Light in August
Quotes from the Book
I feel like a wet seed wild in the hot blind earth.
He had a word, too. Love, he called it. But I had been used to words for a long time. I knew that that word was like the others: just a shape to fill a lack; that when the right time came, you wouldn't need a word for that any more than for pride or fear....One day I was talking to Cora. She prayed for me because she believed I was blind to sin, wanting me to kneel and pray too, because people to whom sin is just a matter of words, to them salvation is just words too.
My mother is a fish.
It takes two people to make you, and one people to die. That's how the world is going to end.
In a strange room you must empty yourself for sleep. And before you are emptied for sleep, what are you. And when you are emptied for sleep, you are not. And when you are filled with sleep, you never were. I don't know what I am. I don't know if I am or not. Jewel knows he is, because he does not know that he does not know whether he is or not. He cannot empty himself for sleep because he is not what he is and he is what he is not. Beyond the unlamped wall I can hear the rain shaping the wagon that is ours, the load that is no longer theirs that felled and sawed it nor yet theirs that bought it and which is not ours either, lie on our wagon though it does, since only the wind and the rain shape it only to Jewel and me, that are not asleep. And since sleep is is-not and rain and wind are was, it is not. Yet the wagon is, because when the wagon is was, Addie Bundren will not be. And Jewel is, so Addie Bundren must be. And then I must be, or I could not empty myself for sleep in a strange room. And so if I am not emptied yet, I am is. How often have I lain beneath rain on a strange roof, thinking of home.
...the reason for living was to get ready to stay dead a long time.
People to whom sin is just a matter of words, to them salvation is just words too.
...I would think how words go straight up in a thin line, quick and harmless, and how terribly doing goes along the earth, clinging to it, so that after a while the two lines are too far apart for the same person to straddle from one to the other; and that sin and love and fear are just sounds that people who never sinned nor loved nor feared have for what they never had and cannot have until they forget the words.
That was when I learned that words are no good; that words dont ever fit even what they are trying to say at. When he was born I knew that motherhood was invented by someone who had to have a word for it because the ones that had the children didn't care whether there was a word for it or not. I knew that fear was invented by someone that had never had the fear; pride, who never had the pride.
The reason you will not say it is, when you say it, even to yourself, you will know it is true.
How do our lives ravel out into the no-wind, no-sound, the weary gestures wearily recapitulant: echoes of old compulsions with no-hand on no-string: in sunset we fall into furious attitudes, dead gestures of dolls.
I could just remember how my father used to say that the reason for living was to get ready to stay dead a long time.
Sometimes I aint so sho who's got ere a right to say when a man is crazy and when he aint. Sometimes I think it aint none of us pure crazy and aint none of us pure sane until the balance of us talks him that-a-way. It's like it aint so much what a fellow does, but it's the way the majority of folks is looking at him when he does it.
If you could just ravel out into time. That would be nice. It would be nice if you could just ravel out into time
She wouldn't say what we both knew. 'The reason you will not say it is, when you say it, even to yourself, you will know it is true: is that it? But you know it is true now. I can almost tell you the day when you knew it is true. Why won't you say it, even to yourself?' She will not say it.
It is as though the space between us were time: an irrevocable quality. It is as though time, no longer running straight before us in a diminishing line, now runs parallel between us like a looping string, the distance being the doubling accretion of the thread an not the interval between.
That’s what they mean by the womb of time: the agony and the despair of spreading bones, the hard girdle in which lie the outraged entrails of events.
The sun, an hour above the horizon, is poised like a bloody egg upon a crest of thunderheads; the light has turned copper: in the eye portentous, in the nose sulphurous, smelling of lightning.
It's like it ain't so much what a fellow does, but it's the way the majority of folks is looking at him when he does it.
I can remember how when I was young I believed death to be a phenomenon of the body; now I know it to be merely a function of the mind - and that of the minds of the ones who suffer the bereavement. The nihilists say it is the end; the fundamentalists, the beginning; when in reality it is no more than a single tenant or family moving out of a tenement or a town.
It's because I'm alone.. If I could just feel it, it would be different, because I would not be alone. But if I were not alone, everybody would know it. And he could do so much for me, and then I would not be alone. Then I could be all right alone.
I notice how it takes a lazy man, a man that hates moving, to get set on moving once he does get started off, the same as when he was set on staying still, like it aint the moving he hates so much as the starting and the stopping. And like he would be kind of proud of whatever come up to make the moving or the setting still look hard. He set there on the wagon hunched up, blinking, listening to us tell about how quick the bridge went and how high the water was, and I be durn if he didn't act like he was proud of it, like he had made the river rise himself.
That's the one trouble with this country: everything, weather, all, hangs on too long. Like our rivers, our land: opaque, slow, violent; shaping and creating the life of man in its implacable and brooding image.
I said You don't know what worry is. I don't know what it is. I don't know whether I am worrying or not. Whether I can or not . I don't know whether I can cry or not. I don't know whether I have tried to or not. I feel like a wet seed wild in the hot blind earth.
I believe in God, God. God, I believe in God.
When something is new and hard and bright, there ought to be something a little better for it than just being safe, since the safe things are just the things that folks have been doing so long they have worn the edges off and there's nothing to the doing of them that leaves a man to say, That was not done before and it cannot be done again.
One day I was talking to Cora. She prayed for me because she believed I was blind to sin, wanting me to kneel and pray too, because people to whom sin is just a matter of words, to them salvation is just words too.
When I was a boy I first learned how much better water tastes when it has set a while in a cedar bucket. Warmish-cool, with a faint taste like the hot July wind in Cedar trees smells.
Did you know?
- The novel is narrated through 59 chapters voiced by 15 different characters.
- Darl, the second Bundren son, narrates the largest share of the book, with 19 sections.
- Faulkner said he wrote the novel in about six weeks while working night shifts at a power plant.
- The title is drawn from Homer's Odyssey, echoing words spoken by Agamemnon's shade.
- The first edition was a small print run, and the earliest copies contained a misplaced initial letter on one page.
- The story unfolds in Faulkner's fictional Yoknapatawpha County, his recurring stand-in for Lafayette County, Mississippi.
About William Faulkner
More by William Faulkner
All books by William Faulkner →About the book
As I Lay Dying is a Southern Gothic novel that follows the impoverished Bundren family of rural Mississippi as they carry the body of their dead matriarch, Addie, on a long and arduous wagon journey to bury her among her own people in the town of Jefferson. What begins as an act of devotion to a dying wish becomes a grueling ordeal beset by flood, fire, and the family's own clashing motives. Faulkner tells the story through fragmented first-person monologues, letting the reader assemble events from many partial, often unreliable, perspectives.
The novel's central themes are death, grief, duty, and the gulf between private consciousness and shared experience. Through its shifting interior voices, the book probes how individuals understand existence, identity, and one another, and it weighs genuine love and sacrifice against selfishness, pride, and hollow obligation. Its experimental, stream-of-consciousness technique makes the act of perception itself one of the book's chief subjects.
Composed in a brief, intense burst, As I Lay Dying is regarded as a landmark of literary modernism and one of Faulkner's most accomplished works. It is consistently ranked among the finest novels of the twentieth century and is widely taught for its daring structure and psychological depth. It stands as a key part of the body of work that earned Faulkner the 1949 Nobel Prize in Literature.
Key characters
- Addie BundrenThe dying, then dead, matriarch whose burial drives the plot
- Anse BundrenThe shiftless, self-pitying father determined to reach Jefferson
- Cash BundrenThe eldest son, a methodical carpenter who builds his mother's coffin
- Darl BundrenThe introspective second son and the novel's most frequent narrator
- Jewel BundrenThe fiercely independent third child, fixated on his horse
- Dewey Dell BundrenThe only daughter, secretly pregnant and seeking help in town
- Vardaman BundrenThe bewildered youngest child grappling with his mother's death
Book details
- First published
- 1930
- Length
- 254 pages
- Reading time
- 4 hours
- Author
- William Faulkner
- Genre
- Classics
- Goodreads rating
- 3.72 (192k ratings)
- First line
- “Jewel and I come up from the field, following the path in single file.”
Critical reception
- Widely regarded as one of the finest American novels of the twentieth century and a cornerstone of literary modernism.
- Praised for its bold multi-narrator, stream-of-consciousness structure and its blend of tragedy and dark comedy.
- Counted among the key works that secured Faulkner the 1949 Nobel Prize in Literature.
Keep reading
Absalom, Absalom!
Plainwater: Essays and Poetry
Light in August
My Friends
Henderson the Rain King
The Sound and the Fury
Molloy
What Is the What
Dust Tracks on a Road
Pew
Lit
The Killer Inside Me
Angle of Repose
Future Home of the Living God
A Little Devil in America: Notes in Praise of Black Performance
The Tunnel
Peace Like a River
March
A Grief Observed
Something Wicked This Way Comes
The Burning World
Sexing the Cherry
The Hour I First Believed
The Poisonwood Bible
Tropic of Capricorn
House of Leaves
A Sudden Light
Middlesex
Liberation Day
The Handmaid's Tale
Incantation
Cold Mountain
And the Mountains Echoed
Imagine Me Gone
The Secret History
Lighthousekeeping
We the Living
Day
Daniel Deronda
The Fall
The Sunset Limited
The Hour of the Star
The Dream of Perpetual Motion
In the Heart of the Heart of the Country and Other Stories
Where Reasons End
Jayber Crow
The Chronology of Water
V.
Traveling Mercies: Some Thoughts on Faith
The Sweet Hereafter
Goodbye Days
The Shock of the Fall
Doctor Zhivago
Lila
The Tent
The Black Obelisk
The Man in the High Castle
Nightwood
This Is Happiness

