A couple of days ago, I gave an excerpt from The Unvanquished which serves well to set against this excerpt from Absalom, Absalom!.
from Abasalom, Absalom!
William Faulknerit was a summer of wistaria. The twilight was full of it and the smell of his father's cigar as they sat on the front gallery after supper until it would be time for Quentin to start, while in the deep shaggy lawn below the veranda the fireflies flew and drifted in soft random--the odor, the scent, which five months later Mr Compson's letter would carry up from Mississippi and over the long iron New England snow and into Quentin's sitting-room at Harvard. It was a day of listening too--the listening, the hearing in 1909 even yet mostly that which he already knew since he had been born in and still breathed the same air in which the church bells had rung on that Sunday morning in 1833 (and, on Sundays, heard even one of the original three bells in the same steeple where descendants of the same pigeons strutted and crooned or wheeled in short courses resembling soft fluid paint-smears on the soft sumer sky); a Sunday morning in June with the bells ringing peaceful and peremptory and a little cacophonous--the denominations in concord though not in tune--and the ladies and children, and house negroes to carry the parasols and flywhisks, and even a few men (the ladies moving in hoops among the miniature broadcloth of little boys and the pantalettes of little girls, in the skirts of the time when ladies did not walk but floated) when the other men sitting with their feet on the railing of the Holston House gallery looked up, and there the stranger was. He was already halfway across the square when they saw him, on a big hard-ridden roan horse, man and beast looking as though they had been created out of thin air and set down in the bright summer sabbath sunshine in the middle of a tired foxtrot--face and horse that none of them had ever seen before, name that none of them had ever heard, and origin and purpose which some of them were never to learn. So that in the next four weeks (Jefferson was a village then: the Holston House, the courthouse, six stores, a blacksmith and livery stable, a saloon frequented by drovers and peddlers, three churches and perhaps thirty residences) the stranger's name went back and forth among the places of business and of idleness and among the residences in steady strophe and antistrophe: Sutpen. Sutpen. Sutpen. Sutpen
One long paragraph, and still only half the length of the normal "period" of motion in the book. What is wonderful is the mechanism whereby we are moved from the here and now present of the novel (1909) into the world of 1833 and the beginning of the saga of Thomas Sutpen in the village of Jefferson and Yoknapatawpha County. We move from the present smell of wistaria into the future (five months later) and then smoothly into the past in one long singing, rolling phrase.
The sentences are not difficult, but they are like Latin--before the real sense of each becomes clear, the entire sentence must be taken in and disassembled and the constituent parts placed in proper relation to one another. It is, undeniably, work. And yet it is a work that has such a fine pay-off--one comes to know the mind of the narrator and one enters the time and the world of Faulkner's fiction in a way that rarely happens in light fiction treating of similar subjects. There is substance here that goes beyond the status of "literature" or "classic" and enters the world of simply satisfying--solid, grounded and grounding, substantial--the author has authority (ever wondered about the similarity of the two words) and the world is authentic. To read Faulkner is to enter a world that is accessible in no other way (the same is true of every author worth his or her salt), but there is a pleasure in reading Faulkner that comes from acquaintance with a master. Too bad our early experiences cause us to shy away, often thinking that the work is beyond us or ill-conceived, or otherwise not available to us. In their enthusiasm and desire to introduce us into these new realms some of our early literature teachers do inestimable harm. But stop blaming them and avail yourself of the wonders of great prose despite those bitter early memories. You'll be glad you did.
