Essays, Speeches & Public Letters

by William Faulkner

  This of course is his immortality, perhaps the only one. Perhaps the very drive which has compelled him to that dedication was simply the desire to leave inscribed beside that final door into oblivion through which he first must pass, the words “Kilroy was here.”

  So, as I stand here today, I have already tasted that immortality. That I, a country-bred alien who followed that dedication thousands of miles away, to seek and try to capture and imitate for a moment in a handful of printed pages, the truth of man’s hope in the human dilemma, have received here in Venezuela the official accolade which says in effect: Your dedication was not spent in vain. What you found and tried to imitate, was truth.

  * On his trip to Venezuela in April 1961, Faulkner received from the Venezuelan government the Order of Andrés Bello, first class. He delivered his speech of acceptance in Spanish, translated from Faulkner’s original manuscript by Hugh Jencks, his interpreter on that trip. This translation was published in the Caracas newspaper El Universal April 7, 1961, and was reprinted in A Faulkner Miscellany, ed. James B. Meriwether, University Press of Mississippi, 1974. With it was a translation from the Spanish back to English by Muna Lee, the Foreign Service officer who had arranged this trip.

  Faulkner gave his original manuscript to his step-daughter, Victoria Franklin Fielden, and her husband, William Fielden, who were living in Caracas. It was acquired and published by Louis Daniel Brodsky as “The 1961 Andrés Bello Award: William Faulkner’s Original Acceptance Speech,” in Studies in Bibliography, 1986, vol. 39. That text is printed here.

  Address at the Teatro Municipal

  CARACAS, APRIL 6, 1961*

  Anyone who had received as many honors as myself since reaching Venezuela, might have supposed no new one remained for him. He would have been wrong. In this performance of “Danzas Venezuela” he saw not merely another warm and generous gesture from one American country to a visitor from another one. He saw the spirit and history of Venezuela caught and held in a bright and moving instant of grace and skill, by young men and women who gave the impression that they were doing it from love and pride in the poetry and tradition of their country’s history and the lives of its people, for the stranger, the alien, to see and understand and so carry back to his home with him a fuller knowledge of the country which he had already come to admire—never to forget the gesture nor the inspiration of it from the poetry of Blanco and the other poets, maybe even nameless ones, whose dedication it is to record the history of nations and peoples, which senora Ossona translated into graceful and significant motion, nor senora Ramon y Riviera who directed it and the young men and women who performed it. He thanks them all. He will not forget the experience nor them who made it possible.

  * On the evening of April 6, 1961, Faulkner attended a performance of the “Danzas Venezuela” at the Teatro Municipal. For the occasion he wrote a brief speech of thanks to the dancers. It was translated into Spanish by Hugh Jencks, who read it to the dancers and the audience. Jencks provided this editor with a copy of Faulkner’s original typescript, which was published in the Mississippi Quarterly, Summer 1974. That text is printed here.

  Two Introductions

  TO

  The Sound and the Fury*

  INTRODUCTION TO

  The Sound and the Fury, 1933

  ART IS no part of southern life. In the North it seems to be different. It is the hardest miner stone in Manhattan’s foundation. It is a part of the glitter or shabbiness of the streets. The arrowing buildings rise out of it and because of it, to be torn down and arrow again. There will be people leading small bourgeois lives (those countless and almost invisible bones of its articulation, lacking any one of which the whole skeleton might collapse) whose bread will derive from it—polyglot boys and girls progressing from tenement schools to editorial rooms and art galleries; men with grey hair and paunches who run linotype machines and take up tickets at concerts and then go sedately home to Brooklyn and suburban stations where children and grandchildren await them—long after the descendents of Irish politicians and Neapolitan racketeers are as forgotten as the wild Indians and the pigeon.

  And of Chicago too: of that rythm not always with harmony or tune; lusty, loudvoiced, always changing and always young; drawing from a river basin which is almost a continent young men and women into its living unrest and then spewing them forth again to write Chicago in New England and Virginia and Europe. But in the South art, to become visible at all, must become a ceremony, a spectacle; something between a gypsy encampment and a church bazaar given by a handful of alien mummers who must waste themselves in protest and active self-defense until there is nothing left with which to speak—a single week, say, of furious endeavor for a show to be held on Friday night and then struck and vanished, leaving only a paint-stiffened smock or a worn out typewriter ribbon in the corner and perhaps a small bill for cheesecloth or bunting in the hands of an astonished and bewildered tradesman.

  Perhaps this is because the South (I speak in the sense of the indigenous dream of any given collection of men having something in common, be it only geography and climate, which shape their economic and spiritual aspirations into cities, into a pattern of houses or behavior) is old since dead. New York, whatever it may believe of itself, is young since alive; it is still a logical and unbroken progression from the Dutch. And Chicago even boasts of being young. But the South, as Chicago is the Middlewest and New York the East, is dead, killed by the Civil War. There is a thing known whimsically as the New South to be sure, but it is not the south. It is a land of Immigrants who are rebuilding the towns and cities into replicas of towns and cities in Kansas and Iowa and Illinois, with skyscrapers and striped canvas awnings instead of wooden balconies, and teaching the young men who sell the gasoline and the waitresses in the restaurants to say O yeah? and to speak with hard r’s, and hanging over the intersections of quiet and shaded streets where no one save Northern tourists in Cadillacs and Lincolns ever pass at a gait faster than a horse trots, changing red-and-green lights and savage and peremptory bells.

  Yet this art, which has no place in southern life, is almost the sum total of the Southern artist. It is his breath, blood, flesh, all. Not so much that it is forced back upon him or that he is forced bodily into it by the circumstance; forced to choose, lady and tiger fashion, between being an artist and being a man. He does it deliberately; he wishes it so. This has always been true of him and of him alone. Only Southerners have taken horsewhips and pistols to editors about the treatment or maltreatment of their manuscript. This—the actual pistols—was in the old days, of course, we no longer succumb to the impulse. But it is still there, still within us.

  Because it is himself that the Southerner is writing about, not about his environment: who has, figuratively speaking, taken the artist in him in one hand and his milieu in the other and thrust the one into the other like a clawing and spitting cat into a croker sack. And he writes. We have never got and probably will never get, anywhere with music or the plastic forms. We need to talk, to tell, since oratory is our heritage. We seem to try in the simple furious breathing (or writing) span of the individual to draw a savage indictment of the contemporary scene or to escape from it into a makebelieve region of swords and magnolias and mockingbirds which perhaps never existed anywhere. Both of the courses are rooted in sentiment; perhaps the ones who write savagely and bitterly of the incest in clayfloored cabins are the most sentimental. Anyway, each course is a matter of violent partizanship, in which the writer unconsciously writes into every line and phrase his violent despairs and rages and frustrations or his violent prophesies of still more violent hopes. That cold intellect which can write with calm and complete detachment and gusto of its contemporary scene is not among us; I do not believe there lives the Southern writer who can say without lying that writing is any fun to him. Perhaps we do not want it to be.

  I seem to have tried both of the courses. I have tried to escape and I have tried to indict. After five years I look back at The Sound an
d the Fury and see that that was the turning point: in this book I did both at one time. When I began the book, I had no plan at all. I wasn’t even writing a book. Previous to it I had written three novels, with progressively decreasing ease and pleasure, and reward or emolument. The third one was shopped about for three years during which I sent it from publisher to publisher with a kind of stubborn and fading hope of at least justifying the paper I had used and the time I had spent writing it. This hope must have died at last, because one day it suddenly seemed as if a door had clapped silently and forever to between me and all publishers’ addresses and booklists and I said to myself, Now I can write. Now I can just write. Whereupon I, who had three brothers and no sisters and was destined to lose my first daughter in infancy, began to write about a little girl.

  I did not realise then that I was trying to manufacture the sister which I did not have and the daughter which I was to lose, though the former might have been apparent from the fact that Caddy had three brothers almost before I wrote her name on paper. I just began to write about a brother and a sister splashing one another in the brook and the sister fell and wet her clothing and the smallest brother cried, thinking that the sister was conquered or perhaps hurt. Or perhaps he knew that he was the baby and that she would quit whatever water battles to comfort him. When she did so, when she quit the water fight and stooped in her wet garments above him, the entire story, which is all told by that same little brother in the first section, seemed to explode on the paper before me.

  I saw that peaceful glinting of that branch was to become the dark, harsh flowing of time sweeping her to where she could not return to comfort him, but that just separation, division, would not be enough, not far enough. It must sweep her into dishonor and shame too. And that Benjy must never grow beyond this moment; that for him all knowing must begin and end with that fierce, panting, paused and stooping wet figure which smelled like trees. That he must never grow up to where the grief of bereavement could be leavened with understanding and hence the alleviation of rage as in the case of Jason, and of oblivion as in the case of Quentin.

  I saw that they had been sent to the pasture to spend the afternoon to get them away from the house during the grandmother’s funeral in order that the three brothers and the nigger children could look up at the muddy seat of Caddy’s drawers as she climbed the tree to look in the window at the funeral, without then realising the symbology of the soiled drawers, for here again hers was the courage which was to face later with honor the shame which she was to engender, which Quentin and Jason could not face: the one taking refuge in suicide, the other in vindictive rage which drove him to rob his bastard niece of the meagre sums which Caddy could send her. For I had already gone on to night and the bedroom and Dilsey with the mudstained drawers scrubbing the naked backside of that doomed little girl—trying to cleanse with the sorry byblow of its soiling that body, flesh, whose shame they symbolised and prophesied, as though she already saw the dark future and the part she was to play in it trying to hold that crumbling household together.

  Then the story was complete, finished. There was Dilsey to be the future, to stand above the fallen ruins of the family like a ruined chimney, gaunt, patient and indomitable; and Benjy to be the past. He had to be an idiot so that, like Dilsey, he could be impervious to the future, though unlike her by refusing to accept it at all. Without thought or comprehension; shapeless, neuter, like something eyeless and voiceless which might have lived, existed merely because of its ability to suffer, in the beginning of life; half fluid, groping: a pallid and helpless mass of all mindless agony under sun, in time yet not of it save that he could nightly carry with him that fierce, courageous being who was to him but a touch and a sound that may be heard on any golf links and a smell like trees, into the slow bright shapes of sleep.

  The story is all there, in the first section as Benjy told it. I did not try deliberately to make it obscure; when I realised that the story might be printed, I took three more sections, all longer than Benjy’s, to try to clarify it. But when I wrote Benjy’s section, I was not writing it to be printed. If I were to do it over now I would do it differently, because the writing of it as it now stands taught me both how to write and how to read, and even more: It taught me what I had already read, because on completing it I discovered, in a series of repercussions like summer thunder, the Flauberts and Conrads and Turgenievs which as much as ten years before I had consumed whole and without assimilating at all, as a moth or a goat might. I have read nothing since; I have not had to. And I have learned but one thing since about writing. That is, that the emotion definite and physical and yet nebulous to describe which the writing of Benjy’s section of The Sound and the Fury gave me—that ecstasy, that eager and joyous faith and anticipation of surprise which the yet unmarred sheets beneath my hand held inviolate and unfailing—will not return. The unreluctance to begin, the cold satisfaction in work well and arduously done, is there and will continue to be there as long as I can do it well. But that other will not return. I shall never know it again.

  So I wrote Quentin’s and Jason’s sections, trying to clarify Benjy’s. But I saw that I was merely temporising; That I should have to get completely out of the book. I realised that there would be compensations, that in a sense I could then give a final turn to the screw and extract some ultimate distillation. Yet it took me better than a month to take pen and write The day dawned bleak and chill before I did so. There is a story somewhere about an old Roman who kept at his bedside a Tyrrhenian vase which he loved and the rim of which he wore slowly away with kissing it. I had made myself a vase, but I suppose I knew all the time that I could not live forever inside of it, that perhaps to have it so that I too could lie in bed and look at it would be better; surely so when that day should come when not only the ecstasy of writing would be gone, but the unreluctance and the something worth saying too. It’s fine to think that you will leave something behind you when you die, but it’s better to have made something you can die with. Much better the muddy bottom of a little doomed girl climbing a blooming pear tree in April to look in the window at the funeral.

  Oxford.

  19 August, 1933.

  [Mississippi Quarterly, Summer 1973]

  INTRODUCTION TO

  The Sound and the Fury, 1946

  I WROTE this book and learned to read. I had learned a little about writing from Soldiers’ Pay—how to approach language, words: not with seriousness so much, as an essayist does, but with a kind of alert respect, as you approach dynamite; even with joy, as you approach women; perhaps with the same secretly unscrupulous intentions. But when I finished The Sound and the Fury I discovered that there is actually something to which the shabby term Art not only can, but must, be applied. I discovered then that I had gone through all that I had ever read, from Henry James through Henty to newspaper murders, without making any distinction or digesting any of it, as a moth or a goat might. After The Sound and the Fury and without heeding to open another book and in a series of delayed repercussions like summer thunder, I discover the Flauberts and Dostoyevskys and Conrads whose books I had read ten years ago. With The Sound and the Fury I learned to read and quit reading, since I have read nothing since.

  Nor do I seem to have learned anything since. While writing Sanctuary, the next novel to The Sound and the Fury, that part of me which learned as I wrote, which perhaps is the very force which drives a writer to the travail of invention and the drudgery of putting seventy-five or a hundred thousand words on paper, was absent because I was still reading by repercussion the books which I had swallowed whole ten years and more ago. I learned only from the writing of Sanctuary that there was something missing; something which The Sound and the Fury gave me and Sanctuary did not. When I began As I Lay Dying I had discovered what it was and knew that it would be also missing in this case because this would be a deliberate book. I set out deliberately to write a tour-de-force. Before I ever put pen to paper and set down the first word, I knew what the l
ast word would be and almost where the last period would fall. Before I began I said, I am going to write a book by which, at a pinch, I can stand or fall if I never touch ink again. So when I finished it the cold satisfaction was there, as I had expected, but as I had also expected that other quality which The Sound and the Fury had given me was absent: that emotion definite and physical and yet nebulous to describe: that ecstasy, that eager and joyous faith and anticipation of surprise which the yet unmarred sheet beneath my hand held inviolate and unfailing, waiting for release. It was not there in As I Lay Dying. I said, It is because I knew too much about this book before I began to write it. I said, More than likely I shall never again have to know this much about a book before I begin to write it, and next time it will return. I waited almost two years, then I began Light in August, knowing no more about it than a young woman, pregnant, walking along a strange country road. I thought, I will recapture it now, since I know no more about this book than I did about The Sound and the Fury when I sat down before the first blank page.

  It did not return. The written pages grew in number. The story was going pretty well: I would sit down to it each morning without reluctance yet still without that anticipation and that joy which alone ever made writing pleasure to me. The book was almost finished before I acquiesced to the fact that it would not recur, since I was now aware before each word was written down just what the people would do, since now I was deliberately choosing among possibilities and probabilities of behavior and weighing and measuring each choice by the scale of the Jameses and Conrads and Balzacs. I knew that I had read too much, that I had reached that stage which all young writers must pass through, in which he believes that he has learned too much about his trade. I received a copy of the printed book and I found that I didn’t even want to see what kind of jacket Smith had put on it. I seemed to have a vision of it and the other ones subsequent to The Sound and the Fury ranked in order upon a shelf which I looked at the titled backs of them with a flagging attention which was almost distaste, and upon which each succeeding title registered less and less, until at last Attention itself seemed to say, Thank God I shall never need to open any one of them again. I believed that I knew then why I had not recaptured that first ecstasy, and that I should never again recapture it; that whatever novels I should write in the future would be written without reluctance, but also without anticipation of joy: that in The Sound and the Fury I had already put perhaps the only thing in literature which would ever move me very much: Caddy climbing the pear tree to look in the window at her grandmother’s funeral while Quentin and Jason and Benjy and the negroes looked up at the muddy seat of her drawers.