Faulkner’s Structural Imagery

Returning to William Faulkner’s As I Lay Dying for last week’s reading group, I was struck by this passage in Darl’s eighth monologue (page 89 in the Vintage Classics edition) which appears just as Anse, Cash, Jewel, and Darl first attempt to raise and bear Addie Bundren’s coffin:

We lower it carefully down the steps. We move, balancing it as though it were something infinitely precious, our faces averted, breathing through our teeth to keep our nostrils closed. We go down the path, toward the slope.

“We better wait,” Cash says. “I tell you it ain’t balanced now. We’ll need another hand on that hill.”

“Then turn loose,” Jewel says. He will not stop. Cash begins to fall behind, hobbling to keep up, breathing harshly; then he is distanced and Jewel carries the entire front end alone, so that, tilting as the path begins to slant, it begins to rush away from me and slip down the air like a sled upon invisible snow, smoothly evacuating atmosphere in which the sense of it is still shaped.

Although Faulkner claimed to have hammered out As I Lay Dying in a single six-week burst of creativity, examinations of the original manuscript have since put the lie to that story. In our group discussion, then, one of the questions raised was whether the novel as published also undermines Faulkner’s claim insofar as its evident complexities and nuances make a six-week creation implausible. I pointed to the above passage as one nuance that seems to me to show enough self-reflexivity on Faulkner’s part — enough consciousness of what his novel was doing as he went about piecing it together — for the novel to then display some self-awareness, via imagery, of its own structure. Continue reading