Abstract
William Faulkner's epic depiction of the folkways of Yoknapatawpha County is a work which seems to have grown out of the land itself, the author speaking not of and for himself, but in the name and with the voices of all the generations of the deep South. If we judge these novels, as we must, to be works of myth, fable, and legend, if we think of them as evocations of spirit and tradition, then it is indisputable that they are-as Balzac so witlessly called Meyerbeer's operas-as true as history itself. For not facts, but truth, as Faulkner himself has reminded us, is the only province of the novelist's concern, and even if the Yoknapatawpha cycle could be demonstrated to be implausible or impossible in all its historically oriented particulars, it would still stand, like La Comedie humaine, as a series of frescoes more true to the realities of Southern life in their verisimilitude than most of the
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