Faulkner's 'Jewel: Logos And The Word Made Flesh'

Another example, is when Addie speaks. She speaks to reveal her selfishness. She admits to having an extramarital affair with the local preacher, who is Jewel’s biological father. The reader can see this when Addie says, “I gave Anse Dewey Dell to negative Jewel. Then I gave him Vardaman to replace the child I had robbed him of” (176). Further, Addie admits that she wants to be buried in Jefferson because she wants to spend eternity as far away from the Bundren’s as possible.

However, Jewel has a much different view of their journey. Jewel sees it as a way to make up to his mother for not being there when she passed (Faulkner 48). Therefore, he does everything in his power to get her there . . . including running into a burning barn and nearly drowning to save her coffin (Faulkner 154 and 221). These acts, although seemingly heroic, arise as truly selfish and shallow. These shallow acts can exist through Jewels “pale eyes” which look “like wood” (Faulkner 4). This simile compares Jewel to a simple substance which mirrors how his actions towards his mother are self-absorbed. Wood is two dimensional and shallow. When Jewels refuses to let the past go and continuously holds on to the idea of upsetting his mother, he in turn works for his own benefit. Jewel seeks his mother's approval out of self absorption and not out of love; he acts shallow and hollow like wood. In turn, Jewel ignores his siblings and continues to push towards

In “A Rose for Emily”, William Faulkner uses imagery and symbolism to both illustrate and strengthen the most prevalent theme; Emily’s resistance to change. William Faulkner seems to reveal this theme through multiple descriptions of Miss Grierson’s actions, appearance, and her home. Throughout the short story it is obvious that Emily has a hard time letting go of her past, she seems to be holding onto every bit of her past. Readers see this shown in several ways, some more obvious than others.

Ezra Faulkner believes that everyone has a tragedy waiting for them, a single moment after which, everything that really matters will happen. After his personal tragedy he realizes that the things people expect of you aren’t always the things that make you happy. Ezra finally understands that he always talked about being popular but deep down was so tired of it and he found himself when he became friends with other people in his school. In this book, social classes play a huge role, this is shown numerous times throughout the novel. Some of the most notable times are when Ezra finally realizes that he is no longer popular, nor was he happy being popular, when Ezra begins mending his relationship with Toby, and throughout

After Dewey Dell brings out Addie’s will, Anse does not send Jewel to her. Instead, “pa says, ‘him(Jewel) and Darl went to make one more load. They thought there was time. That you would wait for them,’”(Faulkner

The trait that most resembles a heroic quality can be traced within the selflessness within the novel. The acts of selflessness can then be traced within the three eldest Bundren brothers Jewel, Cash and Darl. Jewel Bundren is not a man of words and only has one vocal chapter in the novel. His heroic selflessness stems not from how he expresses himself but instead from his actions. Jewel Bundren is often described as wooden and disconnects his emotions from both the other characters in the novel as well as the reader. Though he is cold, Jewel balances his outward appearance with selfless actions. Jewel’s only emotional connection his family is through Addie. It is because of this connection that drives him relentlessly forward with the mission. He shows dedication to his family when he searches valiantly for Cash’s tools after the river crossing. Jewel is motivated through his connection to Addie to connect to his family. Finally, he is so devoted to delivering his mother towards Jefferson to the point that he

Southern Gothic frequently depended on the conviction that day by day life and the refined surface of the social request were delicate and fanciful, camouflaging aggravating substances or curved minds. Faulkner, with his thick and multilayered composition, generally remains outside this gathering of experts. In any case, "A Rose for Emily" uncovers the impact that Southern Gothic had on his written work: this specific story has an ill humored and denying climate; a disintegrating old manor; along with rot, festering, and grotesquerie. Faulkner's work utilizes the shocking components to highlight an individual's battle against an abusive society that is experiencing fast change. Another part of the Southern Gothic style is appointment and change. Faulkner has appropriated the

It would seem that the primary struggle that Darl faces in the novel is the differentiation between “being” and “not-being” and the value, meaning, and importance of his own self. In the same way that Vardaman does not understand mortality, Darl does not understand himself, and this severely clouds his judgment when it comes to coping with the death of his mother. Darl seems to be a rational person at the beginning of the novel, but he plagues himself with questions regarding the fact that, “In a strange room you must empty yourself for sleep. And before you are emptied for sleep, what are you. 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” (Faulkner 80). Darl cannot navigate his own identity, and it seems that this, combined with his subpar relationship with Addie, leads him to attempt to cope by repressing his despair in multiple failed attempts to understand himself. Butchart notes that “By dissociating himself from his mother and employing dangerous defense mechanisms, Darl’s sanity atrophies” (Butchart 60). The descent to madness that Darl endures is a sympathetic plight to most readers, since Darl is arguably one of the more sympathetic characters in the novel, but this decline is ultimately guided by his inability to come to terms with himself and his actions, especially concerning the fact that he was not present at the death of his mother. Jewel copes with the death of his mother in a way that is similar to the method that Darl utilizes, in that he represses his feelings, despite the fact that his close connection with Addie allows the reader to assume that he is the most hurt by her death. Jewel then uses his grief to fuel his devotion to heroic duty, which is primarily seen in his efforts to save Addie from the burning barn and

The Bundren's disconnect as a family is the result of Addie’s death, mothers are the glue that holds a family together. Even when alive, Addie’s favoritism of Cash and Jewel, the two children she claimed as her own caused the disconnect. Both Cash and Jewel are the heroes of the story as they display actions of devotion to their mother. Cash makes her coffin and doesn’t interrupt the journey even when his leg is broken. Jewel is the one to save her coffin

For example, when Anse complains about having to feed Jewel’s horse, Jewel angrily, “looked at pa, his eyes paler than ever. “He won’t ever eat a mouthful of yours,” he said. “Not a mouthful. I’ll have to kill him first. Don’t you never think it. Don’t you never (32 136).” Jewel shows no respect for Anse due to his hatred toward him. Jewel hates Anse in spite of his isolation. In addition, Darl explains how Addie was concerned about Jewel saying, “Ma wanted to get the doctor, but pa didn’t want to spend the money without it was needful (32 130).” This shows the difference in Jewel’s relationships between his mother and Anse. Jewel probably feels like Addie was the only trustworthy person he loved. When Addie died, Jewel felt he lost the only person he respected.

reason that it was her dying wish. He wanted to get those teeth. I highly doubt Anse would have dragged a dead corpse around for two weeks or so if he’d had a full set of teeth in his mouth. When Addie was about to die, he sent his two sons away to load wood for a measly three dollars. Jewel and Darl did not get to say their last

He was a product of Addie's infidelity to Anse, an act that was on Addie's mind until the day she died. The guilt she felt, even to the husband she had no love for, was so overwhelming that she produced both Dewey Dell and Vardaman to "negative" the sin that was Jewel's birth. Her self-worth was then so low that she felt she was ready to die after her recompense to Anse was finished. "And now he has three children that are his and not mine. And then I could get ready to die" (Faulkner 176). Addie had strong opinions on sin, as shown in her one chapter of the novel. She recounts an instance with her neighbor Cora Tull: "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" (Faulkner 176). Addie's sin with Jewel seems to perplex other members of the family through their journey to bury her; Darl's inability to mentally communicate with Jewel leads him to question Jewel's origin. Darl also seemed to put his views into the mind of Vardaman, though the poor neglected child was confused enough. Addie and Anse's relationship, as explained in Addie's narrative, has an obvious lack of intimacy, closeness, and meaningfulness. This can be seen as a sin inherited by their daughter, Dewey Dell. Her sexual curiosity and naïveté lead her to an unwanted pregnancy with a father, Lafe, who does not care about her.

While reading Absalom, Absalom! I was amazed at the number of times one of the narrators would refer to faces or voices as being present rather than to the people themselves. In almost every chapter this synecdoche appears, reducing many of the characters to images, shadows and memories. I think Faulkner uses this device to enhance the fact that the story is told from memory-- much of it from the point of view of the characters‘ childhoods.

in his book, “Sanctuary” published in 1931 William Faulkner talks about a girl named Temple Drake and how her life changes after she fails to follow the gender roles of her status. After Temple decides to go out with Gowan Stevens a college student from the university in Virginia she ends up at Lee Goodwin’s bootleg house Frenchman’s Bend. While at Frenchman’s Bend she has to rely on help from Tommy and Goodwin’s wife Ruby, to keep members Popeye and Van from doing anything harmful to her. Although they try their best to keep her out of harm’s way, Popeye ends up raping Temple and takes her to a brothel in Memphis where she lives the life of a prostitute. With the information presented it can be seen that due to Temple actions her status is

William Faulkner’s unconventional writing style is widely renowned for his disregard of literary rules and his keen ability to peer into the psychological depths of his characters. His novel As I Lay Dying is no exception to his signature style. This book sets forth the death of Addie Bundren, her family’s journey through Yoknapatawpha County to bury her with her relatives in Jefferson, Mississippi, and examines each character in depth from a variety of perspectives. While this journey wreaks havoc among members of the family, As I Lay Dying serves as a dark reminder that life is to be lived and that happiness is within reach.