Abstract
This article recounts, briefly, the affinities that previous critics have drawn between William Faulkner and William Butler Yeats, and suggests their shared architectural sensibility as a new medium for assessing their individual literary consciousnesses in parallel. This sensibility finds play in the Big Houses of both of these authors' works: Sutpen's Hundred in Absalom, Absalom! and the marvelous empty sea-shell of the palatial manor in Yeats's Meditations in Time of Civil War. The anxiety surrounding these structures' potential destruction in both of these authors' works, I argue, is less directed towards the threat of their physical annihilation than towards the dialectic model of history itself: the threat of destroying the house becomes the threat of destroying the very notion of teleology, of effacing the structural sum of history. I perform separate studies of two Big Houses from which these authors drew their architectural inspiration: for Faulkner, Rowan Oak in Oxford, MS and for Yeats, Lissadell in County Sligo, Ireland. The manners in which these houses grant and restrict access to their occupants, I argue, suggest ideals that are more divergent than these authors' mutual anxieties, the mutual and manifold hybridities of their domestic spaces, might indicate.
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