Introduction: The Game of Genre
1 U.S. v Army, 24 Fed. Cas. 792 (1859), in Judicial Cases Concerning American Slavery and
the Negro, ed. Helen Tunnicliff Catterall (1926; reprint, New York: Octagon Books,
1968), 1:248.
2 Dred Scott v Sandford, 60 U.S. (19 How.) 393, 403 (1857).
3 Id., 407.
4 U.S. v Army, 1:248.
5 Dred Scott v Sandford, Id., 407.
6 Helen Merrell Lynd, On Shame and the Search for Identity (New York: Harcourt,
Brace, 1958), 49. Lynd’s pioneering book recognized Faulkner’s preoccupation with
shame, especially in Light in August (see Lynd, On Shame, 41–42).
7 William Faulkner, Go Down, Moses (1942; reprint, New York: Vintage International
Books, 1990), 179; subsequent references appear parenthetically.
8 See my initial reading of Old Ben as a manifestation of the abstract construction,
‘‘The Negro’’ (in Faulkner’s ‘‘Negro’’: Art and the Southern Context [Baton Rouge:
Louisiana State University Press, 1983], 244–46). In a more recent reading of Go
Down, Moses, Judith Lockyer reached a similar conclusion: ‘‘Abstract words like
freedom and humility and pride provide the connection between Old Ben and black
people’’ (Ordered by Words: Language and Narration in the Novels of William Faulkner
[Carbondale: Southern Illinois University Press, 1991], 110).
9 Sontag contrasts time and space in terms of determinism and chance, because she
understands time as ‘‘thrust[ing] us forward from behind, blow[ing] us through the
narrow funnel of the present into the future’’ (Under the Sign of Saturn [New York:
Vintage, 1981] 117).
10 Michel Foucault, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan
(New York: Pantheon Books, 1977) 194.
11 See my beginning formulation of that reading in ‘‘The Game of Courts: Go Down,
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