Warren Beck. “A Gigantic Faulkner Fable.” Milwaukee Journal, August 1, 1954, p. 4.

A Fable, on which William Faulkner worked from 1944 to 1953, is a magnificent novel, in concept and in drama, characterization and style. Though not easy reading, or immediately transparent, it is resonant with meanings and its gamut of tones is immense. A tremendous venture in symbolic composition, it requires attention like that demanded by fugue or symphony, and should be viewed both closely and in perspective, like great architecture.

Besides its complexity of design and symbolic subtleties, there are the difficulties inherent in Faulkner's characteristic methods. The cryptic narrative unfolds slowly, like experience itself, and details are sometimes multiplied and magnified in a dreamlike vision which intensifies mood but must be closely noted, like concentrated poetry.

Thus A Fable will disconcert and perhaps irritate those uninclined to such attentiveness. However, serious readers of fiction will give this novel a high place, though conflicting interpretations will abound.

The scene, except for one episode in the United States, is France in World War I. The story shifts among many characters, in a counterpoint of contrasted attitudes and actions. A central event is a French regiment's refusal to attack, and the consequent lull on the front, both sides sensing that men might will peace. This spirit of nonviolence and conciliation has been promulgated by a mysterious corporal, about whom are many implied parallels to Jesus, culminating in his execution after he has been taken to a high place and offered worldly power and after his betrayal by one of 12 followers.

Faulkner has interpolated a previously published narrative, “Notes on a Horse Thief.”