Read Like A Writer

There are two ways to learn how to write fiction: by reading it and by writing it. Yes, you can learn lots about writing stories in workshops, in writing classes and writing groups, at writers' conferences. You can learn technique and process by reading the dozens of books like this one on fiction writing and by reading articles in writers' magazines. But the best teachers of fiction are the great works of fiction themselves. You can learn more about the structure of a short story by reading Anton Chekhov's 'Heartache' than you can in a semester of Creative Writing 101. If you read like a writer, that is, which means you have to read everything twice, at least. When you read a story or novel the first time, just let it happen. Enjoy the journey. When you've finished, you know where the story took you, and now you can go back and reread, and this time notice how the writer reached that destination. Notice the choices he made at each chapter, each sentence, each word. (Every word is a choice.) You see now how the transitions work, how a character gets across a room. All this time you're learning. You loved the central character in the story, and now you can see how the writer presented the character and rendered her worthy of your love and attention. The first reading is creative—you collaborate with the writer in making the story. The second reading is critical.


John Dufresne, from his book, The Lie That Tells A Truth: A Guide to Writing Fiction

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Showing posts with label William Faulkner. Show all posts
Showing posts with label William Faulkner. Show all posts

Saturday, March 18, 2023

Three Famous Short Novels by William Faulkner

Three Famous Short Novels by William Faulkner

Three Famous

Short Novels


by


WILLIAM FAULKNER



SPOTTED HORSES
OLD MAN
THE BEAR



VINTAGE BOOKS

A DIVISION OF RANDOM HOUSE

New York



Vintage Books Edition, March 1961


Copyright 1931, 1939 by Random House, Inc.
Copyright 1942 by William Faulkner
Copyright 1942 by Tne Curtis Publishing Company
Copyright renewed 1958 by William Faulkner
Copyright renewed 1966 by Estelle Faulkner and
Jill Faulkner Summers


All rights reserved under International and Pan-American
Copyright Conventions. Published in the United States by
Random House, Inc., New York, and distributed in Canada by
Random House of Canada Limited, Toronto.


Spotted Horses appears in The Hamlet;
Old Man appears in The Wild Palms; and
The Bear appears in Go Down , Moses .


Manufactured In the United States of America

CONTENT

Spotted Horses 3 
Old Man 77 
The Bear 185 

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About the Author

William Faulkner

William Faulkner was a Nobel Prize winning novelist of the American South who wrote challenging prose and created the fictional Yoknapatawpha County. He is best known for such novels as 'The Sound and the Fury' and 'As I Lay Dying.' American writer William Faulkner was born in New Albany, Mississippi, in 1897. Much of his early work was poetry, but he became famous for his novels set in the American South, frequently in his fabricated Yoknapatawpha County, with works that included The Sound and the Fury, As I Lay Dying and Absalom, Absalom! His controversial 1931 novel Sanctuary was turned into two films, 1933's The Story of Temple Drake as well as a later 1961 project. Faulkner was awarded the 1949 Nobel Prize in Literature and ultimately won two Pulitzers and two National Book Awards as well. He died on July 6, 1962.

William Faulkner Books at Amazon



Thursday, March 16, 2023

Collected Stories of William Faulkner

Collected Stories of William Faulkner

 Collected Stories

 

of William Faulkner

  

Contents  


I. THE COUNTRY
Barn Burning Shingles for the Lord
The Tall Men
A Bear Hunt
Two Soldiers Shall Not Perish   

II. THE VILLAGE
A Rose for Emily
Hair
Centaur in Brass
Dry September
Death Drag
EUy
Uncle Willy Mule in the Yard
That Will Be Fine
That Evening Sun  

III. THE WILDERNESS
Red Leaves
A Justice A Courtship
Lo!  

IV. THE WASTELAND
Ad Astra
Victory
Crevasse
Turnabout
All the Dead Pilots  

V. THE MIDDLE GROUND
Wash
Honor
Dr. Martino
Fox Hunt
Pennsylvania Station
Artist at Home
The Brooch
My Grandmother Millard
Golden Land There Was a Queen
Mountain Victory 

VI. BEYOND
Beyond Black Music
The Leg
Mistral
Divorce in Naples
Carcassonne

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About the Author

William Faulkner

William Faulkner was a Nobel Prize winning novelist of the American South who wrote challenging prose and created the fictional Yoknapatawpha County. He is best known for such novels as 'The Sound and the Fury' and 'As I Lay Dying.' American writer William Faulkner was born in New Albany, Mississippi, in 1897. Much of his early work was poetry, but he became famous for his novels set in the American South, frequently in his fabricated Yoknapatawpha County, with works that included The Sound and the Fury, As I Lay Dying and Absalom, Absalom! His controversial 1931 novel Sanctuary was turned into two films, 1933's The Story of Temple Drake as well as a later 1961 project. Faulkner was awarded the 1949 Nobel Prize in Literature and ultimately won two Pulitzers and two National Book Awards as well. He died on July 6, 1962.

William Faulkner Books at Amazon



Tuesday, March 14, 2023

A Rose for Emily by William Faulkner (Audio Book)

A Rose for Emily by William Faulkner

A Rose for Emily

 

by William Faulkner

 Read by Debra Winger

 

(PDF)

 

A Rose for Emily is a short story by William Faulkner that exemplifies the Southern gothic genre. 



 About the Author

William Faulkner

William Faulkner was a Nobel Prize winning novelist of the American South who wrote challenging prose and created the fictional Yoknapatawpha County. He is best known for such novels as 'The Sound and the Fury' and 'As I Lay Dying.' American writer William Faulkner was born in New Albany, Mississippi, in 1897. Much of his early work was poetry, but he became famous for his novels set in the American South, frequently in his fabricated Yoknapatawpha County, with works that included The Sound and the Fury, As I Lay Dying and Absalom, Absalom! His controversial 1931 novel Sanctuary was turned into two films, 1933's The Story of Temple Drake as well as a later 1961 project. Faulkner was awarded the 1949 Nobel Prize in Literature and ultimately won two Pulitzers and two National Book Awards as well. He died on July 6, 1962.

William Faulkner Books at Amazon


Monday, March 13, 2023

A Rose for Emily by William Faulkner

 
A Rose for Emily by William Faulkner

A Rose for Emily

 

by William Faulkner

 

 (Audio)

 

A Rose for Emily is a short story by William Faulkner that exemplifies the Southern gothic genre. 

 

Saturday, March 4, 2023

Read, Read, Read, Verything by William Faulkner | Writing Quote 

 

Writing Quote
 

Purpose of a Writer by Albert Camus

 

 Read, read, read. Read everything -- trash, classics, good and bad, and see how they do it. Just like a carpenter who works as an apprentice and studies the master. Read! You'll absorb it. Then write. If it's good, you'll find out. If it's not, throw it out of the window.

 --William Faulkner

 

Abouts the Author 


William Cuthbert Faulkner
William Cuthbert Faulkner
was an William Cuthbert Faulkner was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of his life. Wikipedia

 
Notable works: The Sound and the Fury; As I Lay Dying; Light in August; Absalom, A...
Notable awards: Nobel Prize in Literature (1949); Pulitzer Prize for Fiction (1955, 19...
Born: William Cuthbert Falkner; September 25, 1897; New Albany, Mississippi, U.S
Died: July 6, 1962 (aged 64); Byhalia, Mississippi, U.S
Short stories: A Rose for Emily, Barn Burning, Dry September, and more
Plays: Requiem for a Nun

 

William Faulkner Books at Amazon

Friday, September 2, 2022

As I Lay Dying by William Faulkner

As I Lay Dying by William Faulkner

As I Lay Dying 

by William Faulkner

As I Lay Dying is a 1930 Southern Gothic novel by American author William Faulkner. Faulkner's fifth novel, it is consistently ranked among the best novels of 20th-century literature. Wikipedia

Originally published: 1930
Genre:
Modernist, southern gothic, black comedy
Characters:
Addie Bundren, Darl Bundren, Cash Bundren, Anse, Jewel Bundren

 William Faulkner Books at Amazon

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Abouts the Author 


William Cuthbert Faulkner
William Cuthbert Faulkner
was an William Cuthbert Faulkner was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of his life. Wikipedia

 
Notable works: The Sound and the Fury; As I Lay Dying; Light in August; Absalom, A...
Notable awards: Nobel Prize in Literature (1949); Pulitzer Prize for Fiction (1955, 19...
Born: William Cuthbert Falkner; September 25, 1897; New Albany, Mississippi, U.S
Died: July 6, 1962 (aged 64); Byhalia, Mississippi, U.S
Short stories: A Rose for Emily, Barn Burning, Dry September, and more
Plays: Requiem for a Nun

 

William Faulkner Books at Amazon

Thursday, September 1, 2022

Sanctuary by William Faulkner


Sanctuary by William Faulkner

Sanctuary by William Faulkner

 

Sanctuary is a 1931 novel by American author William Faulkner about the rape and abduction of an upper-class Mississippi college girl, Temple Drake, during the Prohibition era. The novel was Faulkner's commercial and critical breakthrough and established his literary reputation, but was controversial given its themes. Wikipedia
 
Originally published: 1931 
 

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Abouts the Author 


William Cuthbert Faulkner
William Cuthbert Faulkner
was an William Cuthbert Faulkner was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of his life. Wikipedia

 
Notable works: The Sound and the Fury; As I Lay Dying; Light in August; Absalom, A...
Notable awards: Nobel Prize in Literature (1949); Pulitzer Prize for Fiction (1955, 19...
Born: William Cuthbert Falkner; September 25, 1897; New Albany, Mississippi, U.S
Died: July 6, 1962 (aged 64); Byhalia, Mississippi, U.S
Short stories: A Rose for Emily, Barn Burning, Dry September, and more
Plays: Requiem for a Nun

 

William Faulkner Books at Amazon

Wednesday, August 24, 2022

Collected Stories Of William Faulkner by William Faulkner (Version 2)

 

Collected Stories Of William Faulkner by William Faulkner
 

Collected Stories Of William Faulkner 

by William Faulkner

 

Contents   

I. THE COUNTRY  

Barn Burning 

Shingles for the Lord 

The Tall Men 

A Bear Hunt 

Two Soldiers 

Shall Not Perish  

II. THE VILLAGE  

A Rose for Emily 

Hair 

Centaur in Brass 

Dry September 

Death Drag 

Elly 

Uncle Willy 

Mule in the Yard 

That Will Be Fine 

That Evening Sun  

III. THE WILDERNESS 

Red Leaves 

A Justice

A Courtship 

Lo!   

IV. THE WASTELAND  

Ad Astra

Victory 

Crevasse 

Turnabout All the Dead Pilots  

 V. THE MIDDLE GROUND  

Wash 

Honor 

Dr. Martin 

Fox Hunt 

Pennsylvania Station 

Artist at Home 

The Brooch 

Grandmother Millard 

Golden Land 

There Was a Queen 

Mountain Victory

VI. BEYOND  

Beyond 

Black Music 

The Leg Mistral

 Divorce in Naples 

Carcassonne  

 I THE COUNTRY 

 Barn Burning 

Shingles for the Lord 

The Tall Men 

A Bear Hunt 

Two Soldiers 

Shall Not Perish

 



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If your Web browser is not configured to display PDF files. No worries, just click here to download the PDF file.

 

Abouts the Author 


William Cuthbert Faulkner
William Cuthbert Faulkner
was an William Cuthbert Faulkner was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of his life. Wikipedia

 
Notable works: The Sound and the Fury; As I Lay Dying; Light in August; Absalom, A...
Notable awards: Nobel Prize in Literature (1949); Pulitzer Prize for Fiction (1955, 19...
Born: William Cuthbert Falkner; September 25, 1897; New Albany, Mississippi, U.S
Died: July 6, 1962 (aged 64); Byhalia, Mississippi, U.S
Short stories: A Rose for Emily, Barn Burning, Dry September, and more
Plays: Requiem for a Nun

 

William Faulkner Books at Amazon

 

Tuesday, August 23, 2022

Collected Stories Of William Faulkner by William Faulkner

Collected Stories Of William Faulkner by William Faulkner
 

Collected Stories Of William Faulkner 

by William Faulkner

 

Contents   

I. THE COUNTRY  

Barn Burning 

Shingles for the Lord 

The Tall Men 

A Bear Hunt 

Two Soldiers 

Shall Not Perish  

II. THE VILLAGE  

A Rose for Emily 

Hair 

Centaur in Brass 

Dry September 

Death Drag 

Elly 

Uncle Willy 

Mule in the Yard 

That Will Be Fine 

That Evening Sun  

III. THE WILDERNESS 

Red Leaves 

A Justice

A Courtship 

Lo!   

IV. THE WASTELAND  

Ad Astra

Victory 

Crevasse 

Turnabout All the Dead Pilots  

 V. THE MIDDLE GROUND  

Wash 

Honor 

Dr. Martin 

Fox Hunt 

Pennsylvania Station 

Artist at Home 

The Brooch 

Grandmother Millard 

Golden Land 

There Was a Queen 

Mountain Victory

VI. BEYOND  

Beyond 

Black Music 

The Leg Mistral

 Divorce in Naples 

Carcassonne  

 I THE COUNTRY 

 Barn Burning 

Shingles for the Lord 

The Tall Men 

A Bear Hunt 

Two Soldiers 

Shall Not Perish


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If your Web browser is not configured to display PDF files. No worries, just click here to download the PDF file.

 

Abouts the Author 


William Cuthbert Faulkner
William Cuthbert Faulkner
was an William Cuthbert Faulkner was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of his life. Wikipedia

 
Notable works: The Sound and the Fury; As I Lay Dying; Light in August; Absalom, A...
Notable awards: Nobel Prize in Literature (1949); Pulitzer Prize for Fiction (1955, 19...
Born: William Cuthbert Falkner; September 25, 1897; New Albany, Mississippi, U.S
Died: July 6, 1962 (aged 64); Byhalia, Mississippi, U.S
Short stories: A Rose for Emily, Barn Burning, Dry September, and more
Plays: Requiem for a Nun

 

William Faulkner Books at Amazon

Monday, August 22, 2022

That Evening Sun Go Dowm By William Faulkner

That Evening Sun Go Dowm By William Faulkner


That Evening Sun Go Dowm

By William Faulkner


I


Monday is no different from any other week day in Jefferson now. The streets are paved now, and the telephone and the electric companies are cutting down more and more of the shade trees - the water oaks, the maples and locusts and elms - to make room for iron poles bearing clusters of bloated and ghostly and bloodless grapes, and we have a city laundry which makes the rounds on Monday morning, gathering the bundles of clothes into bright-colored, specially made motor-cars: the soiled wearing of a whole week now flees apparition-like behind alert and irritable electric horns, with a long diminishing noise of rubber and asphalt like a tearing of silk, and even the Negro women who still take in white peoples' washing after the old custom, fetch and deliver it in automobiles.

But fifteen years ago, on Monday morning the quiet, dusty, shady streets would be full of Negro women with, balanced on their steady turbaned heads, bundles of clothes tied up in sheets, almost as large as cotton bales, carried so without touch of hand between the kitchen door of the white house and the blackened wash-pot beside a cabin door in Negro Hollow.

Nancy would set her bundle on the top of her head, then upon the bundle in turn she would set the black straw sailor hat which she wore winter and summer. She was tall, with a high, sad face sunken a little where her teeth were missing. Sometimes we would go a part of the way down the lane and across the pasture with her, to watch the balanced bundle and the hat that never bobbed nor wavered, even when she walked down into the ditch and climbed out again and stooped through the fence. She would go down on her hands and knees and crawl through the gap, her head rigid, up-tilted, the bundle steady as a rock or a balloon, and rise to her feet and go on.

Sometimes the husbands of the washing women would fetch and deliver the clothes, but Jubah never did that for Nancy, even before father told him to stay away from our house, even when Dilsey was sick and Nancy would come to cook for us.

And then about half the time we'd have to go down the lane to Nancy's house and tell her to come on and get breakfast. We would stop at the ditch, because father told us to not have anything to do with Jubah - he was a short black man, with a razor scar down his face - and we would throw rocks at Nancy's house until she came to the door leaning her head around it without any clothes on.

"What yawl mean, chunking my house?" Nancy said. "What you little devils mean?"

"Father says for you to come and get breakfast," Caddy said. "Father says it's over a half an hour now, and you've got to come this minute."

"I ain't studying no breakfast," Nancy laid. "I going to get my sleep out."

"I bet you're drunk," Jason said. "Father says you're drunk. Are you drunk, Nancy?"

"Who says I is?" Nancy said. "I got to get my sleep out. I ain't studying no breakfast."

So after a while we quit chunking the house and went back home. When she finally came, it was too late for me to go to school.

So we thought it was whiskey until that day when they arrested her again and they were taking her to jail and they passed Mr. Stovall. He was the cashier in the bank and a deacon in the Baptist church, and Nancy began to say:

"When you going to pay me, white man? When you going to pay me, white man? It's been three times now since you paid me a cent-" Mr. Stovall knocked her down, but she kept on saying, "When you going to pay me, white man? It's been three times now since--" until Mr. Stovall kicked her in the mouth with his heel and the marshal caught Mr. Stovall back, and Nancy lying in the street, laughing. She turned her head and spat out some blood and teeth and said, "It's been three times now since he paid me a cent."

That was how she lost her teeth, and all that day they told about Nancy and Mr. Stovall, and all that night the ones that passed the jail could hear Nancy singing and yelling. They could see her hands holding to the window bars, and a lot of them stopped along the fence, listening to her and to the jailer trying to make her shut up. She didn't shut up until just before daylight, when the jailer began to hear a bumping and scraping upstairs and he went up there and found Nancy hanging from the window bar. He said that it was cocaine and not whiskey, because no nigger would try to commit suicide unless he was full of cocaine, because a nigger full of cocaine was not a nigger any longer.

The jailer cut her down and revived her; then he beat her, whipped her. She had hung herself with her dress. She had fixed it all right, but when they arrested her she didn't have on anything except a dress and so she didn't have anything to tie her hands with and she couldn't make her hands let go of the window ledge. So the jailer heard the noise and ran up there and found Nancy hanging from the window, stark naked.

When Dilsey was sick in her cabin and Nancy was cooking for us, we could see her apron swelling out; that was before father told Jubah to stay away from the house. Jubah was in the kitchen, sitting behind the stove, with his razor scar on his black face like a piece of dirty string. He said it was a watermelon Nancy had under her dress. And it was winter, too.

"Where did you get a watermelon in the winter," Caddy said.

"I didn't," Jubah said. "It wasn't me that give it to her. But I can cut it down, same as if it was."

"What makes you want to talk that way before these chillen?" Nancy said. "Whyn't you go on to work? You done et. You want Mr. Jason to catch you hanging around his kitchen, talking that way before these chillen?"

"Talking what way, Nancy?" Caddy said.

"I can't hang around white man's kitchen," Jubah said. "But white man can hang around mine. White man can come in my house, but I can't stop him. When white man want to come in my house, I ain't got no house. I can't stop him, but he can't kick me outen it. He can't do that."

Dilsey was still sick in her cabin. Father told Jubah to stay off our place. Dilsey was still sick. It was a long time. We were in the library after supper.

"Isn't Nancy through yet?" mother said. "It seems to me that she has had plenty of time to have finished the dishes."

"Let Quentin go and see," father said. "Go and see if Nancy is through, Quentin. Tell her she can go on home."

I went to the kitchen. Nancy was through. The dishes were put away and the fire was out. Nancy was sitting in a chair, close to the cold stove. She looked at me.

"Mother wants to know if you are through," I said.

"Yes," Nancy said. She looked at me. "I done finished." She looked at me.

"What is it?" I said. What is it?"

"I ain't nothing but a nigger," Nancy said. "It ain't none of my fault."

She looked at me, sitting in the chair before the cold stove, the sailor hat on her head. I went back to the library. It was the cold stove and all, when you think of a kitchen being warm and busy and cheerful. And with a cold stove and the dishes all put away, and nobody wanting to eat at that hour.

"Is she through?" mother said.

"Yessum," I said.

"What is she doing?" mother said.

"She's not doing anything. She's through."

"I'll go and see," father said.

"Maybe she's waiting for Jubah to come and take her home," Caddy said.

"Jubah is gone," I said. Nancy told us how one morning she woke up and Jubah was gone.

"He quit me," Nancy said. "Done gone to Memphis, I reckon. Dodging them city po-lice for a while, I reckon."

"And a good riddance," father said. "I hope he stays there."

"Nancy's scaired of the dark," Jason said.

"So are you," Caddy said.

"I'm not," Jason said.

"Scairy cat," Caddy said.

"I'm not," Jason said.

"You, Candace!" mother said. Father came back.

"I am going to walk down the lane with Nancy," he said. "She says Jubah is back."

"Has she seen him?" mother said.

"No. Some Negro sent her word that he was back in town. I won't be long."

"You'll leave me alone, to take Nancy home?" mother said. "Is her safety more precious to you than mine?"

"I won't be long," father said.

"You'll leave these children unprotected, with that Negro about?"

"I'm going, too," Caddy said. "Let me go, father."

"What would he do with them, if he were unfortunate enough to have them?" father said.

"I want to go, too," Jason said.

"Jason!" mother said. She was speaking to father. You could tell that by the way she said it. Like she believed that all day father had been trying to think of doing the thing that she wouldn't like the most, and that she knew all the time that after a while he would think of it. I stayed quiet, because father and I both knew that mother would want him to make me stay with her, if she just thought of it in time. So father didn't look at me. I was the oldest. I was nine and Caddy was seven and Jason was five.

"Nonsense," father said. "We won't be long."

Nancy had her hat on. We came to the lane. "Jubah always been good to me," Nancy said. "Whenever he had two dollars, one of them was mine." We walked in the lane. "If I can just get through the lane," Nancy said, "I be all right then."

The lane was always dark. "This is where Jason got scared on Hallowe'en," Caddy said.

"I didn't," Jason said.

"Can't Aunt Rachel do anything with him?" father said. Aunt Rachel was old. She lived in a cabin beyond Nancy's, by herself. She had white hair and she smoked a pipe in the door, all day long; she didn't work any more. They said she was Jubah's mother. Sometimes she said she was and sometimes she said she wasn't any kin to Jubah.

"Yes, you did," Caddy said. "You were scairder than Frony. You were scairder than T.P. even. Scairder than niggers."

"Can't nobody do nothing with him," Nancy said. "He say I done woke up the devil in him, and ain't but one thing going to lay it again."

"Well, he's gone now," father said. "There's nothing for you to be afraid of now. And if you'd just let white men alone."

"Let what white men alone?" Caddy said. "How let them alone?"

"He ain't gone nowhere," Nancy said. "I can feel him. I can feel him now, in this lane. He hearing us talk, every word, hid somewhere, waiting. I ain't seen him, and I ain't going to see him again but once more, with that razor. That razor on that string down his back, inside his shirt. And then I ain't going to be even surprised."

"I wasn't scaired," Jason said.

"If you'd behave yourself, you'd have kept out of this," father said. "But it's all right now. He's probably in St. Louis now. Probably got another wife by now and forgot all about you."

"If he has, I better not find out about it," Nancy said. "I'd stand there and every time he wropped her, I'd cut that arm off. I'd cut his head off and I'd slit her belly and I'd shove-"

"Hush," father said.

"Slit whose belly, Nancy?" Caddy said.

"I wasn't scared," Jason said. "I'd walk right down this lane by myself."

"Yah," Caddy said. "You wouldn't dare to put your foot in it if we were not with you."

 

II



Dilsey was still sick, and so we took Nancy home every night until mother said, "How much longer is this going to go on? I to be left alone in this big house while you take home a frightened Negro?"

We fixed a pallet in the kitchen for Nancy. One night we waked up, hearing the sound. It was not singing and it was not crying, coming up the dark stairs. There was a light in mother's room and we heard father going down the hall, down the back stairs, and Caddy and I went into the hall. The floor was cold. Our toes curled away from the floor while we listened to the sound. It was like singing and it wasn't like singing, like the sounds that Negroes make.

Then it stopped and we heard father going down the back stairs, and we went to the head of the stairs. Then the sound began again, in the stairway, not loud, and we could see Nancy's eyes half way up the stairs, against the wall. They looked like cat's eyes do, like a big cat against the wall, watching us. When we came down the steps to where she was she quit making the sound again, and we stood there until father came back up from the kitchen, with his pistol in his hand. He went back down with Nancy and they came back with Nancy's pallet.

We spread the pallet in our room. After the light in mother's room went off, we could see Nancy's eyes again. "Nancy," Caddy whispered, "are you asleep, Nancy?"

Nancy whispered something. It was oh or no, I don't know which. Like nobody had made it, like it came from nowhere and went nowhere, until it was like Nancy was not there at all; that I had looked so hard at her eyes on the stair that they had got printed on my eyelids, like the sun does when you have closed your eyes and there is no sun. "Jesus," Nancy whispered. "Jesus."

"Was it Jubah?" Caddy whispered. "Did he try to come into the kitchen?"

"Jesus," Nancy said. Like this: Jeeeeee- eeeeeeeeesus, until the sound went out like a match or a candle does.

"Can you see us, Nancy?" Caddy whispered. "Can you see our eyes too?"

"I ain't nothing but a nigger," Nancy said. "God knows. God knows."

"What did you see down there in the kitchen?" Caddy whispered. "What tried to get in?"

"God knows," Nancy said. We could see her eyes. "God knows."

Dilsey got well. She cooked dinner. "You'd better stay in bed a day or two longer," father said.

"What for?" Dilsey said. "If I had been a day later, this place would be to rack and ruin. Get on out of here, now, and let me get my kitchen straight again."

Dilsey cooked supper, too. And that night, just before dark, Nancy came into the kitchen.

"How do you know he's back?" Dilsey said. "You ain't seen him."

"Jubah is a nigger," Jason said.

"I can feel him," Nancy said. "I can feel him laying yonder in the ditch."

"Tonight?" Dilsey said. "Is he there tonight?"

"Dilsey's a nigger too," Jason said.

"You try to eat something," Dilsey said.

"I don't want nothing," Nancy said.

"I ain't a nigger," Jason said.

"Drink some coffee," Dilsey said. She poured a cup of coffee for Nancy. "Do you know he's out there tonight? How come you know it's tonight?"

"I know," Nancy said. "He's there, waiting. I know. I done lived with him too long. I know what he fixing to do fore he knows it himself."

"Drink some coffee," Dilsey said. Nancy held the cup to her mouth and blew into the cup. Her mouth pursed out like a spreading adder's, like a rubber mouth, like she had blown all the color out of her lips with blowing the coffee.

"I ain't a nigger," Jason said. "Are you a nigger, Nancy?"

"I hell-born, child," Nancy said. "I won't be nothing soon. I going back where I come from soon."

She began to drink the coffee. While she was drinking, holding the cup in both hands, she began to make the sound again. She made the sound into the cup and the coffee sploshed out on to her hands and her dress. Her eyes looked at us and she sat there, her elbows on her knees, holding the cup in both hands, looking at us across the wet cup, makin the sound.

"Look at Nancy," Jason said. "Nancy can't cook for us now. Dilsey's got well now."

"You hush up," Dilsey said. Nancy held the cup in both hands, looking at us, making the sound, like there were two of them: one looking at us and the other making the sound. "Whyn't you let Mr. Jason telefoam the marshal?" Dilsey said. Nancy stopped then, holding the cup in her long brown hands. She tried to drink some coffee again, but it sploshed out of the cup, on to her hands and her dress and she put the cup down. Jason watched her.

"I can't swallow it," Nancy said. "I swallows but it won't go down me."

"You go down to the cabin," Dilsey said. "Frony will fix you a pallet and I'll be there soon."

"Won't no nigger stop him," Nancy said.

"I ain't a nigger," Jason said. "Am I, Dilsey?"

"I reckon not," Dilsey said. She looked at Nancy. "I don't reckon so. What you going to do, then?"

Nancy looked at us. Her eyes went fast, like she was afraid there wasn't time to look, without hardly moving at all. She looked at us, at all three of us at one time. "You member that night I stayed in yawls' room?" she said. She told about how we waked up early the next morning, and played. We had to play quiet, on her pallet, until father woke and it was time for her to go down and get breakfast. "Go and ask you maw to let me stay here tonight," Nancy said. "I won't need no pallet. We can play some more," she said.

Caddy asked mother. Jason went too. "I can't have Negroes sleeping in the house," mother said. Jason cried. He cried until mother said he couldn't have any dessert for three days if he didn't stop. Then Jason said he would stop if Dilsey would make a chocolate cake. Father was there.

"Why don't you do something about it?" mother said. "What do we have officers for?"

"Why is Nancy afraid of Jubah?" Caddy said. "Are you afraid of father, mother?"

"What could they do?" father said. "If Nancy hasn't seen him, how could the officers find him?"

"Then why is she afraid?" mother said.

"She says he is there. She says she knows he is there tonight."

"Yet we pay taxes," mother said. "I must wait here alone in this big house while you take a Negro woman home."

"You know that I am not lying outside with a razor," father said.

"I'll stop if Dilsey will make a chocolate cake," Jason said. Mother told us to go out and father said he didn't know if Jason would get a chocolate cake or not, but he knew what Jason was going to get in about a minute. We went back to the kitchen and told Nancy.

"Father said for you to go home and lock the door, and you'll be all right," Caddy said. "All right from what, Nancy? Is Jubah mad at you?" Nancy was holding the coffee cup in her hands, her elbow on her knees and her hands holding the cup between her knees. She was looking into the cup. "What have you done that made Jubah mad?" Caddy said. Nancy let the cup go. It didn't break on the floor, but the coffee spilled out, and Nancy sat there with her hands making the shape of the cup. She began to make the sound again, not loud. Not singing and not un-singing. We watched her.

"Here," Dilsey said. "You quit that, now. You get a-holt of yourself. You wait here. I going to get Versh to walk home with you." Dilsey went out.

We looked at Nancy. Her shoulders kept shaking, but she had quit making the sound. We watched her. "What's Jubah going to do to you?" Caddy said. "He went away."

Nancy looked at us. "We had fun that night I stayed in yawls' room, didn't we?"

"I didn't," Jason said. "I didn't have any fun."

"You were asleep," Caddy said. "You were not there."

"Let's go down to my house and have some more fun," Nancy said.

"Mother won't let us," I said. "It's too late now."

"Don't bother her," Nancy said. "We can tell her in the morning. She won't mind."

"She wouldn't let us," I said.

"Don't ask her now," Nancy said. "Don't bother her now."

"They didn't say we couldn't go," Caddy said.

"We didn't ask," I said.

"If you go, I'll tell," Jason said.

"We'll have fun," Nancy said. "They won't mind, just to my house. I been working for yawl a long time. They won't mind."

"I'm not afraid to go," Caddy said. "Jason is the one that's afraid. He'll tell."

"I'm not," Jason said.

"You are," Caddy said. "You'll tell."

"I won't tell," Jason said. "I'm not afraid."

"Jason ain't afraid to go with me," Nancy said. "Is you, Jason?"

"Jason is going to tell," Caddy said. The lane was dark. We passed the pasture gate. "I bet if something was to jump out from behind that gate, Jason would holler."

"I wouldn't," Jason said. We walked down the lane. Nancy was talking loud.

"What are you talking so loud for, Nancy?" Caddy said.

"Who; me?" Nancy said. "Listen at Quentin and Caddy and Jason saying I'm talking loud."

"You talk like there was four of us here," Caddy said. "You talk like father was here too."

"Who; me talking loud, Mr. Jason?" Nancy said.

"Nancy called Jason `Mister'," Caddy said.

"Listen how Caddy and Quentin and Jason talk," Nancy said.

"We're not talking loud," Caddy said. "You're the one that's talking like father-- "

"Hush," Nancy said; "hush, Mr. Jason."

"Nancy called Jason `Mister' aguh--"

"Hush," Nancy said. She was talking loud when we crossed the ditch and stooped through the fence where she used to stoop through with the clothes on her head. Then we came to her house. We were going fast then. She opened the door. The smell of the house was like the lamp and the smell of Nancy was like the wick, like they were waiting for one another to smell. She lit the lamp and closed the door and put the bar up. Then she quit talking loud, looking at us.

"What're we going to do?" Caddy said.

"What you all want to do?" Nancy said.

"You said we would have some fun," Caddy said.

There was something about Nancy's house; something you could smell. Jason smelled it, even. "I don't want to stay here," he said. "I want to go home."

"Go home, then," Caddy said.

"I don't want to go by myself," Jason said.

"We're going to have some fun," Nancy said.

"How?" Caddy said.

Nancy stood by the door. She was looking at us, only it was like she had emptied her eyes, like she had quit using them.

"What do you want to do?" she said.

"Tell us a story," Caddy said. "Can you tell a story?"

"Yes," Nancy said.

"Tell it," Caddy said. We looked at Nancy. "You don't know any stories," Caddy said.

"Yes," Nancy said. "Yes I do."

She came and sat down in a chair before the hearth. There was some fire there; she built it up; it was already hot. You didn't need a fire. She built a good blaze. She told a story. She talked like her eyes looked, like her eyes watching us and her voice talking to us did not belong to her. Like she was living somewhere else, waiting somewhere else. She was outside the house. Her voice was there and the shape of her, the Nancy that could stoop under the fence with the bundle of clothes balanced as though without weight, like a balloon, on her head, was there. But that was all. "And so this here queen come walking up to the ditch, where that bad man was hiding. She was walking up the ditch, and she say, `If I can just get past this here ditch,' was what she say . . . ."

"What ditch?" Caddy said. "A ditch like that one out there? Why did the queen go into the ditch?"

"To get to her house," Nancy said. She looked at us. "She had to cross that ditch to get home."

"Why did she want to go home?" Caddy said.

 

III




Nancy looked at us. She quit talking. She looked at us. Jason's legs stuck straight out of his pants, because he was little. "I don't think that's a good story," he said. "I want to go home."

"Maybe we had better," Caddy said. She got up from the floor. "I bet they are looking for us right now." She went toward the door.

"No," Nancy said. "Don't open it." She got up quick and passed Caddy. She didn't touch the door, the wooden bar.

"Why not?" Caddy said.

"Come back to the lamp," Nancy said. "We'll have fun. You don't have to go."

"We ought to go," Caddy said. "Unless we have a lot of fun." She and Nancy came back to the fire, the lamp.

"I want to go home," Jason said. "I'm going to tell."

"I know another story," Nancy said. She stood close to the lamp. She looked at Caddy, like when your eyes look up at a stick balanced on your nose. She had to look down to see Caddy, but her eyes looked like that, like when you are balancing a stick.

"I won't listen to it," Jason said. "I'll bang on the floor."

"It's a good one," Nancy said. "It's better than the other one."

"What's it about?" Caddy said. Nancy was standing by the lamp. Her hand was on the lamp, against the light, long and brown.

"Your hand is on that hot globe," Caddy said. "Don't it feel hot to your hand?"

Nancy looked at her hand on the lamp chimney. She took her hand away, slow. She stood there, looking at Caddy, wringing her long hand as though it were tied to her wrist with a string.

"Let's do something else," Caddy said.

"I want to go home," Jason said.

"I got some popcorn," Nancy said. She looked at Caddy and then at Jason and then at me and then at Caddy again. "I got some popcorn."

"I don't like popcorn," Jason said. "I'd rather have candy."

Nancy looked at Jason. "You can hold the popper." She was still wringing her hand; it was long and limp and brown.

"All right," Jason said. "I'll stay a while if I can do that. Caddy can't hold it. I'll want to go home, if Caddy holds the popper."

Nancy built up the fire. "Look at Nancy putting her hands in the fire," Caddy said. "What's the matter with you, Nancy?"

"I got popcorn," Nancy said. "I got some." She took the popper from under the bed. It was broken. Jason began to cry.

"We can't have any popcorn," he said.

"We ought to go home, anyway," Caddy said. "Come on, Quentin."

"Wait," Nancy said; "wait. I can fix it. Don't you want to help me fix it?"

"I don't think I want any," Caddy said. "It's too late now."

"You help me, Jason," Nancy said. "Don't you want to help me?"

"No," Jason said. "I want to go home."

"Hush," Nancy said; "hush. Watch. Watch me. I can fix it so Jason can hold it and pop the corn." She got a piece of wire and fixed the popper.

"It won't hold good," Caddy said.

"Yes it will," Nancy said. "Yawl watch. Yawl help me shell the corn."

The corn was under the bed too. We shelled it into the popper and Nancy helped Jason hold the popper over the fire.

"It's not popping," Jason said. "I want to go home."

"You wait," Nancy said. "It'll begin to pop. We'll have fun then." She was sitting close to the fire. The lamp was turned up so high it was beginning to smoke.

"Why don't you turn it down some?" I said.

"It's all right," Nancy said. "I'll clean it. Yawl wait. The popcorn will start in a minute."

"I don't believe it's going to start," Caddy said. "We ought to go home, anyway. They'll be worried."

"No," Nancy said. "It's going to pop. Dilsey will tell um yawl with me. I been working for yawl long time. They won't mind if you at my house. You wait, now. It'll start popping in a minute."

Then Jason got some smoke in his eyes and he began to cry. He dropped the popper into the fire. Nancy got a wet rag and wiped Jason's face, but he didn't stop crying.

"Hush," she said. "Hush." He didn't hush. Caddy took the popper out of the fire.

"It's burned up," she said. "You'1l have to get some more popcorn, Nancy."

"Did you put all of it in?" Nancy said.

"Yes," Caddy said. Nancy looked at Caddy. Then she took the popper and opened it and poured the blackened popcorn into her apron and began to sort the grains, her hands long and brown, and we watching her.

"Haven't you got any more?" Caddy said.

"Yes," Nancy said; "yes. Look. This here ain't burnt. All we need to do is--"

"I want to go home," Jason said. "I'm going to tell."

"Hush," Caddy said. We all listened. Nancy's head was already turned toward the barred door, her eyes filled with rep lamplight. "Somebody is coming," Caddy said.

Then Nancy began to make that sound again, not loud, sitting there above the fire, her long hands dangling between her knees; all of a sudden water began to come out on her face in big drops, running down her face, carrying in each on a little turning ball of firelight until it dropped off her chin.

"She's not crying," I said.

"I ain't crying," Nancy said. Her eyes were closed, "I ain't crying. Who is it?"

"I don't know," Caddy said. She went the door and looked out. "We've got to go home now," she said. "Here comes father."

"I'm going to tell," Jason said. "You all made me come."

The water still ran down Nancy's face. She turned in her chair. "Listen. Tell him. Tell him we going to have fun. Tell him I take good care of yawl until in the morning. Tell him to let me come home with yawl and sleep on the floor. Tell him I won't need no pallet. We'll have fun. You remember last time how we had so much fun?"

"I didn't have any fun," Jason said. "You hurt me. You put smoke in my eyes.

 

IV




Father came in. He looked at us. Nancy did not get up.

"Tell him," she said.

"Caddy made us come down here," Jason said. "I didn't want to."

Father came to the fire. Nancy looked up at him. "Can't you go to Aunt Rachel's and stay?" he said. Nancy looked up at father, her hands between knees. "He's not here," father said. "I would have seen. There wasn't a soul in sight."

"He in the ditch," Nancy said. "He waiting in the ditch yonder."

"Nonsense," father said. He looked at Nancy. "Do you know he's there?"

"I got the sign," Nancy said.

"What sign?"

"I got it. It was on the table when I come in. It was a hog bone, with blood meat still on it, laying by the lamp. He's out there. When yawl walk out that door, I gone."

"Who's gone, Nancy?" Caddy said.

"I'm not a tattletale," Jason said.

"Nonsense," father said.

"He out there," Nancy said. "He looking through that window this minute, waiting for yawl to go. Then I gone."

"Nonsense," father said. "Lock up your house and we'll take you on to Aunt Rachel's."

"'Twon't do no good," Nancy said. She didn't look at father now, but he looked down at her, at her long, limp, moving hands.

"Putting it off won't do no good."

"Then what do you want to do?" father said.

"I don't know," Nancy said. "I can't do nothing. Just put it off. And that don't do no good. I reckon it belong to me. I reckon what I going to get ain't no more than mine."

"Get what?" Caddy said. "What's yours?"

"Nothing," father said. You all must get to bed."

"Caddy made me come," Jason said.

"Go on to Aunt Rachel's," father said.

"It won't do no good," Nancy said. She sat before the fire, her elbows on her knees, her long hands between her knees. "When even your own kitchen wouldn't do no good. When even if I was sleeping on the floor in the room with your own children, and the next morning there I am, and blood all--"

"Hush," father said. "Lock the door and put the lamp out and go to bed."

"I scared of the dark," Nancy said. "I scared for it to happen in the dark."

"You mean you're going to sit right here, with the lamp lighted?" father said. Then Nancy began to make the sound again, sitting before the fire, her long hands between her knees. "Ah, damnation," father said. "Come along, chillen. It's bedtime."

"When yawl go, I gone," Nancy said. "I be dead tomorrow. I done had saved up the coffin money with Mr. Lovelady-- "

Mr. Lovelady was a short, dirty man who collected the Negro insurance, coming around to the cabins and the kitchens every Saturday morning, to collect fifteen cents. He and his wife lived in the hotel. One morning his wife committed suicide. They had a child, a little girl. After his wife committed suicide Mr. Lovelady and the child went away. After a while Mr. Lovelady came back. We would see him going down the lanes on Saturday morning to the Baptist church.

Father carried Jason on his back. We went out Nancy's door; she was sitting before the fire. "Come and put the bar up," father said. Nancy didn't move. She didn't look at us again. We left her there, sitting before the fire with the door opened, so it wouldn't happen in the dark.

"What, father?" Caddy said. "Why is Nancy scared of Jubah? What is Jubah going to do to her?"

"Jubah wasn't there," Jason said.

"No," father said. "He's not there. He's gone away."

"Who is it that's waiting in the ditch?" Caddy said. We looked at the ditch. We came to it, where the path went down into the thick vines and went up again.

"Nobody," father said.

There was just enough moon to see by. The ditch was vague, thick, quiet. "If he's there, he can see us, can't he?" Caddy said.

"You made me come," Jason said on father's back. "I didn't want to."

The ditch was quite still, quite empty, massed with honeysuckle. We couldn't see Jubah, any more than we could see Nancy sitting there in her house, with the door open and the lamp burning, because she didn't want it to happen in the dark. "I done got tired," Nancy said. "I just a nigger. It ain't no fault of mine."

But we could still hear her. She began as soon as we were out of the house, sitting there above the fire, her long brown hands between her knees. We could still hear her when we had crossed the ditch, Jason high and close and little about father's head.

Then we had crossed the ditch, walking out of Nancy's life. Then her life was sitting there with the door open and the lamp lit, waiting, and the ditch between us and us going on, dividing the impinged lives of us and Nancy.

"Who will do our washing now, father?" I said.

"I'm not a nigger," Jason said.

"You're worse," Caddy said, "you are a tattletale. If something was to jump out, you'd be scairder than a nigger."

"I wouldn't," Jason said.

"You'd cry," Caddy said.

"Caddy!" father said.

"I wouldn't," Jason said.

"Scairy cat," Caddy said.

"Candace!" father said.

 

Abouts the Author 


William Cuthbert Faulkner
William Cuthbert Faulkner
was an William Cuthbert Faulkner was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of his life. Wikipedia

 
Notable works: The Sound and the Fury; As I Lay Dying; Light in August; Absalom, A...
Notable awards: Nobel Prize in Literature (1949); Pulitzer Prize for Fiction (1955, 19...
Born: William Cuthbert Falkner; September 25, 1897; New Albany, Mississippi, U.S
Died: July 6, 1962 (aged 64); Byhalia, Mississippi, U.S
Short stories: A Rose for Emily, Barn Burning, Dry September, and more
Plays: Requiem for a Nun

 

William Faulkner Books at Amazon

Sunday, August 21, 2022

Dry September By William Faulkner

Dry September By William Faulkner


Dry September

By

William Faulkner


 I

THROUGH THE BLOODY September twilight, aftermath of sixty-two rainless days, it had gone like a fire in dry grass: the rumor, the story, whatever it was. Something about Miss Minnie Cooper and a Negro. Attacked, insulted, frightened: none of them, gathered in the barber shop on that Saturday evening where the ceiling fan stirred, without freshening it, the vitiated air, sending back upon them, in recurrent surges of stale pomade and lotion, their own stale breath and odors, knew exactly what had happened.

"Except it wasn't Will Mayes," a barber said. He was a man of middle age; a thin, sand-colored man with a mild face, who was shaving a client. "I know Will Mayes. He's a good nigger. And I know Miss Minnie Cooper, too."

"What do you know about her?" a second barber said.

"Who is she?" the client said. "A young girl?"

"No," the barber said. "She's about forty, I reckon. She ain't married. That's why I don't believe..."

"Believe, hell!" a hulking youth in a sweat-stained silk shirt said. "Wont you take a white woman's word before a nigger's?"

"I don't believe Will Mayes did it," the barber said. "I know Will Mayes."

"Maybe you know who did it, then. Maybe you already got him out of town, you damn nigger-lover."

"I don't believe anybody did anything. I don't believe anything happened. I leave it to you fellows if them ladies that get old without getting married don't have notions that a man can't "

"Then you are a hell of a white man," the client said. He moved under the cloth. The youth had sprung to his feet.

"You don't?" he said. "Do you accuse a white woman of lying?"

The barber held the razor poised above the half-risen client. He did not look around.

"It's this durn weather," another said. "It's enough to make a man do anything. Even to her."

Nobody laughed. The barber said in his mild, stubborn tone: "I ain't accusing nobody of nothing. I just know and you fellows know how a woman that never..."

"You damn nigger-lover!" the youth said.

"Shut up, Butch," another said. "We'll get the facts in plenty of time to act."

"Who is? Who's getting them?" the youth said. "Facts, hell!"

"You're a fine white man," the client said. "Ain't you?"

In his frothy beard he looked like a desert rat in the moving pictures. "You tell them, Jack," he said to the youth. "If there ain't any white men in this town, you can count on me, even if I ain't only a drummer and a stranger."

"That's right, boys," the barber said. "Find out the truth first. I know Will Mayes."

"Well, by God!" the youth shouted. "To think that a white man in this town..."

"Shut up, Butch," the second speaker said. "We got plenty of time."

The client sat up. He looked at the speaker. "Do you claim that anything excuses a nigger attacking a white woman? Do you mean to tell me you are a white man and you'll stand for it? You better go back North where you came from. The South don't want your kind here."

"North what?" the second said. "I was born and raised in this town."

"Well, by God!" the youth said. He looked about with a strained, baffled gaze, as if he was trying to remember what it was he wanted to say or to do. He drew his sleeve across his sweating face. "Damn if I'm going to let a white woman..."

"You tell them, Jack," the drummer said. "By God, if they..."

The screen door crashed open. A man stood in the floor, his feet apart and his heavy-set body poised easily. His white shirt was open at the throat; he wore a felt hat. His hot, bold glance swept the group. His name was McLendon. He had commanded troops at the front in France and had been decorated for valor.

"Well," he said, "are you going to sit there and let a black son rape a white woman on the streets of Jefferson?"

Butch sprang up again. The silk of his shirt clung flat to his heavy shoulders. At each armpit was a dark halfmoon, "That's what I been telling them! That's what I..."

"Did it really happen?" a third said. "This ain't the first man scare she ever had, like Hawkshaw says. Wasn't there something about a man on the kitchen roof, watching her undress, about a year ago?"

"What?" the client said. "What's that?" The barber had been slowly forcing him back into the chair; he arrested himself reclining, his head lifted, the barber still pressing him down.

McLendon whirled on the third speaker. "Happen? What the hell difference does it make? Are you going to let the black sons get away with it until one really does it?"

"That's what I'm telling them!" Butch shouted. He cursed, long and steady, pointless.

"Here, here," a fourth said. "Not so loud. don't talk so loud."

"Sure," McLendon said; "no talking necessary at all. I've done my talking. Who's with me?" He poised on the balls of his feet, roving his gaze.

The barber held the drummer's face down, the razor poised. "Find out the facts first, boys. I know Willy Mayes. It wasn't him. Let's get the sheriff and do this thing right."

McLendon whirled upon him his furious, rigid face. The barber did not look away. They looked like men of different races. The other barbers had ceased also above their prone clients. "You mean to tell me," McLendon said, "that you'd take a nigger's word before a white woman's? Why, you damn nigger-loving..."

The third speaker rose and grasped McLendon's arm; he too had been a soldier. "Now, now. Let's figure this thing out. Who knows anything about what really happened?"

"Figure out hell!" McLendon jerked his arm free. "All that're with me get up from there. The ones that ain't..."

He roved his gaze, dragging his sleeve across his face.

Three men rose. The drummer in the chair sat up. "Here," he said, jerking at the cloth about his neck; "get this rag off me. I'm with him. I don't live here, but by God, if our mothers and wives and sisters..." He smeared the cloth over his face and flung it to the floor. McLendon stood in the door and cursed the others. Another rose and moved toward him. The remainder sat uncomfortable, not looking at one another, then one by one they rose and joined him.

The barber picked the cloth from the floor. He began to fold it neatly. "Boys, don't do that. Will Mayes never done it. I know."

"Come on," McLendon said. He whirled. From his hip pocket protruded the butt of a heavy automatic pistol. They went out. The screen door crashed behind them, reverberant in the dead air.

The barber wiped the razor carefully and swiftly, and put it away, and ran to the rear, and took his hat from the wall. "I'll be back as soon as I can," he said to the other barbers. "I can't let..." He went out, running. The two other barbers followed him to the door and caught it on the rebound, leaning out and looking up the street after him. The air was flat and dead. It had a metallic taste at the base of the tongue.

"What can he do?" the first said. The second one was saying "Jees Christ, Jees Christ" under his breath. "I'd just as lief be Will Mayes as Hawk, if he gets McLendon riled."

"Jees Christ, Jees Christ," the second whispered.

"You reckon he really done it to her?" the first said. 

II

SHE WAS thirty-eight or thirty-nine. She lived in a small frame house with her invalid mother and a thin, sallow, unflagging aunt, where each morning between ten and eleven she would appear on the porch in a lace-trimmed boudoir cap, to sit swinging in the porch swing until noon. After dinner she lay down for a while, until the afternoon began to cool. Then, in one of the three or four new voile dresses which she had each summer, she would go downtown to spend the afternoon in the stores with the other ladies, where they would handle the goods and haggle over the prices in cold, immediate voices, without any intention of buying.

She was of comfortable people not the best in Jefferson, but good people enough and she was still on the slender side of ordinary looking, with a bright, faintly haggard manner and dress. When she was young she had had a slender, nervous body and a sort of hard vivacity which had enabled her for a time to ride upon the crest of the town's social life as exemplified by the high school party and church social period of her contemporaries while still children enough to be unclass-conscious.

She was the last to realize that she was losing ground; that those among whom she had been a little brighter and louder flame than any other were beginning to learn the pleasure of snobbery male and retaliation female. That was when her face began to wear that bright, haggard look. She still carried it to parties on shadowy porticoes and summer lawns, like a mask or a flag, with that bafflement of furious repudiation of truth in her eyes. One evening at a party she heard a boy and two girls, all schoolmates, talking. She never accepted another invitation.

She watched the girls with whom she had grown up as they married and got homes and children, but no man ever called on her steadily until the children of the other girls had been calling her "aunty" for several years, the while their mothers told them in bright voices about how popular Aunt Minnie had been as a girl. Then the town began to see her driving on Sunday afternoons with the cashier in the bank. He was a widower of about forty, a high-colored man, smelling always faintly of the barber shop or of whisky.

He owned the first automobile in town, a red runabout; Minnie had the first motoring bonnet and veil the town ever saw. Then the town began to say: "Poor Minnie."

"But she is old enough to take care of herself," others said. That was when she began to ask her old schoolmates that their children call her "cousin" instead of "aunty."

It was twelve years now since she had been relegated into adultery by public opinion, and eight years since the cashier had gone to a Memphis bank, returning for one day each Christmas, which he spent at an annual bachelors' party at a hunting club on the river. From behind their curtains the neighbors would see the party pass, and during the over-the-way Christmas day visiting they would tell her about him, about how well he looked, and how they heard that he was prospering in the city, watching with bright, secret eyes her haggard, bright face. Usually by that hour there would be the scent of whisky on her breath. It was supplied her by a youth, a clerk at the soda fountain: "Sure; I buy it for the old gal. I reckon she's entitled to a little fun."

Her mother kept to her room altogether now; the gaunt aunt ran the house. Against that background Minnie's bright dresses, her idle and empty days, had a quality of furious unreality. She went out in the evenings only with women now, neighbors, to the moving pictures. Each afternoon she dressed in one of the new dresses and went downtown alone, where her young "cousins" were already strolling in the late afternoons with their delicate, silken heads and thin, awkward arms and conscious hips, clinging to one another or shrieking and giggling with paired boys in the soda fountain when she passed and went on along the serried store fronts, in the doors of which the sitting and lounging men did not even follow her with their eyes any more.


Ill

THE BARBER WENT SWIFTLY up the street where the sparse lights, insect-swirled, glared in rigid and violent suspension in the lifeless air. The day had died in a pall of dust; above the darkened square, shrouded by the spent dust, the sky was as clear as the inside of a brass bell. Below the east was a rumor of the twice-waxed moon.

When he overtook them McLendon and three others were getting into a car parked in an alley. McLendon stooped his thick head, peering out beneath the top, "Changed your mind, did you?" he said. "Damn good thing; by God, tomorrow when this town hears about how you talked tonight"

"Now, now," the other ex-soldier said. "Hawkshaw's all right. Come on, Hawk; jump in."

"Will Mayes never done it, boys," the barber said. "If anybody done it. Why, you all know well as I do there ain't any town where they got better niggers than us. And you know how a lady will kind of think things about men when there ain't any reason to, and Miss Minnie anyway..."

"Sure, sure," the soldier said. "We're just going to talk to him a little; that's all."

"Talk hell!" Butch said. "When we're through with the..."

"Shut up, for God's sake!" the soldier said. "Do you want everybody in town..."

"Tell them, by God!" McLendon said. "Tell every one of the sons that'll let a white woman..."

"Let's go; let's go: here's the other car." The second car slid squealing out of a cloud of dust at the alley mouth.

McLendon started his car and took the lead. Dust lay like fog in the street. The street lights hung nimbused as in water. They drove on out of town.

A rutted lane turned at right angles. Dust hung above it too, and above all the land. The dark bulk of the ice plant, where the Negro Mayes was night watchman, rose against the sky. "Better stop here, hadn't we?" the soldier said.

McLendon did not reply. He hurled the car up and slammed to a stop, the headlights glaring on the blank wall.

"Listen here, boys," the barber said; "if he's here, don't that prove he never done it? Don't it? If it was him, he would run. Don't you see he would?" The second car came up and stopped. McLendon got down; Butch sprang down beside him. "Listen, boys," the barber said.

"Cut the lights off!" McLendon said. The breathless dark rushed down. There was no sound in it save their lungs as they sought air in the parched dust in which for two months they had lived; then the diminishing crunch of McLendon's and Dutch's feet, and a moment later McLendon's voice: "Will!... Will!"

Below the east the wan hemorrhage of the moon increased.

It heaved above the ridge, silvering the air, the dust, so that they seemed to breathe, live, in a bowl of molten lead. There was no sound of nightbird nor insect, no sound save their breathing and a faint ticking of contracting metal about the cars. Where their bodies touched one another they seemed to sweat dryly, for no more moisture came. "Christ!" a voice said; "let's get out of here."

But they didn't move until vague noises began to grow out of the darkness ahead; then they got out and waited tensely in the breathless dark. There was another sound: a blow, a hissing expulsion of breath and McLendon cursing in undertone. They stood a moment longer, then they ran forward. They ran in a stumbling clump, as though they were fleeing something. "Kill him, kill the son," a voice whispered. McLendon flung them back.

"Not here," he said. "Get him into the car."

"Kill him, kill the black son!" the voice murmured. They dragged the Negro to the car. The barber had waited beside the car. He could feel himself sweating and he knew he was going to be sick at the stomach.

"What is it, captains?" the Negro said. "I ain't done nothing. Tore God, Mr John." Someone produced handcuffs.

They worked busily about the Negro as though he were a post, quiet, intent, getting in one another's way. He submitted to the handcuffs, looking swiftly and constantly from dim face to dim face. "Who's here, captains?" he said, leaning to peer into the faces until they could feel his breath and smell his sweaty reek. He spoke a name or two. "What you all say I done, Mr John?"

McLendon jerked the car door open. "Get in!" he said.

The Negro did not move. "What you all going to do with me, Mr John? I ain't done nothing. White folks, captains, I ain't done nothing: I swear 'fore God." He called another name.

"Get in!" McLendon said. He struck the Negro. The others expelled their breath in a dry hissing and struck him with random blows and he whirled and cursed them, and swept his manacled hands across their faces and slashed the barber upon the mouth, and the barber struck him also.

"Get him in there," McLendon said. They pushed at him.

He ceased struggling and got in and sat quietly as the others took their places. He sat between the barber and the soldier, drawing his limbs in so as not to touch them, his eyes going swiftly and constantly from face to face. Butch clung to the running board. The car moved on. The barber nursed his mouth with his handkerchief.

"What's the matter, Hawk?" the soldier said.

"Nothing," the barber said. They regained the highroad and turned away from town. The second car dropped back out of the dust. They went on, gaining speed; the final fringe of houses dropped behind.

"Goddamn, he stinks!" the soldier said.

"We'll fix that," the drummer in front beside McLendon said. On the running board Butch cursed into the hot rush of air. The barber leaned suddenly forward and touched McLendon's arm.

"Let me out, John," he said.

"Jump out, nigger-lover," McLendon said without turning his head. He drove swiftly. Behind them the sourceless lights of the second car glared in the dust. Presently McLendon turned into a narrow road. It was rutted with disuse. It led back to an abandoned brick kiln, a series of reddish mounds and weed and vine-choked vats without bottom. It had been used for pasture once, until one day the owner missed one of his mules. Although he prodded carefully in the vats with a long pole, he could not even find the bottom of them.

"John," the barber said.

"Jump out, then," McLendon said, hurling the car along the ruts. Beside the barber the Negro spoke: "Mr Henry."

The barber sat forward. The narrow tunnel of the road rushed up and past. Their motion was like an extinct furnace blast: cooler, but utterly dead. The car bounded from rut to rut.

"Mr Henry," the Negro said.

The barber began to tug furiously at the door. "Look out, there!" the soldier said, but the barber had already kicked the door open and swung onto the running board. The soldier leaned across the Negro and grasped at him, but he had already jumped. The car went on without checking speed.

The impetus hurled him crashing through dust-sheathed weeds, into the ditch. Dust puffed about him, and in a thin, vicious crackling of sapless stems he lay choking and retching until the second car passed and died away. Then he rose and limped on until he reached the highroad and turned toward town, brushing at his clothes with his hands. The moon was higher, riding high and clear of the dust at last, and after a while the town began to glare beneath the dust.

He went on, limping. Presently he heard cars and the glow of them grew in the dust behind him and he left the road and crouched again in the weeds until they passed. McLendon's car came last now. There were four people in it and Butch was not on the running board.

They went on; the dust swallowed them; the glare and the sound died away. The dust of them hung for a while, but soon the eternal dust absorbed it again. The barber climbed back onto the road and limped on toward town.


IV

As SHE DRESSED for supper on that Saturday evening, her own flesh felt like fever. Her hands trembled among the hooks and eyes, and her eyes had a feverish look, and her hair swirled crisp and crackling under the comb. While she was still dressing the friends called for her and sat while she donned her sheerest underthings and stockings and a new voile dress. "Do you feel strong enough to go out?" they said, their eyes bright too, with a dark glitter. "When you have had time to get over the shock, you must tell us what happened. What he said and did; everything."

In the leafed darkness, as they walked toward the square, she began to breathe deeply, something like a swimmer preparing to dive, until she ceased trembling, the four of them walking slowly because of the terrible heat and out of solicitude for her. But as they neared the square she began to tremble again, walking with her head up, her hands clenched at her sides, their voices about her murmurous, also with that feverish, glittering quality of their eyes.

They entered the square, she in the center of the group, fragile in her fresh dress. She was trembling worse. She walked slower and slower, as children eat ice cream, her head up and her eyes bright in the haggard banner of her face, passing the hotel and the coatless drummers in chairs along the curb looking around at her: "That's the one: see? The one in pink in the middle."

"Is that her? What did they do with the nigger? Did they?"

"Sure. He's all right."

"All right, is he?"

"Sure. He went on a little trip." Then the drug store, where even the young men lounging in the doorway tipped their hats and followed with their eyes the motion of her hips and legs when she passed.

They went on, passing the lifted hats of the gentlemen, the suddenly ceased voices, deferent, protective. "Do you see?" the friends said. Their voices sounded like long, hovering sighs of hissing exultation. "There's not a Negro on the square. Not one."

They reached the picture show. It was like a miniature fairyland with its lighted lobby and colored lithographs of life caught in its terrible and beautiful mutations. Her lips began to tingle. In the dark, when the picture began, it would be all right; she could hold back the laughing so it would not waste away so fast and so soon. So she hurried on before the turning faces, the undertones of low astonishment, and they took their accustomed places where she could see the aisle against the silver glare and the young men and girls coming in two and two against it.

The lights flicked away; the screen glowed silver, and soon life began to unfold, beautiful and passionate and sad, while still the young men and girls entered, scented and sibilant in the half dark, their paired backs in silhouette delicate and sleek, their slim, quick bodies awkward, divinely young, while beyond them the silver dream accumulated, inevitably on and on. She began to laugh. In trying to suppress it, it made more noise than ever; heads began to turn.

Still laughing, her friends raised her and led her out, and she stood at the curb, laughing on a high, sustained note, until the taxi came up and they helped her in.

They removed the pink voile and the sheer underthings and the stockings, and put her to bed, and cracked ice for her temples, and sent for the doctor. He was hard to locate, so they ministered to her with hushed ejaculations, renewing the ice and fanning her. While the ice was fresh and cold she stopped laughing and lay still for a time, moaning only a little. But soon the laughing welled again and her voice rose screaming.

"Shhhhhhhhhhh! Shhhhhhhhhhhhhh!" they said, freshening the icepack, smoothing her hair, examining it for gray; "poor girl!" Then to one another: "Do you suppose anything really happened?" their eyes darkly aglitter, secret and passionate. "Shhhhhhhhhh! Poor girl! Poor Minnie!"

V

IT WAS MIDNIGHT when McLendon drove up to his neat new house. It was trim and fresh as a birdcage and almost as small, with its clean, green-and-white paint. He locked the car and mounted the porch and entered. His wife rose from a chair beside the reading lamp. McLendon stopped in the floor and stared at her until she looked down.

"Look at that clock," he said, lifting his arm, pointing.

She stood before him, her face lowered, a magazine in her hands. Her face was pale, strained, and weary-looking.

"Haven't I told you about sitting up like this, waiting to see when I come in?"

"John," she said. She laid the magazine down. Poised on the balls of his feet, he glared at her with his hot eyes, his sweating face.

"Didn't I tell you?" He went toward her. She looked up then. He caught her shoulder. She stood passive, looking at him.

"Don't, John. I couldn't sleep... The heat; something. Please, John. You're hurting me."

"Didn't I tell you?" He released her and half struck, half flung her across the chair, and she lay there and watched him quietly as he left the room.

He went on through the house, ripping off his shirt, and on the dark, screened porch at the rear he stood and mopped his head and shoulders with the shirt and flung it away. He took the pistol from his hip and laid it on the table beside the bed, and sat on the bed and removed his shoes, and rose and slipped his trousers off. He was sweating again already, and he stooped and hunted furiously for the shirt. At last he found it and wiped his body again, and, with his body pressed against the dusty screen, he stood panting. There was no movement, no sound, not even an insect. The dark world seemed to lie stricken beneath the cold moon and the lidless stars.

 Abouts the Author 


William Cuthbert Faulkner
William Cuthbert Faulkner
was an William Cuthbert Faulkner was an American writer known for his novels and short stories set in the fictional Yoknapatawpha County, based on Lafayette County, Mississippi, where Faulkner spent most of his life. Wikipedia

 
Notable works: The Sound and the Fury; As I Lay Dying; Light in August; Absalom, A...
Notable awards: Nobel Prize in Literature (1949); Pulitzer Prize for Fiction (1955, 19...
Born: William Cuthbert Falkner; September 25, 1897; New Albany, Mississippi, U.S
Died: July 6, 1962 (aged 64); Byhalia, Mississippi, U.S
Short stories: A Rose for Emily, Barn Burning, Dry September, and more
Plays: Requiem for a Nun

 

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