Motionless as an Idol - Columbus State University

Bullock 33skewed sexuality and misplaced responsibility and desire are indicative of an underlyingsocial condition Faulkner is revealing. The social condition is that of an unflinchingconstruction of morality and virtue that must be adhered to religiously.Modernism in Faulkner's WorkIt is important to remember that Faulkner is writing from an intentionallydeveloped Modernist aesthetic, not a purely Southern one, and consequently, itisbeneficial to broaden our scope of analysis to include probable influences. There is strongevidence to suggest the artist Cezanne's powerful influence on Faulkner and, probably,the development "A Rose for Emily" itself. Faulkner's trip to Paris in 1925 is nowconsidered a hallmark of his artistic development because of the exposure he had to newkinds of art and the fondness established for many artists whose presences are undeniablein his work. Daniel J.Singal says, "[a]rt indeed became the principal vehicle by which[Faulkner] imbibed Modernist aesthetics during his Paris stay" (73).Faulkner'sconnection with Cezanne adds importance to the consideration of Faulkner's artisticparadigms by aiding in the understanding of where they began and how such paradigmswere shaped and then evident in Faulkner's work. Because Faulkner's trip to Paris, wherehe developed a proclivity for Cezanne, occurred in 1925, and "A Rose for Emily" wasnot published until 1930, there are many characteristics of the story that can be attributedto Faulkner's admiration of Cezanne; a "sense of curved form" and "largeness of effect,the powerful possession of space" are just two of those (Lind 142). These aesthetics canbe seen in "A Rose for Emily" through Faulkner's descriptions of the architecture of thetown, the specific details he highlights in the description of the interior of the Griersonhome, and the physicality of each character. Another connection between the two artists