Traditional Research Paper Ideas:
[in progress: feel free to add, claim, hack]

Faulkner in Latin America (see Paul Fess’s work)
Faulkner’s reception: in France (esp. Sartre), in Latin America, in Mississippi, in Japan. Glissant, Fuentes, Sartre, Marquez, Borges (Parini quotes from many reviews of WF by Borges)
Faulkner and Hollywood.
Faulkner and Civil Rights
Faulkner and Southern history (see Williamson)
Native American presence in Faulkner (Ashley P)
Faulkner’s midwives: Malcolm Cowley, Phil Stone, etc. See Cowley’s long essay on WF in SATURDAY REVIEW in 1930s
Faulkner and beginnings of American modernism: see Hugh Kenner’s essay from the 1970s.
Faulkner and periodicals: SatEvePost, DOUBLE DEALER, etc.
Ecocritical Faulkner
Review-essay of one of the Yoknapatawpha conference volumes.
Faulkner and the Nobel prize?
Queer Faulkner
Faulkner and plantation tradition
Faulkner, New Orleans, and the DOUBLE DEALER: the urban sketch tradition and its relation to his later impressionism.
Faulkner and pulp/noir: SANCTUARY, THE BIG SLEEP, etc.
Reception of a novel: of TSAF, for example, or of SANCTUARY.
Maurice Coindreu’s translations of WF into French in 1930s: Sartre, Malreaux, de Beauvoir, Camus are fans.
SANCTUARY and publication history: use reviews or covers or editions to speak to the position of WF between “high” and “pulp” and “middlebrow” positions. Modern Library edition is especially interesting in 1931.
New Critics’ embrace of Faulkner in the 40s and 50s: especially Warren and Brooks. Look at their publications and especially textbooks in light of the GI Bill’s expansion of the academy.
Adaptations: flipside of Faulkner’s writing for Hollywood, also see ballet of AILD and perhaps others.
Faulkner’s bookshelf: basis of his fiction in other reading.
Changes in GDM from magazine pieces to novel: riff on markets and on formal/ideological constraints of periodical publication. Components of novel as “stories about niggers,” says WF to Haas (SL 124).
Big change in GDM is the construction of blacks with a “capacity for memory” and thus as possessed of a fuller subjectivity (160).
Anecdote of INTRUDER as Hollywood story, premiere at Oxford, and Faulkner’s refusal to invite the Puerto Rican star (Lucas’s role) Juano Hernandez to the cast party at Rowan Oak. More ironic repetition (167).