“This is not that money,” Stevens said. “They got that back. This is new money she sent you this morning. This is different.”
“You mean when I take it I aint promised nobody nothing?”
“Yes,” Stevens said. “Take it.”
He did so. “Much obliged,” he said. “That other time they said I would get another two hundred and fifty again in three months if I went straight across Missippi without stopping and never come back again. I reckon that’s done stopped this time.”
“No,” Stevens said. “That too. In three months tell me where you are and I’ll send it.”
“Much obliged,” Mink said. “Send it to M. C. Snopes.”
“What?” Stevens said.
“To M. C. Snopes. That’s my name: M. C.”
“Come on,” Ratliff said, almost roughly, “let’s get out of here,” taking him by the arm even as Stevens turned, Ratliff taking the burning lighter from him and holding it up while Stevens found the fading earthen steps again, once more up and out into the air, the night, the moonless dark, the worn-out eroded fields supine beneath the first faint breath of fall, waiting for winter. Overhead, celestial and hier-archate, the constellations wheeled through the zodiacal pastures: Scorpion and Bear and Scales; beyond cold Orion and the Sisters the fallen and homeless angels choired, lamenting. Gentle and tender as a woman, Ratliff opened the car door for Stevens to get in. “You all right now?” he said.
“Yes I tell you, goddammit,” Stevens said.
Ratliff closed the door and went around the car and opened his and got in and closed it and turned the switch and snapped on the lights and put the car in gear—two old men themselves, approaching their sixties. “I dont know if she;Send it ;s already got a daughter stashed out somewhere, or if she jest aint got around to one yet. But when she does I jest hope for Old Lang Zyne’s sake she dont never bring it back to Jefferson. You done already been through two Eula Varners and I dont think you can stand another one.”
When the two strangers took the light away and were gone, he didn’t lie down again. He was rested now, and any moment now the time to go on again would come. So he just continued to kneel on the crude platform of old boards he had gathered together to defend himself from the ground in case he dropped off to sleep. Luckily the man who robbed him of his ten dollars last Thursday night hadn’t taken the safety pin too, so he folded the money as small as it would fold into the bib pocket and pinned it. It would be all right this time; it made such a lump that even asleep he couldn’t help but feel anybody fooling with it.
Then the time came to go on. He was glad of it in a way; a man can get tired, burnt out on resting like on anything else. Outside it was dark, cool and pleasant for walking, empty except for the old ground. But then a man didn’t need to have to keep his mind steadily on the ground after sixty-three years. In fact, the ground itself never let a man forget it was there waiting, pulling gently and without no hurry at him between every step, saying, Come on, lay down; I aint going to hurt you. Jest lay down. He thought Vmfree now. I can walk any way I want to. So he would walk west now, since that was the direction people always went: west. Whenever they picked up and moved to a new country, it was always west, like Old Moster Himself had put it into a man’s very blood and nature his paw had give him at the very moment he squirted him into his maw’s belly.
Because he was free now. A little further along toward dawn, any time the notion struck him to, he could lay down. So when the notion struck him he did so, arranging himself, arms and legs and back, already feeling the first faint gentle tug like the durned old ground itself was trying to make you believe it wasn’t really noticing itself doing it. Only he located the right stars at that moment, he was not laying exactly right since a man must face the east to lay down; walk west but when you lay down, face the exact east. So he moved, shifted a little, and now he was exactly right and he was free now, he could afford to risk it; to show how much he dared risk it, he even would close his eyes, give it all the chance it wanted; whereupon as if believing he really was asleep, it gradually went to work a little harder, easy of course, not to really disturb him: just harder, increasing. Because a man had to spend not just all his life but all the time of Man too guarding against it; even back when they said man lived in caves, he would raise up a bank of dirt to at least keep him that far off the ground while he slept, until he invented wood floors to protect him and at last beds too, raising the floors storey by storey until they would be laying a hundred and even a thousand feet up in the air to be safe from the earth.
But he could risk it, he even felt like giving it a fair active chance just to show him, prove what it could do if it wanted to try. And in fact, as soon as he thought that, it seemed to him he could feel the Mink Snopes that had had to spend so much of his life just having unnecessary bother and trouble, beginning to creep, seep, flow easy as sleeping; he could almost watch it, following all the little grass blades and tiny roots, the little holes the worms made, down and down into the ground already full of the folks that had the trouble but were free now, so that it was just the ground and the dirt tat had to bother and worry and anguish with the passions and hopes and skeers, the justice and the injustice and the griefs, leaving the folks themselves easy now, all mixed and jumbled up comfortable and easy so wouldn’t nobody even know or even care who was which any more, himself among them, equal to any, good as any, brave as any, being inextricable from, anonymous with all of them: the beautiful, the splendid, the proud and the brave, right on up to the very top itself among the shining phantoms and dreams which are the milestones of the long human recording—Helen and the bishops, the kings and the unhomed angels, the scornful and graceless seraphim.
Charlottesville, Virginia
9 March 1959
THE MODERN LIBRARY EDITORIAL BOARD
Maya Angelou
•
Daniel J. Boorstin
•
A. S. Byatt
•
Caleb Carr
•
Christopher Cerf
•
Ron Chernow
•
Shelby Foote
•
Stephen Jay Gould
•
Vartan Gregorian
•
Charles Johnson
•
Jon Krakauer
•
Edmund Morris
•
Joyce Carol Oates
•
Elaine Pagels
•
John Richardson
•
Salman Rushdie
•
Arthur Schlesinger, Jr.
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Carolyn See
•
William Styron
•
Gore Vidal
WILLIAM FAULKNER
(1897–1962)
William Cuthbert Faulkner was born in 1897 in New Albany, Mississippi, the first of four sons of Murry and Maud Butler Falkner (he later added the ‘u’ to the family name himself). In 1904 the family moved to the university town of Oxford, Mississippi, where Faulkner was to spend most of his life. He was named for his great-grandfather ‘The Old Colonel,’ a Civil War veteran who built a railroad, wrote a bestselling romantic novel called The White Rose of Memphis, became a Mississippi state legislator, and was eventually killed in what may or may not have been a duel with a disgruntled business partner. Faulkner identified with this robust and energetic ancestor and often said that he inherited the ‘ink stain’ from him.
Never fond of
school, Faulkner left at the end of football season his senior year of high school, and began working at his grandfather’s bank. In 1918, after his plans to marry his sweetheart Estelle Oldham were squashed by their families, he tried to enlist as a pilot in the U.S. Army but was rejected because he did not meet the height and weight requirements. He went to Canada, where he pretended to be an Englishman and joined the RAF training progra
m there. Although he did not complete his training until after the war ended and never saw combat, he returned to his hometown in uniform, boasting of war wounds. He briefly attended the University of Mississippi, where he began to publish his poetry.
After spending a short time living in New York, he again returned to Oxford, where he worked at the university post office. His first book, a collection of poetry, The Marble Faun, was published at Faulkner’s own expense in 1924. The writer Sherwood Anderson, whom he me the w Orleans in 1925, encouraged him to try writing fiction, and his first novel, Soldier’s Pay, was published in 1926. It was followed by Mosquitoes. His next novel, which he titled Flags in the Dust, was rejected by his publisher and twelve others to whom he submitted it. It was eventually published in drastically edited form as Sartoris (the original version was not issued until after his death). Meanwhile, he was writing The Sound and the Fury, which, after being rejected by one publisher, came out in 1929 and received many ecstatic reviews, although it sold poorly. Yet again, a new novel, Sanctuary, was initially rejected by his publisher, this time as ‘too shocking.’ While working on the night shift at a power plant, Faulkner wrote what he was determined would be his masterpiece, As I Lay Dying. He finished it in about seven weeks, and it was published in 1930, again to generally good reviews and mediocre sales.
In 1929 Faulkner had finally married his childhood sweetheart, Estelle, after her divorce from her first husband. They had a premature daughter, Alabama, who died ten days after birth in 1931; a second daughter, Jill, was born in 1933.
With the eventual publication of his most sensational and violent (as well as, up till then, most successful) novel, Sanctuary (1931), Faulkner was invited to write scripts for MGM and Warner Brothers, where he was responsible for much of the dialogue in the film versions of Hemingway’s To Have and Have Not and Chandler’s The Big Sleep, and many other films. He continued to write novels and published many stories in the popular magazines. Light in August (1932) was his first attempt to address the racial issues of the South, an effort continued in Absalom, Absalom! (1936), and Go Down, Moses (1942). By 1946, most of Faulkner’s novels were out of print in the United States (although they remained well-regarded in Europe), and he was seen as a minor, regional writer. But then the influential editor and critic Malcolm Cowley, who had earlier championed Hemingway and Fitzgerald and others of their generation, put together The Portable Faulkner, and once again Faulkner’s genius was recognized, this time for good. He received the 1949 Nobel Prize for Literature as well as many other awards and accolades, including the National Book Award and the Gold Medal from the American Academy of Arts and Letters and France’s Legion of Honor.
In addition to several collections of short fiction, his other novels include Pylon (1935), The Unvanquished (1938), The Wild Palms (1939), The Hamlet (1940), Intruder in the Dust (1948), A Fable (1954), The Town (1957), The Mansion (1959), and The Reivers (1962).
William Faulkner died of a heart attack on July 6, 1962, in Oxford, Mississippi, where he is buried.
‘He is the greatest artist the South has produced.… Indeed, through his many novels and short stories, Faulkner fights out the moral problem which was repressed after the nineteenth century [yet] for all his concern with the South, Faulkner was actually seeking out the nature of man. Thus we must turn to him for that continuity of moral purpose which made for the greatness of our classics.’
—RALPH ELLISON
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‘Faulkner, more than most men, was aware of human strength as well of human weakness. He knew that the understanding and the resolution of fear are a large part of the writer’s reason for being.’
—JOHN STEINBECK
‘For range of effect, philosophical weight, originality of style, variety of characterization, humor, and tragic intensity, [Faulkner’s works] are without equal in our time and country.’
—ROBERT PENN WARREN
‘No man ever put more of his heart and soul into the written word than did William Faulkner. If you want to know all you can about that heart and soul, the fiction where he put it is still right there.’
—EUDORA WELTY
WILLIAM FAULKNER’S WORKS
THE MARBLE FAUN (1924)
SOLDIER’S PAY (1926)
MOSQUITOES (1927)
SARTORIS (1929) [FLAGS IN THE DUST (1973)]
THE SOUND AND THE FURY (1929)
As I LAY DYING (1930)
SANCTUARY (1931)
THESE 13 (1931)
LIGHT IN AUGUST (1932)
A GREEN BOUGH (1933)
DOCTOR
MARTINO AND OTHER STORIES (1934)
PYLON (1935)
ABSALOM, ABSALOM! (1936)
THE UNVANQUISHED (1938)
THE WILD PALMS [IF I FORGET THEE JERUSALEM] (1939)
THE HAMLET (1940)
GO DOWN, MOSES AND OTHER STORIES (1942)
INTRUDER IN THE DUST (1948)
KNIGHT’S GAMBIT (1949)
COLLECTED STORIES OF WILLIAM FAULKNER (1950)
NOTES ON A HORSETHIEF (1951)
REQUIEM FOR A NUN (1954)
A FABLE (1954)
BIG WOODS (1955)
THE TOWN (1957)
THE MANSION (1959)
THE REIVERS (1962)
UNCOLLECTED STORIES OF WILLIAM FAULKNER (1979, POSTHUMOUS)
ALSO BY WILLIAM FAULKNER
ABSALOM, ABSALOM!
One of Faulkner’s finest achievements, Absalom, Absalom! is the story of Thomas Sutpen and the ruthless, single-minded pursuit of his grand design—to forge a dynasty in Jefferson, Mississippi, in 1830—which is ultimately destroyed (along with Sutpen himself) by his two sons.
AS I LAY DYING
As I Lay Dying is the harrowing account of the Bundren family’s odyssey across the Mississippi countryside to bury Addie, their wife and mother. Told by each of the family members—including Addie herself—the novel ranges from dark comedy to deepest pathos.
A FABLE
Winner of the Pulitzer Prize and the National Book Award, this allegorical novel about World War I is set in the trenches of France and deals with a mutiny in a French regiment.
FLAGS IN THE DUST
The complete text, published for the first time in 1973, of Faulkner’s third novel, written when he was twenty-nine, which appeared, with his reluctant consent, in a much cut version in 1929 as Sartoris.
LIGHT IN AUGUST
A novel about hopeful perseverance in the face of mortality, Light in August tells the tales of guileless, dauntless Lena Grove, in search of the father of her unborn child; Reverend Gail Hightower, who is plagued by visions of Confederate horsemen; and Joe Christmas, an enigmatic drifter consumed by his mixed ancestry.
THE REIVERS
One of Faulkner’s comic masterpieces and winner of a Pulitzer Prize, The Reivers is a picaresque tale that tells of three unlikely car thieves from rural Mississippi and their wild misadventures in the fast life of Memphis—from horse smuggling to bawdy houses.
REQUIEM FOR A NUN
The sequel to Faulkner’s most sensational novel Sanctuary, was written twenty years later but takes up the story of Temple Drake eight years after the events related in Sanctuary. Temple is now married to Gowan Stevens. The book begins when the death sentence is pronounced on the nurse Nancy for the murder of Temple and Gowan’s child. In an attempt to save her, Temple goes to see the judge to confess her own guilt. Told partly in prose, partly in play form, Requiem for a Nun is a haunting exploration of the impact of the past on the present.
THE SOUND AND THE FURY
One of the greatest novels of the twentieth century, The Sound and the Fury is the tragedy of the Compson family, featuring some of the most memorable characters in American literature: beautiful, rebellious Caddy; the man-child Benjy; haunted, neurotic Quentin; Jason, the brutal cynic; and Dilsey, their black servant.
THE UNVANQUISHED
The Unvanquished is a novel of the Sartoris family, who embody the ideal
of Southern honor and its transformation through war, defeat, and Reconstruction: Colonel John Sartoris, who is murdered by a business rival after the war; his son Bayard, who finds an alternative to bloodshed; and Granny Millard, the matriarch, who must put aside her code of gentility in order to survive.
Snopes Trilogy
THE HAMLET
The Hamlet, the first novel of Faulkner’s Snopes trilogy, is both an ironic take on classical tragedy and a mordant commentary on the grand pretensions of the antebellum South and the depths of its decay in the aftermath of war and reconstruction. It tells of the advent and the rise of the Snopes family in Frenchman’s Bend, a small town built on the ruins of a once-stately plantation. Flem Snopes—wily, energetic, a man of shady origins—quickly comes to dominate the town and its people with his cunning and guile.
THE TOWN
This is the second volume of Faulkner’s trilogy about the Snopes family, his symbol for the grasping, destructive element in the post-bellum South. Like its predecessor The Hamlet, and its successor The Mansion, The Town is completely self-contained, but it gains resonance from being read with the other two. The story of Flem Snopes’ ruthless struggle to take over the town of Jefferson, Mississippi, the book is rich in typically Faulknerian episodes of humor and of profundity.
THE MANSION
The Mansion completes Faulkner’s great trilogy of the Snopes family in the mythical county of Yoknapatawpha, Mississippi, which also includes The Hamlet and The Town. Beginning with the murder of Jack Houston and ending with the murder of Flem Snopes, it traces the downfall of the indomitable post-bellum family who managed to seize control of the town of Jefferson within a generation.
Snopes: The Hamlet, the Town, the Mansion Page 123