The Faulkner Reader, William Faulkner
Contents
Foreword
Nobel Prize Address
The Sound and the Fury
The Bear (Go Down, Moses)
Old Man (The Wild Palms)
Spotted Horses (The Hamlet)
A Rose for Emily
Barn Burning
Dry September
That Evening Sun
Turnabout
Shingles for the Lord
A Justice
Wash
An Odor of Verbena (The Unvanquished)
Percy Grimm (Light in August)
The Courthouse (Requiem for a Nun)
Foreword
MY GRANDFATHER had a moderate though reasonably diffuse and catholic library; I realize now that I got most of my early education in it. It was a little limited in its fiction content, since his taste was for simple straightforward romantic excitement like Scott or Dumas. But there was a heterogeneous scattering of other volumes, chosen apparently at random and by my grandmother, since the flyleaves bore her name and the dates in the 1880’s and ’90’s of that time when even in a town as big as Memphis, Tennessee, ladies stopped in their carriages in the street in front of the stores and shops, and clerks and even proprietors came out to receive their commands—that time when women did most of the book-buying and the reading too, naming their children Byron and Clarissa and St. Elmo and Lothair after the romantic and tragic heroes and heroines and the even more romantic creators of them.
One of these books was by a Pole, Sienkiewicz—a story of the time of King John Sobieski, when the Poles, almost single-handed, kept the Turks from overrunning Central Europe. This one, like all books of that period, at least the ones my grandfather owned, had a preface, a foreword. I never read any of them; I was too eager to get on to what the people themselves were doing and anguishing and triumphing over.
But I did read the foreword in this one, the first one I ever took time to read; I don’t know why now. It went something like this:
This book was written at the expense of considerable effort, to uplift men’s hearts, and I thought: What a nice thing to have thought to say. But no more than that. I didn’t even think, Maybe some day I will write a book too and what a shame I didn’t think of that first so I could put it on the front page of mine. Because I hadn’t thought of writing books then.
The future didn’t extend that far. This was 1915 and ’16; I had seen an aeroplane and my mind was filled with names: Ball, and Immelman and Boelcke, and Guynemer and Bishop, and I was waiting, biding, until I would be old enough or free enough or anyway could get to France and become glorious and beribboned too.
Then that had passed. It was 1923 and I wrote a book and discovered that my doom, fate, was to keep on writing books: not for any exterior or ulterior purpose: just writing the books for the sake of writing the books; obviously, since the publisher considered them worth the financial risk of being printed, someone would read them. But that was unimportant too as measured against the need to get them written, though naturally one hopes that who read them would find them true and honest and even perhaps moving.
Because one was too busy writing the books during the time while the demon which drove him still considered him worthy of, deserving of, the anguish of being driven, while the blood and glands and flesh still remained strong and potent, the heart and the imagination still remained undulled to follies and lusts and heroisms of men and women; still writing the books because they had to be written after the blood and glands began to slow and cool a little and the heart began to tell him, You don’t know the answer either and you will never find it, but still writing the books because the demon was still kind; only a little more severe and unpitying: until suddenly one day he saw that that old half-forgotten Pole had had the answer all the time.
To uplift man’s heart; the same for all of us: for the ones who are trying to be artists, the ones who are trying to write simple entertainment, the ones who write to shock, and the ones who are simply escaping themselves and their own private anguishes.
Some of us don’t know that this is what we are writing for. Some of us will know it and deny it, lest we be accused and self-convicted and condemned of sentimentality, which people nowadays for some reason are ashamed to be tainted with; some of us seem to have curious ideas of just where the heart is located, confusing it with other and baser glands and organs and activities. But we all write for this one purpose.
This does not mean that we are trying to change man, improve him, though this is the hope—maybe even the intention—of some of us. On the contrary, in its last analysis, this hope and desire to uplift man’s heart is completely selfish, completely personal. He would lift up man’s heart for his own benefit because in that way he can say No to death.
He is saying No to death for himself by means of the hearts which he has hoped to uplift, or even by means of the mere base glands which he has disturbed to that extent where they can say No to death on their own account by knowing, realizing, having been told and believing it: At least we are not vegetables because the hearts and glands capable of partaking in this excitement are not those of vegetables, and will, must, endure.
So he who, from the isolation of cold impersonal print, can engender this excitement, himself partakes of the immortality which he has engendered. Some day he will be no more, which will not matter then, because isolated and itself invulnerable in the cold print remains that which is capable of engendering still the old deathless excitement in hearts and glands whose owners and custodians are generations from even the air he breathed and anguished in; if it was capable once, he knows that it will be capable and potent still long after there remains of him only a dead and fading name.
New York
November, 1953
William Faulkner’s Speech of Acceptance upon the award of the Nobel Prize for Literature, delivered in Stockholm on the tenth of December, nineteen hundred fifty
I FEEL THAT THIS AWARD WAS NOT MADE TO ME AS A MAN, BUT TO MY work—a life’s work in the agony and sweat of the human spirit, not for glory and least of all for profit, but to create out of the materials of the human spirit something which did not exist before. So this award is only mine in trust. It will not be difficult to find a dedication for the money part of it commensurate with the purpose and significance of its origin.
But I would like to do the same with the acclaim too, by using this moment as a pinnacle from which I might be listened to by the young men and women already dedicated to the same anguish and travail, among whom is already that one who will some day stand here where I am standing.
Our tragedy today is a general and universal physical fear so long sustained by now that we can even bear it. There are no longer problems of the spirit. There is only the question: When will I be blown up? Because of this, the young man or woman writing today has forgotten the problems of the human heart in conflict with itself which alone can make good writing because only that is worth writing about, worth the agony and the sweat.
He must learn them again. He must teach himself that the basest of all things is to be afraid; and, teaching himself that, forget it forever, leaving no room in his workshop for anything but the old verities and truths of the heart, the old universal truths lacking which any story is ephemeral and doomed—love and honor and pity and pride and compassion and sacrifice.
Until he does so, he labors under a curse. He writes not of love but of lust, of defeats in which nobody loses anything of value, of victories without hope and, worst of all, without pity or compassion. His griefs grieve on no universal bones, leaving no scars. He writes not of the heart but of the glands.
Until he relearns these things, he will write as though he stood among and watched the end of man. I decline to accept the end of man. It is easy enough to say that man is immortal simply because he will endure: that when the last ding-dong of doom has clanged and faded from the last worthless rock hanging tideless in the last red and dying evening, that even then there will still be one more sound: that of his puny inexhaustible voice, still talking. I refuse to accept this. I believe that man will not merely endure: he will prevail.
He is immortal, not because he alone among creatures has an inexhaustible voice, but because he has a soul, a spirit capable of compassion and sacrifice and endurance. The poet’s, the writer’s, duty is to write about these things. It is his privilege to help man endure by lifting his heart, by reminding him of the courage and honor and hope and pride and compassion and pity and sacrifice which have been the glory of his past. The poet’s voice need not merely be the record of man, it can be one of the props, the pillars to help him endure and prevail.
The Sound
