with The Paris Review in 1956, Faulkner remarked: Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him. Writer Flannery O'Connor stated that "the presence alone of Faulkner in our midst makes a great difference in what the writer can and cannot permit himself to do. Nobody wants his mule and wagon stalled on the same track the Dixie Limited is roaring down". Faulkner's contemporary critical reception was mixed, with The New York Times noting that many critics regarded his work as "raw slabs of pseudorealism that had relatively little merit as serious writing". His style has been described as "impenetrably convoluted". Themes and analysis Faulkner's work has been examined by many critics from a wide variety of critical perspectives, including his position on slavery in the South and his view that desegregation was not an idea to be forced, arguing desegregation should "go slow" so as not to upend the southern way of life. The essayist and novelist James Baldwin was highly critical of his views around integration. The New Critics became interested in Faulkner's work, with Cleanth Brooks writing The Yoknapatawpha Country and Michael Millgate writing The Achievement of William Faulkner. Since then, critics have looked at Faulkner's work using other approaches, such as feminist and psychoanalytic methods. Faulkner's works have been placed within the literary traditions of modernism and the Southern Renaissance. French philosopher Albert Camus wrote that Faulkner successfully imported classical tragedy into the 20th century through his "interminably unwinding spiral of words and sentences that conducts the speaker to the abyss of sufferings buried in the past". Legacy Influence According to critic and translator Valerie Miles, Faulkner's influence on Latin American fiction is considerable, with fictional worlds created by Gabriel García Márquez (Macondo) and Juan Carlos Onetti (Santa Maria) being "very much in the vein of" Yoknapatawpha: "Carlos Fuentes's The Death of Artemio Cruz wouldn't exist if not for As I Lay Dying". Fuentes himself cited Faulkner as one of the writers most important to him.