A Geography of Reading

"It is by reading novels, stories, and myths that we come to understand the world in which we live." -Orhan Pamuk

Family Secrets in Faulkner’s Absalom, Absalom!

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absalom absalom william faulkner

hit on a truth about Southern families in Absalom, Absalom! Through both the story and the way he tells the story, he demonstrates the ways sensitive information is withheld and talked around but never fully concealed. As Mr. Compson said, “’It just does not explain. Or perhaps that’s it: they dont explain and we are not supposed to know. We have a few old mouth-to-mouth tales; we exhume from old trunks and boxes and drawers letters without salutation or signature.’”

Controlling Information

It takes a lot of control for a family to create secrets and there is often tension with the human desire to reach out and share one’s experience. Because of this there is often double-talk around the secrets and moments of slippage where you can’t maintain the secrecy anymore. Faulkner shows this beautifully when he has Judith give her letter to Quentin’s grandmother. She speaks of it like sharing the letter makes it like something happened, “something that might make a mark on something that was once for the reason that it can die someday.” Judith is reaching out and trying to communicate. She is trying to “make a mark” of her own and write her own history outside the history that is prescribed by her family.

After rambling about herself and her relationship with the family, Rosa slips in the vital piece of information that something is living in the Sutpen house only when Quentin’s attention has slipped away from the conversation. It is as though she was trying to get at telling him that all along but he wasn’t getting what she was saying. She then calls his attention directly to it. This is similar to what Faulkner is doing with the structure of the novel as the reader is immersed in oceans of details and familial relationships that are difficult to pin down. Eventually at the end he turns the story over to Shreve and Quentin and their conjecture to sort out the details and tell the reader the “truths” that have been obscured by the many layers of detail that drip from the story like Spanish moss.

Calculated Slips

Faulkner reveals only small dribbles of information at a time. For example, he has Mr. Compson tell Quentin, “’Henry had to kill Bon to keep them from marrying,’” but gives no hint as to why Henry would want to kill Bon. It’s enticing but maddening to read and puts the reader in the position of Quentin who has enough information to be fascinated with this family but not enough information to really understand what happened to them.

We see Henry acting like Bon’s younger brother well before the reader is told this truth. Mr. Compson says, “’Bon who for a year and a half now had been watching Henry ape his clothing and speech, who for a year and a half now had seen himself as the object of that complete and abnegant devotion which only a youth, never a woman, gives to another youth or man.’” Everything has two meanings because while Faulkner is telling the reader that Henry looks up to and adores Bon, he is also telling the reader that Henry looks to Bon like an older brother. He is simultaneously building the character of Henry and conveying hints about the truth of their relationship.

I come from a Southern family and am astounded at how well Faulkner captured the “I’m not going to tell you but the information will slip in anyway” way difficult information is conveyed in the South.

Polska, 1994 revolves around one central family secret: why Magda’s mother left the family. Magda has one answer that she believes to be true, but her instincts are leading her to dig deeper into the story. I found writing around important information to be difficult in terms of knowing how much to withhold and when and am working on my own relationship with doling out information to maintain suspense.

If this review made you want to read the book, pick up a copy of Absalom, Absalom! from Powell’s Books. Your purchase keeps indie booksellers in business and I receive a commission.

Faulkner’s As I Lay Dying in Pen and Ink

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William Faulkner - As I Lay Dying

In Michael Ondaatje’s The English Patient, the title character tells Hana to read Kipling slowly because he “is a writer who used pen and ink…Think about the speed of his pen.  What an appalling, barnacled old first paragraph it is otherwise.”  William Faulkner writes as though he was using pen and ink—creating gnarled sentences that unfold when read slowly.  In reading As I Lay Dying by William Faulkner slowly, the voices of the characters become distinct and they reveal information about themselves and each other through the observations they make.

Darl

In a section narrated by Darl, Faulkner writes, “I could lie with my shirt-tail up…feeling myself without touching myself.”  This is a quiet passage, one that I overlooked on the first couple of readings, but it sexualizes Darl.  Because this passage follows shortly after Cora observing Eula’s attraction to Darl, an entire relationship blossomed in my mind.

Cora

I loved the way Cora’s commentary changed my understanding of characters I had already formed opinions about.  For example, Darl spoke of Jewel as though he was protective of Addie and upset over the noise Cash was making in building her coffin.  To Darl he was “a little boy in the dark.”  Cora takes a much harsher view of Jewel, saying that he wouldn’t “miss a chance to make that extra three dollars at the price of his mother’s goodbye kiss.”  Because of the choral way Faulkner constructed this novel, it is easy to have the reader’s understanding of the characters grow as each new character beholds them.  This observation also speaks to the nature of the observer.  Although Cora was not able to lash out in anger at the woman who reneged on her promise to buy cakes, Cora does have ill feelings toward Jewel.  She is not as saintly as she might have us believe.  In the first person narration of my novel, it is more difficult to get a myriad of views on a particular character.  However, I can better use my dialogue to this effect.

Cora’s character is further developed as she rants against transporting Addie’s body to bury her, “She lived, a lonely woman, lonely with her pride, trying to make folks believe different, hiding the fact that they just suffered her, because she was not cold in the coffin before they were carting her forty miles away to bury her, flouting the will of God to do it.  Refusing to let her lie in the same earth as those Bundrens.” It seems as though Cora is spiteful against Addie and against the Bundrens. Addie lies dying in the upstairs bedroom and in one sentence Cora talks about how the woman has isolated herself and that people didn’t want to be around her. In the same sentence she foreshadows that God’s vengeance will be wrought on this family (although the degree of flood, putrefaction, and other disasters isn’t even hinted at).  And of course the language that Faulkner uses speaks to Cora’s background and upbringing (each of the characters has a slightly different manner of speech).  In fact each of the characters has their own speech patterns—something else that escapes immediate notice—when read quickly the novel can come off as merely difficult rather than intricately crafted.

Reading Slowly

I am a modern girl: I write and think at a hundred miles an hour, but I also like to muse and rethink and ponder. This novel (and The English Patient) reminded me that good writing takes time and should be savored over time. I am certain that in spending more time with As I Lay Dying, I would see more and more layers in it and come to appreciate Faulkner’s craft all the more. As is, it serves as a good reminder for me to slow down in my own writing and take the time I need to in order to get the details and feel right.  And if I want a reader to ponder slowly, I can craft my own gnarled sentences.

If this review made you want to read the book, support indie booksellers (and reviewers—I get a commission) by picking up a copy of As I Lay Dying from Powell’s Books.