without systemic change.^[30] Faulkner's integration of fable elements, including anonymous protagonists and moral aphorisms delivered via the corporal's sparse dialogue, formalizes the structure as a cautionary tale, distinct from his Yoknapatawpha realism, prioritizing universal ethical dilemmas over regional specificity.^[13]

Critical Reception

Initial Reviews and Contemporary Responses

Upon its publication on September 27, 1954, A Fable garnered mixed critical reception, with reviewers divided over its allegorical ambitions and departure from Faulkner's Southern Gothic roots. Many acknowledged the novel's extensive gestation period—over a decade of composition—as evidence of Faulkner's serious intent to craft a universal parable on war, mutiny, and Christ-like sacrifice amid World War I, yet opinions split on whether the execution matched the conception.^[7]^[34] Positive assessments highlighted the novel's stylistic heights and thematic depth. Orville Prescott, in The New York Times, described Faulkner's prose as rising "often to magnificence" despite its demands on readers, positioning A Fable as a bold, if challenging, exploration of moral and historical crises.^[35] Similarly, some critics praised its integration of Gospel motifs with modern warfare, seeing potential for profound symbolic resonance.^[36] Critics in outlets like Kirkus Reviews, however, tempered enthusiasm, portraying the work as an open-ended allegory reliant on reader-imposed meaning and forecasting appeal primarily through "intellectual snob appeal" rather than universal accessibility.^[37] A recurring theme in contemporaneous evaluations was disappointment in the novel's cohesion; terms like "failure" appeared frequently, with reviewers citing unclear motivations for characters, overwrought symbolism, and a perceived mismatch between the epic scale and narrative clarity.^[34] No consensus emerged on unqualified success, reflecting broader uncertainty about Faulkner's shift to explicit Christian allegory outside his familiar Mississippi milieu.^[24]

Awards and Formal Recognition

A Fable, published in 1954, received the Pulitzer Prize for Fiction in 1955, awarded by Columbia University for distinguished fiction by an American author, preferably dealing with American life.^[1] This marked William Faulkner's first Pulitzer Prize for a novel, recognizing the work's allegorical narrative set against the backdrop of World War I.^[1] In the same year, the novel won the National Book Award for Fiction, administered by the National Book Foundation, honoring outstanding literary achievement in fiction.^[5] These dual accolades highlighted A Fable as one of the rare works to secure both the Pulitzer Prize and the National Book Award simultaneously, affirming Faulkner's stature despite the novel's stylistic departures from his Yoknapatawpha saga.^[38] No additional major literary prizes were conferred upon the book.

Major Criticisms and Debates

Critics have frequently faulted A Fable for its heavy-handed allegory and didactic tone, which many viewed as a departure from Faulkner's more subtle, regionally grounded narratives. Norman Podhoretz described the novel as "dull, tortured, above all so pretentious," arguing it lacks the vitality of earlier works like Light in August and represents a potential low point in Faulkner's oeuvre, surpassed only possibly by Pylon.^[39] Similarly, V. S. Pritchett criticized its "leaden" thematic treatment and "word-drunk" prose, suggesting the allegorical framework overburdened the narrative with abstract philosophy at the expense of direct storytelling.%20analysis%20by%2015%20critics.pdf) Structural weaknesses also drew sharp rebuke, with multiple reviewers noting poor coordination among the novel's interwoven plots. Donald Heiney deemed it Faulkner's weakest major work, citing "spuriousness" in its execution and a failure to integrate incidents effectively, resulting in digressions that dilute focus.%20analysis%20by%2015%20critics.pdf) Philip Blair Rice echoed this, pointing to "vague, maundering" elements and irrelevant episodes that undermine the central mutiny allegory.%20analysis%20by%2015%20critics.pdf) J. A. Bryant, Jr. further highlighted stylistic inconsistencies, calling it a "colossal failure" irreconcilable with Faulkner's established canon due to its abstract conception lacking experiential depth.%20analysis%20by%2015%20critics.pdf) Debates center on the novel's thematic ambitions, particularly its transposition of Christian redemption onto a World War I mutiny, which some interpret as a pacifist critique of authority and war's futility. Podhoretz contested Faulkner's portrayal of war as inherently "endless, frustrating, meaningless," arguing it promotes a simplistic, primitivistic faith that evades modern political necessities like collective defense mechanisms.^[39] Others, such as Irving Howe, viewed it as a "distinguished" but flawed effort grappling with unresolved contradictions in moral order, where explicit ideological debates dissolve into nebulous rhetoric rather than rigorous resolution.%20analysis%20by%2015%20critics.pdf) Reception controversies persisted post-awards, with some questioning its 1955 Pulitzer and National Book Award merit amid perceptions of it as an overambitious experiment alienating readers accustomed to Faulkner's Southern Gothic strengths.^[40] Robert Penn Warren attributed failures to a tonal mismatch between abstract ideas and concrete narrative, sparking broader discussion on whether Faulkner's universal aspirations diluted his artistic potency.%20analysis%20by%2015%20critics.pdf)

Legacy

Scholarly Interpretations

Scholars have interpreted A Fable as a loose religious allegory that parallels the Passion of Christ with a World War I mutiny, emphasizing the Corporal's execution as a redemptive act against institutionalized war, though not strictly doctrinal. The novel's structure employs symbolic elements like a barbed-wire crown and shellburst ascension to evoke spiritual transcendence, but prioritizes experiential human conditions over rigid Christian parallels, drawing on historical events such as the May 1918 false armistice.^[23]^[33] The Corporal functions as a Christ-figure whose intuitive leadership incites rebellion, embodying dynamic freedom and selfless love (agape), yet his taciturn, earthy simplicity has led critics to debate his convincingness as a redeemer, viewing him instead as an ironic or incomplete messiah-figure. In opposition, the Marshall represents static authority, intellect-driven control, and a closed societal order that perpetuates conflict through habit and military ritual, informed by Henri Bergson's distinction between intuition and intelligence in The Two Sources of Morality and Religion. This dialectic structures the narrative, linking episodes through contrasts like stasis versus dynamism.^[23] Themes of sacrifice underscore the novel's moral inquiry, with the Corporal's martyrdom expiating collective guilt for war's mechanized evil, contrasted against ritualized military deaths lacking true glory, culminating in ironic entombment as the Unknown Soldier. Authority's reinforcement—via bombardment quelling mutiny or civilian habits—highlights causal persistence of hierarchical order over rebellion's fleeting hope. Human evil emerges as inescapable, embedded in war's institutions and personal acts, rejecting evasive refrains like "in another country" that distance culpability across time and space.^[23]^[33] Interpretations often note the novel's mythic, non-localized setting—evoking a "fabulous" France akin to Jerusalem in early drafts—to universalize its anti-war critique, blurring historical fidelity for allegorical depth. Yet scholars critique its execution as an ambitious failure, citing ambiguous moral delineations, cluttered symbolism, and over-determination that undermines unity, rendering good and evil indistinct despite overt Christian motifs. Some readings, however, affirm its success in passages like the funeral scene, praising internal parallels that cohere around freedom's tension with control.^[23]^[33]

Influence on Literature and Faulkner’s Oeuvre

A Fable marks a significant departure in William Faulkner's oeuvre from the intricate, regionally focused narratives of his Yoknapatawpha saga—such as The Sound and the Fury (1929) and Absalom, Absalom! (1936)—toward a more universal, parable-like structure unmoored from Southern Gothic specificity. Published on August 30, 1954, by Random House after over a decade of intermittent composition, the novel transposes biblical motifs of sacrifice and rebellion into a World War I French battlefield, featuring a corporal whose mutiny of 3,000 men echoes Christ's Passion.^[41] This shift reflects Faulkner's post-Nobel (1950) ambition to address ethical absolutes like authority and redemption on a global scale, as evidenced by the novel's linear chronology contrasting his earlier polyphonic experiments.^[42] Faulkner described its genesis in a 1957 University of Virginia seminar as an organic emergence rather than deliberate construction, distinguishing it from the "carpentry" of works like As I Lay Dying (1930).^[43] Within Faulkner's corpus of 19 novels and over 120 stories, A Fable—his longest at 437 pages—exemplifies his late-period philosophical depth, synthesizing motifs of martial futility and moral order seen embryonically in Sartoris (1929) and Light in August (1932), but elevated to explicit Christology without Yoknapatawpha's decaying plantations or racial dialectics.^[44] Critics note its role in broadening Faulkner's thematic range beyond American parochialism, positioning it as a bridge to his final works like The Town (1957), yet its overt allegory has drawn charges of didacticism, diluting the ambiguity prized in his 1930s masterpieces.^[34] Scholarly appraisals, such as those in Philip Edward Pastore's 1973 dissertation, emphasize its structural innovations—like interwoven timelines spanning execution, trial, and resurrection—as culminating Faulkner's experimentation with time and fate, though less innovatively than in The Sound and the Fury.^[23] The novel's influence on broader literature remains niche, confined largely to allegorical war fiction and Faulkner studies rather than spawning direct imitators or stylistic paradigms. Its reconfiguration of Gospel narratives amid mechanized slaughter prefigures critiques of sacrificial violence in mid-20th-century works, as analyzed in scholarship on Faulkner's subversion of sacred authority.^[8] Frederick J. Hoffman, in a 1960 introduction, hailed it as "a milepost in the history of American literature," equating its scope to a "classic Anglo-Saxon equivalent of War and Peace," underscoring its ambition to fuse historical realism with moral fable.^[24] However, its prolixity and Christian typology elicited contemporary dismissals as pretentious, limiting emulation; unlike Faulkner's stream-of-consciousness influence on Latin American Boom authors like Gabriel García Márquez, A Fable's impact manifests in academic deconstructions of authority, as in JSTOR analyses of its dual "fables" reconciling temporal and eternal orders.^[45] In Faulkner's legacy, it reinforces his versatility as moralist over regional chronicler, informing interpretations of recurring redeemers across his canon, from Joe Christmas to the corporal, while highlighting risks of explicitness in an oeuvre defined by indirection.^[6]

References

[1]
A Fable, by William Faulkner (Random) - The Pulitzer Prizes
A Fable, by William Faulkner (Random). Share: Twitter Facebook Email. The Jury ... 1955 Prize Winners. Public Service · Columbus (GA) Ledger and Sunday ...
[2]
A Fable by William Faulkner | Research Starters - EBSCO
A Fable by William Faulkner ; First published: 1954 ; Type of work: Novel ; Type of plot: Allegory ; Time of plot: 1918 ; Locale: Western front in France ...
[3]
A Fable (1954) - William Faulkner
A Fable, on which William Faulkner worked from 1944 to 1953, is a magnificent novel, in concept and in drama, characterization and style. Though not easy ...Missing: plot credible
[4]
William Faulkner Outlines on His Office Wall the Plot of His Pulitzer ...
Feb 12, 2015 · Seeing firsthand the notes he scrawled on the walls of his study to outline the plot of his 1954 novel A Fable.
[5]
A Fable - National Book Foundation
Winner, National Book Awards 1955 for Fiction. A Fable by William Faulkner book cover ISBN 9780394724133 ... He published his first book, The Marble Faun, in ...
[6]
1955 Pulitzer Prize Review: A Fable by William Faulkner
Apr 6, 2023 · Faulkner's A Fable was the first novel to win the Pulitzer Prize since Hemingway won in 1953 for The Old Man and the Sea (no award was given in ...
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Speaking of Books: Faulkner's 'A Fable' - The New York Times
More reviewers than not had liked "A Fable,” and it won both the National Book Award and the Pulitzer Prize. But as time went on, there was a feeling among ...
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Waging War on the Sacred: William Faulkner's A Fable |
This chapter examines William Faulkner's war novel A Fable, which, by rethinking the story of the Passion of Christ as a World War I tale, criticizes both the ...Missing: plot credible
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[EPUB] A Fable
BOOKS BY WILLIAM FAULKNER. The Marble Faun (1924) ... Bacher ... of the story of the stolen racehorse, I wish to make grateful acknowledgment. W.F.. PUBLISHER'S NOTE.
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### Summary of Christian Allegory Analyses in *A Fable* by William Faulkner
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A Fable - William Faulkner - Limited - B & B Rare Books, Ltd.
In stock 7-day returnsA Fable won both the Pulitzer Prize and National Book Award. Item #WF115. Add to Cart Add to Favorites Added to Favorites Ask a Question. Recommended For You.
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[PDF] Between Allegory and History: Reading William Faulkner's A Fable
In a letter he wrote to Robert Haas on Jan. 15, 1944, Faulkner explained the fundamental argument he wanted to make in A Fable. It was in the midst of WWII.
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A Fable: FAULKNER'S REVISION OF FILIAL CONFLICT John E ...
A Fable: FAULKNER'S REVISION OF FILIAL CONFLICT. John E. Bassett. Fable is a troublesome work. Written over a ten-year period, it is essential to ...
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Faulkner and Yoknapatawpha Conference: Panel ... - eGrove
... Eleventh-Hour Revisions of A Fable / Christopher Rieger, Southeast Missouri State University ... This presentation examines Faulkner's revisions to A Fable ...
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Rowan Oak on Instagram: "On this day in 1954, William Faulkner's ...
Aug 2, 2023 · On this day in 1954, William Faulkner's “A Fable” was published. It was the first novel he wrote after winning the Nobel Prize for Literature in 1949.
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A Fable – FIRST EDITION – 1st Printing – William FAULKNER 1954
A Fable – FIRST EDITION – 1st Printing – William FAULKNER 1954. $125.00. First edition of the first novel to win both Pulitzer and National Book Award. Octavo ...
[17]
A Fable | William Faulkner - Allington Antiquarian Books
"The Fable" won both the 1955 Pulitzer Prize for Fiction and the National Book Award for Fiction in the same year, making it one of the few books ever to have ...
[18]
How Did Readers React To Joyce, Faulkner, and other "Modern ...
Mar 1, 2023 · "Sanctuary," for example, was very popular at the time of publication, and was considered his first big commercial success. The criticism at the ...Missing: initial | Show results with:initial
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William Faulkner in Germany: A Survey - jstor
In terms of sales figures, Faulkner lagged far behind his contemporary ... Fable may have contributed to the novel's ex traordinary fame in Germany ...
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A Fable Summary and Study Guide - SuperSummary
The novel won numerous prizes on release, including the 1955 Pulitzer Prize. This guide is written using the fourth printing of the 1954 Random House edition.
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A Fable Character Analysis - SuperSummary
The corporal is the central character in A Fable, even if he is absent for much of the narrative. Though he is a lowly corporal from a French colony, ...
[22]
A Fable Characters - eNotes.com
The Marshal is the omniscient commander-in-chief of the Allied armies in France. His past indiscretions include fathering a son with a woman he seduced in the ...
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[PDF] The structure and meaning of William Faulkner's A fable
Instinct gave place temporarily to a system of habits, each one of which became contingent, their convergence toward the preservation of society.
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[PDF] ANALYSIS A Fable (1954) William Faulkner (1897-1962) “Under the ...
The plot is so complicated as to defy synopsis. The setting is the First World War, and the story is built around the actual incident of the 'false armistice' ...<|control11|><|separator|>
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A Fable.
Nov 6, 2015 · A Fable is a highly allegorical work that takes the Christ-like Corporal Stephan, referred to for most of the book merely as “the corporal,” and puts him in ...
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A Fable Summary - eNotes.com
Complete summary of William Faulkner's A Fable. eNotes plot summaries cover all the significant action of A Fable ... On Friday, the Corporal faces execution, ...
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"A Fable:" The Novel as Myth - jstor
the picture of war presented in A Fable, but it has not destroyed the moral prob- lem which Faulkner poses. War, as. Faulkner views it, helps to define the.
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DELUSION AND REDEMPTION IN FAULKNER'S "A FABLE" - jstor
Feb 1, 2018 · It is this duality of man's nature, symbolized by the conflict between the mass and Christ, that lies at the heart of A Fable. Faulkner is.
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### Summary of Faulkner's Narrative Structures and Techniques
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The Christ Story in "A Fable" - jstor
Faulkner, therefore, uses the Christ story in A Fable in parallels of event between the corporal and Christ, in dialogue or thought sequences where other ...
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Faulkner's Distorted Crucifix | SEMO
Faulkner said that the Christian allegory in A Fable provides the "same advantage the carpenter finds in building square corners to build a square house" ( ...
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"A Fable": Faulkner's Political Novel? - jstor
18 As far as I know, Howe is the only critic to touch on the political dimension of A Fable when he notes that it bears a certain resemblance to the radical or ...Missing: composition timeline revisions
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[PDF] "in another country": faulkner's a fable - KU ScholarWorks
an incantation or an exorcism. But in A Fable the problem of human evil is not so easily disposed of. More specifically, in Faulkner's allegory, Barabas's ...
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"William Faulkner as moralist : A Fable" by Jean Marie Anderson
How may man best live in his world? We shall determine Faulkner's answers to there questions chiefly as he gave them in A Fable, although other sources may be ...
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Faulkner's Home, Family and Heritage Were Genesis of ...
Faulkner for his novel "A Fable." William Faulkner was born in New Albany ... For example, Orville Prescott in his review of the novel in The New York Times wrote ...
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WAR AND PEACE AND MR. FAULKNER; A Novel of a Corporal's ...
" In "A Fable" the corporal is un- hesitatingly determined to die in a martyrdom which will strengthen the movement for the brotherhood of man: the ...
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A FABLE - Kirkus Reviews
7-day returnsA modern allegory to which each reader will append his own symbolism- his own interpretation. This is slated for a wide acceptance on intellectual snob appeal.Missing: initial | Show results with:initial
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National Book Foundation - National Book Awards 1955
the National Book Awards, and more. 1955. winners. Discover honored books by category: Fiction Nonfiction Poetry. WINNER. A Fable. William Faulkner. prev. next ...
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William Faulkner and the Problem of War:His Fable of Faith
A fable may not be William Faulkner's worst book; one would have to re-read Pylon to make a definitive judgment, and I personally could not face the ordeal.<|control11|><|separator|>
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A Fable and A Controversy - by Hunter Mclendon
Apr 15, 2022 · In 1955, William Faulkner became the first two-time winner for the National Book Award for Fiction. The book he won for that year, A Fable, was ...
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A Fable - William Faulkner - Google Books
A Fable. Front Cover. William Faulkner. Random House, 1954 - Fiction - 437 pages. This novel won both the Pulitzer Prize and the National Book Award in 195. An ...
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Faulkner's A Fable. : r/literature - Reddit
Sep 27, 2015 · Hello all, So, I'm a very big Faulkner admirer and have been greatly influenced by his magnificent body of work in many ways.
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Transcript of audio recording wfaudio05_1 - Faulkner at Virginia
Faulkner, how do you feel about A Fable? William Faulkner: The Fable was—I don't have the same feeling toward that because the Fable was a book that came out of ...
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A Fable (The Franklin Library Pulitzer Prize Series): Faulkner, William
This novel won both the Pulitzer Prize and the National Book Award in 1955. An allegorical story of World War I, set in the trenches in France and dealing ...
[45]
The Fables in William Faulkner's - jstor
A Fable has frequently been called the most philosophical of. Faulkner's novels and the resulting difficulty has been how to explain the nature of the ...