Transnational Latina Narratives in the Twenty-First Century: The Politics of Gender, Race, and Migrations (review)
Hamlet is, by Weinstein's own account, "rubbishy aftermath," and the final chapter thus lacks the intensity of what comes before. Readers who hold the novels of the late 1940s and 1950s in higher esteem will likely take issue with Weinstein's summary of this period in terms of "replays and repetitions" (9). However, by exposing within the author's life and art the "channels that remained open, outside the aegis of will," his reading of the career opens it up far more than it closes it off, offering a genuinely new way of thinking about Faulkner and the possibilities of biographical criticism (214).