Maybe it is because I am a Mississippian, born in the Delta, raised in the Hills, but I have been a devotee of William Faulkner’s writing from the first time I opened one of his novels when i was 15 years old. I was captivated by his concatenation of adjectives, precise and descriptive; his often elliptical way of telling his story, each cycle offeing more illumination; his rich, fully-fleshed characters; his ear for regional speech patterns reflected in his wonderful dialogue; and his subtle yet wicked sense of humor.
I call him Uncle Bill when talking to myself, not because of any blood kinship, but because, in so many ways, it seems that any of us who attempt to tell stories about the South in general or Mississippi in particular, are beholding to him, like a favorite uncle whose influence is neither gentle or harsh but always profound, always there in the background.
Attend any writing seminar or fiction writing class, and you will be bombarded by the mantras of start with a bang, set the hook early, avoid adjectives, and only use one modifier at a time, all of which were rules that Faulkner broke regularly and relentlessly. A novel is not a pop song or a Tweet or a text to be quickly consumed and discarded. It is, if it is a good novel, filled with the complexities of emotion and motive, action and consequence, accomplishment and loss, that make up life, things that take time and effort to plumb, assimilate, and appreciate. That is why we go back again and again to great novels, to savor them and gain a deeper awareness of the beauty of life.