Explored the differences between Anderson and Faulkner on racial issues, and how these differences influenced their relationship and creativity. Anderson mentioned the debate with Faulkner about racial hybridization in his memoirs, but the authenticity of this claim has been questioned. The mixed race characters in Faulkner's early works did not exhibit symptoms of infertility, which contradicts Anderson's description. In addition, Anderson's memoirs may have a self defensive tone, as his relationships with Faulkner and Hemingway gradually drifted apart in the 1930s. In the past, the academic community focused more on the commonalities between the two writers in shaping local materials and industrial "deviant" images, while ignoring their debates on racial issues. Re examining the works of two writers from a racial perspective can reveal their different positions on Anglo Saxon nationalism, as well as Faulkner's reflection and transcendence of Anderson's ethnic regional concepts. This perspective helps to gain a deeper understanding of the creative perspectives of the two authors and their position in early 20th century American literature.

1、 Divergent views on regional perspectives

Deeply explored the similarities and differences in regional concepts between Faulkner and Anderson. Faulkner acknowledges being inspired by Anderson and using his hometown in Mississippi as a creative background in "The Chronicles of Sherwood Anderson," but he does not fully agree with Anderson's regional ideas, especially those involving racial and ethnic thinking. In Faulkner's early work "Mosquitoes", through the portrayal of the character Dawson Fairchild (based on Anderson), Faulkner expressed his questioning of regional writing, believing that artistic creation should not be limited to geographical environments, but should transcend regional limitations and showcase human commonalities. Meanwhile, Faulkner criticized Anderson's racial consciousness and regional bias, pointing out that Anderson's regional beliefs may imply racial logic, such as the stereotypical portrayal of Jews and Italians in "The Story of the Storyteller". Anderson's regional thought intersected with the trend of American anthropology and eugenics in the middle and late 19th century, but he also reflected on the drawbacks of British and American white culture and was open to immigrant culture. However, Anderson's works still reveal dissatisfaction with new immigrants. Hemingway also satirized Anderson's regional ideology and racial eugenics in "Spring Tide". Overall, Faulkner and Hemingway hold a critical attitude towards Anderson's regional ideas and the racial consciousness behind them.

2、 Divergent views on race

In 'The Mosquito', the views of Wiseman and Julius imply the inherent identity of race, contrasting with Dawson's environmental determinism and reflecting the differences in racial concepts between Faulkner and Anderson. Anderson's racial concept is connected with cultural pluralism. He respects racial and cultural differences, opposes cultural homogenization, and has resonance with the group of "young Americans" critics. They advocate multiculturalism and oppose a single Anglo Saxon culture, but this pluralism may inadvertently deepen racial barriers. Anderson emphasized the diverse racial background of American culture in "Hello, American", but this viewpoint may have reinforced racial essentialism. His appreciation of Southern black culture carries a primitive color, viewing black people as cultural others, which is particularly evident in 'The Hidden Laughter'. Anderson's depiction of the southernization and primitivism of black culture may be interpreted as maintaining Anglo Saxon national identity. Although he appreciates black culture, he holds a reserved attitude towards the integration of black and white races. In contrast, Faulkner transcended ethnic and regional limitations on racial issues, emphasizing the essential identity of black and white races. In 'The Mosquito', Julius' viewpoint negates the decisive role of the environment in human nature. Faulkner examines the issue of race from the perspective of human evolutionary history in "Absalom, Absalom!" and "Go, Moses", emphasizing the intrinsic connection between black and white races. He overturned the mainstream white bloodline purity theory and believed that black people were the orthodox race of humanity. Faulkner Anderson is better at understanding the spiritual world of black people and their desire for equal humanity. In his works such as "New Orleans," "The Sound and the Fury," "Go, Moses," and "August Light," the spiritual character and inner conflicts of black characters are dramatized and presented up close.

3、 Divergent views on bloodline

In the chapter "Divergent views on bloodline" of the paper, the author explores the differences between Anderson and Faulkner on racial concepts and eugenics bloodline theory. Anderson's preference for purebred horses is reflected in his works, such as "The Horse and the Man" and "The Triumph of Eggs," where he associates purebred horses with white superiority, while Faulkner satirizes Anderson's white superiority through horse racing imagery. Faulkner satirizes Anderson's love for purebred horse racing in "Sherwood Anderson," implying the underlying sense of national pride. Faulkner further pointed out in "Anderson" that Anderson's American national identity was mixed with a sense of bloodline superiority, while he himself appreciated the down-to-earth coolies.