Bobbie – a waitress at a restaurant in Memphis whom the adolescent Joe Christmas falls in love with and proposes to on the night that he kills his father at a local dance. She scorns him and leaves him.
Gavin Stevens – an educated man and district attorney who lives in Jefferson and offers commentary on some of the events at the end of the novel.
Percy Grimm – the captain of the State National Guard who kills Joe Christmas and castrates him.
Style and structure
Due to its naturalistic, violent subject matter and obsession with the ghosts of the past, Light in August is characterized as a Southern gothic novel, a genre also exemplified by the works of Faulkner’s contemporary Carson McCullers, and by later Southern writers like Flannery O’Connor, and Truman Capote. However, critics like Diane Roberts and David R. Jarraway view Faulkner’s use of Southern gothic genre tropes, such as the dilapidated plantation house and the focus on mystery and horror, as self-conscious modernist commentary on man’s «warped relationship with the past» and the impossibility of determining true identity.
According to Daniel Joseph Singal, Faulkner’s literary style gradually developed from 19th century Victorian to modernist, with Light in August more firmly grounded in the tradition of the latter. The novel is characteristic of the modernist fascination with polarities—light and dark, good and evil—the burden of history on the present, and the splintering of personal identity. The plot is also divided into dual currents, one focusing on Lena Grove and the other on Joe Christmas, a technique that Faulkner continued to use in other works.
The narrative is not structured in any particular order, as it is often interrupted by lengthy flashbacks and constantly shifts from one character to another. This lack of organization and narrative continuity was viewed negatively by some critics. As in his other novels, Faulkner employs elements of oral storytelling, allowing different characters to lend voice to the narrative in their own distinct Southern idiom. Unlike some of the other Yoknapatawpha County novels, Light in August does not rely solely on stream-of-consciousness narration, but also incorporates dialogue and an omniscient third-person narrator that develop the story.
Title
The title refers to the fire of the house that is at the center of the story. The whole novel revolves around one event, the fire, which is visible for miles around, and happens in August.
Some critics have speculated that the meaning of the title derives from a colloquial use of the word «light» to mean giving birth—typically used to describe when a cow will give birth and be «light» again—and connect this to Lena’s pregnancy. Speaking of his choice of title, Faulkner denied this interpretation and stated,
… in August in Mississippi there’s a few days somewhere about the middle of the month when suddenly there’s a foretaste of fall, it’s cool, there’s a lambence, a soft, a luminous quality to the light, as though it came not from just today but from back in the old classic times. It might have fauns and satyrs and the gods and—from Greece, from Olympus in it somewhere. It lasts just for a day or two, then it’s gone … the title reminded me of that time, of a luminosity older than our Christian civilization.»
Within the novel itself, the title is alluded to when Gail Hightower sits at his study window waiting for his recurring vision of his grandfather’s last raid. The vision always occurs in «that instant when all light has failed out of the sky and it would be night save for that faint light which daygranaried leaf and grass blade reluctant suspire, making still a little light on earth though night itself has come.» The story that would eventually become the novel, started by Faulkner in 1931, was originally titled «Dark House» and began with Hightower sitting at a dark window in his home. However, after a casual remark by his wife Estelle on the quality of the light in August, Faulkner changed the title.
Themes
Alienation
All of the protagonists in the novel are misfits and social outcasts surrounded by an impersonal and largely antagonistic rural community, which is represented metonymically through minor or anonymous characters. Joanna Burden and Reverend Hightower are hounded by the people of Jefferson for years, in a failed effort to make them leave town.
Byron Bunch, though more accepted in Jefferson, is still viewed as a mystery or simply overlooked. Both Joe Christmas and Lena Grove are orphans, strangers in town, and social outcasts, though the former draws anger and violence from the community, while the latter is looked down upon but receives generous assistance in her travels. According to Cleanth Brooks, this opposition between Joe and Lena is a pastoral reflection of the full spectrum of social alienation in modern society.
Christian allegory
There are a variety of parallels with Christian scripture in the novel. The life and death of Joe Christmas is reminiscent of the passion of Christ, Lena and her fatherless child parallel Mary and Christ, and Byron Bunch acts as a Joseph figure. Christian imagery such as the urn, the wheel, and the shadow, can be found throughout.
Light in August has 21 chapters, as does the Gospel of St. John. As Virginia V. James Hlavsa points out, each chapter in Faulkner corresponds to themes in John. For example, echoing John’s famous, «In the beginning was the Word, and the Word was with God», is Lena’s insistent faith in the «word» of Lucas, who is, after all, the father. John 5, the healing of the lame man by immersion, is echoed by Christmas’s repeatedly being immersed in liquids.
The teaching in the temple in John 7 is echoed by McEachern’s attempts to teach Christmas his catechism. The crucifixion occurs in John 19, the same chapter in which Christmas is slain and castrated. However, the Christian references are dark and disturbing—Lena is obviously not a virgin, Christmas is an enraged murderer—and may be more appropriately viewed as pagan idols mistakenly worshipped as saints.
Race and sex
Faulkner is considered one of the foremost American writers on race in the United States, and his novels, including Light in August, often explore the persistent obsession with blood and race in the South that have carried over from the antebellum era to the 20th century.
Christmas has light skin but is viewed as a foreigner by the people he meets, and the children in the orphanage in which he was raised called him «nigger.» Chapter 6 begins with the oft-cited sentence: «Memory believes before knowing remembers,» and gives an account of the five-year-old Christmas amongst the uniform denim of the other children. The first reference to him though is not by these children but by the dietitian who gave him a dollar to not tell about her amorous adventure with an intern doctor.
However suspicion must fall on Doc Hines, Joe’s deranged grandfather, who placed him in the orphanage and stays on as the boilerman. It is he who may have whispered the lie about the little boy’s origins to the other children.
Because of this, Joe Christmas is fixated on the idea that he has some African American blood, which Faulkner never confirms, and views his parentage as an original sin that has tainted his body and actions since birth. Because of his obsessive struggle with his twin identities, black and white, Christmas lives his life always on the road.
The secret of his blackness is one that he abhors as well as cherishes; he often willingly tells white people that he is black in order to see their extreme reactions and becomes violent when one white Northern woman reacts nonchalantly. Though Christmas is guilty of violent crimes, Faulkner emphasizes that he is under the sway of social and psychological forces that are beyond his control and force him to reenact the part of the mythical black murderer and rapist from Southern history.
Christmas exemplifies how existing outside of categorization, being neither black nor white, is perceived as a threat by society that can only be reconciled with violence. He is also perceived as neither male nor female, just as Joanna Burden, whom Faulkner portrays as «masculinized,» is also neither male nor female and is rejected by her community. Because of this, an early critic concluded that blackness and women were the «‘twin Furies of the Faulknerian deep Southern Waste Land'» and reflected Faulkner’s animosity toward life.
However, while women and minorities are both viewed as «subversive» and are restricted by the patriarchal society depicted in the novel, Lena Grove is able to travel safely and be cared for by people who hate and mistrust her, because she plays on the conventional rule that men are responsible for a woman’s wellbeing.
Thus, she is the only stranger who is not alienated and destroyed by the people of Jefferson, because the community recognizes her as the embodiment of nature and life. This romantic view of women in the novel posits that men have lost their innocent connection to the natural world, while women instinctively possess it.
Class and religion
In Light in August, as in most of the other novels set in Yoknapatawpha County, Faulkner focuses mainly on poor white Southerners, both from the upper and lower classes, who struggle to survive in the ruined post-war economy of the South. The characters in Light in August—who are mostly from the lower classes, with the exception of Reverend Hightower and Joanna Burden—are united by poverty and Puritanical values that cause them to regard an unwed mother like Lena Grove with disdain. Faulkner shows the restrictiveness and aggression of their Puritanical zeal, which has caused them to become «deformed» in their
