Faulkner S Folly

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1917 edition. Excerpt: ... Ill What They Said with a vague idea of taking advantage of a psychological moment, Coroner Lamson began to question Joyce. "Why do you make that statement, Mrs. Stannard?" he said; "do you realise that it is a grave implication?." But Joyce, though not hysterical, was at high tension, and she said, talking rapidly, "My husband's words were in dirdct answer to the footman's question. Blake said, 'Who did this?' and Mr. Stannard, even pointing to Miss Vernon, said, 'Natalie, not Joyce.' Could anything be plainer?" "It might seem so, yet we must take into consideration the fast clouding intellect of the dying man, and endeavour thus to get at the truth. Will you tell the circumstances of your entering the room, Mrs. Stannard?" "Of course I will. I had been in the Billiard Room for some time, ever since dinner, in fact" "Alone?" "Not at first. Several were there with me. Then, later, all had gone--and--I was there alone." The speaker paused. She seemed to forget her audience and became lost in recollection or in thought. She looked very beautiful, as she sat, robed in her black gown of soft, thin material, with a bit of white turned in at the throat. Her brown hair waved carelessly back to a loose, low knot and her deep-set brown eyes, full of sorrow, grew suddenly luminous. "Perhaps it wasn't Natalie," she said, speaking breathlessly. "Perhaps it wasn't Miss Vernon--after all." "We are not asking your opinion, Mrs. Stannard," said the Coroner, stiffly; "kindly confine your recital to the facts as they happened." But now, the witness' poise was shaken. Of a temperamental nature, Joyce Stannard had thought of something or realised something that affected the trend of her testimony. Bobsy Roberts watched her with intense interest. "Well, ...

Mr. Faulkner’s masterpiece is recognized as the most important challenge to agricultural orthodoxy that has been advanced in this century. Its new philosophy of the soil, based on proven principles and completely opposed to age-old concepts, has had a strong impact upon theories of cultivation around the world. It was on July 5, 1943, when Plowman’s Folly was first issued, that the author startled a lethargic public, long bemused by the apparently insoluble problem of soil depletion, by saying, simply, “The fact is that no one has ever advanced a scientific reason for plowing.” With the key sentence, he opened a new era.For generations, our reasoning about the management of the soil has rested upon the use of the moldboard plow. Mr. Faulkner proved rather conclusively that soil impoverishment, erosion, decreasing crop yields, and many of the adverse effects following droughts or periods of excessive rainfall could be traced directly to the practice of plowing natural fertilizers deep into the soil. Through his own test-plot and field-scale experiments, in which he prepared the soil with a disk harrow, in emulation of nature’s way on the forest floor and in the natural meadow, by incorporating green manures into its surface, he transformed ordinary, even inferior, soils into extremely productive, high-yield croplands.Time magazine called this concept “one of the most revolutionary ideas in agriculture history.” The volume is being made available again not only because farmers, ranchers, gardeners, and agriculturists demanded it, but also because it details the kind of “revolution” which will aid those searching for the fruits of the earth in the emerging nations.

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'Faulkner's Folly' is a mystery-drama novel written by Carolyn Wells. The story unfolds in Faulkner's Folly, which was described as the realized dream of the architect who had been its original owner. It was a perfect example of the type known in England as Georgian and in our own country as Colonial, a style inspired by the Italian disciples of Palladio, and as developed by Inigo Jones and Christopher Wren, it had seemed to James Faulkner to possess the joint qualities of comfort and dignity that made it ideal for a home. The house was enormous, the rooms perfectly proportioned, and the staircase had been the architect's joy and delight. It showed the wooden wainscoting, which was handed down from the Jacobeans; broad, deep steps with low risers, large, square landings, newels with mitred tops and rather plain balusters. But the carved wood necessary to carry out the plans, the great problems of lighting, the necessity for columned galleries and long, arched and recessed windows, together with the stupendous outlay for appropriate grounds and gardens, overtaxed the available funds and Faulkner's Folly, in little more than two years after its completion, was sold for less than its intrinsic value.

When Plowman’s Folly was first issued in 1943, Edward H. Faulkner startled a lethargic public, long bemused by the apparently insoluble problem of soil depletion, by saying, simply, “The fact is that no one has ever advanced a scientific reason for plowing.” With that key sentence, he opened a new era.

Beatrice Faulkner paused a moment, on her way down the great staircase, to gaze curiously at the footman in the lower hall. A perfectly designed and nobly proportioned staircase is perhaps the finest indoor background for a beautiful woman, but though Mrs. Faulkner had often taken advantage of this knowledge, there was no such thought in her mind just now. She descended the few remaining steps, her eyes still fixed on the astonishing sight of a footman's back, when he should have been standing at attention. He might not have heard her soft footfall, but he surely had no business to be peering in at a door very slightly ajar.

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In this companion volume to William Faulkner: The Yoknapatawpha Country, Cleanth Brooks takes an in-depth look at Faulkner's early poetry and prose as well as his five non-Yoknapatawpha novels -- Soldiers Pay, Mosquitoes, Pylon, The Wild Palms, and A Fable. Brooks also offers relevant clarification of some of his earlier interpretations of Faulkner that have been challenged -- most notably in the case of Faulkner that have been challenged -- most notable in the case of Absalom, Absalom!, which he considers Faulkner's greatest novel. Recognizing that the creative and imaginative center of Faulkner's art is Yoknapatawpha County, Brooks examines the merits of each of the works set beyond these boundaries and explores how these writings complement Faulkner as an artist. He sheds light on the literary sources that influenced Faulkner's early work and the technical innovations and general themes Faulkner was to develop in his later writing. The notes and appendixes with which Brooks concludes Toward Yoknapatawpha and Beyond serve only to amplify this comprehensive study.