Three Famous Short Novels: Spotted Horses Old Man The Bear (Vintage) (38 page)

—; summer, and fall, and snow, and wet and saprife spring in their ordered immortal sequence, the deathless and immemorial phases of the mother who had shaped him if any had toward the man he almost was, mother and father both to the old man born of a Negro slave and a Chickasaw chief who had been his spirit’s father if any had, whom he had revered and harkened to and loved and lost and grieved: and he would marry someday and they too would own for their brief while that brief unsubstanced glory which inherently of itself cannot last and hence why glory: and they would, might, carry even the remembrance of it into the time when flesh no longer talks to flesh because memory at least does last: but still the woods would be his mistress and his wife.

He was not going toward the Gum Tree. Actually he was getting farther from it. Time was and not so long ago either when he would not have been allowed here without someone with him, and a little later, when he had begun to learn how much he did not know, he would not have dared be here without someone with him, and later still, beginning to ascertain, even if only dimly, the limits of what he did not know, he could have attempted and carried it through with a compass, not because of any increased belief in himself but because McCaslin and Major de Spain and Walter and General Compson too had taught him at last to believe the compass regardless of what it seemed to state. Now he did not even use the compass but merely the sun and that only subconsciously, yet he could have taken a scaled map and plotted at any time to within a hundred feet of where he actually was; and sure enough, at almost the exact moment when he expected it, the earth began to rise faintly, he passed one of the four concrete markers set down by the lumber company’s surveyor to establish the four corners of the plot which Major de Spain had reserved out of the sale, then he stood on the crest of the knoll itself, the four corner-markers all visible now, blanched still even beneath the winter’s weathering, lifeless and shockingly alien in that place where dissolution itself was a seething turmoil of ejaculation tumescence conception and birth, and death did not even exist. After two winters’ blanketings of leaves and the flood-waters of two springs, there was no trace of the two graves anymore at all. But those who would have come this far to find them would not need headstones but would have found them as Sam Fathers himself had taught him to find such: by bearings on trees: and did, almost the first thrust of the hunting knife finding (but only to see if it was still there) the round tin box manufactured for axle-grease and containing now Old Ben’s dried mutilated paw, resting above Lion’s bones.

He didn’t disturb it. He didn’t even look for the other grave where he and McCaslin and Major de Spain and Boon had laid Sam’s body, along with his hunting horn and his knife and his tobacco-pipe, that Sunday morning two years ago; he didn’t have to. He had stepped over it, perhaps on it. But that was all right.
He probably knew I was in the woods this morning long before I got here
, he thought, going on to the tree which had supported one end of the platform where Sam lay when McCaslin and Major de Spain found them—the tree, the other axle-grease tin nailed to the trunk, but weathered, rusted, alien too yet healed already into the wilderness’ concordant generality, raising no tuneless note, and empty, long since empty of the food and tobacco he had put into it that day, as empty of that as it would presently be of this which he drew from his pocket—the twist of tobacco, the new bandanna handkerchief, the small paper sack of the peppermint candy which Sam had used to love; that gone too, almost before he had turned his back, not vanished but merely translated into the myriad life which printed the dark mold of these secret and sunless places with delicate fairy tracks, which, breathing and biding and immobile, watched him from beyond every twig and leaf until he moved, moving again, walking on; he had not stopped, he had only paused, quitting the knoll which was no abode of the dead because there was no death, not Lion and not Sam: not held fast in earth but free in earth and not in earth but of earth, myriad yet undiffused of every myriad part, leaf and twig and particle, air and sun and rain and dew and night, acorn oak and leaf and acorn again, dark and dawn and dark and dawn again in their immutable progression and, being myriad, one: and Old Ben too, Old Ben too; they would give him his paw back even, certainly they would give him his paw back: then the long challenge and the long chase, no heart to be driven and outraged, no flesh to be mauled and bled—Even as he froze himself, he seemed to hear Ash’s parting admonition. He could even hear the voice as he froze, immobile, one foot just taking his weight, the toe of the other just lifted behind him, not breathing, feeling again and as always the sharp shocking inrush from when Isaac McCaslin long yet was not, and so it was fear all right but not fright as he looked down at it. It had not coiled yet and the buzzer had not sounded either, only one thick rapid contraction, one loop cast sideways as though merely for purchase from which the raised head might start slightly backward, not in fright either, not in threat quite yet, more than six feet of it, the head raised higher than his knee and less than his knee’s length away, and old, the once-bright markings of its youth dulled now to a monotone concordant too with the wilderness it crawled and lurked: the old one, the ancient and accursed about the earth, fatal and solitary and he could smell it now: the thin sick smell of rotting cucumbers and something else which had no name, evocative of all knowledge and an old weariness and of pariah-hood and of death. At last it moved. Not the head. The elevation of the head did not change as it began to glide away from him, moving erect yet off the perpendicular as if the head and that elevated third were complete and all: an entity walking on two feet and free of all laws of mass and balance and should have been because even now he could not quite believe that all that shift and flow of shadow behind that walking head could have been one snake: going and then gone; he put the other foot down at last and didn’t know it, standing with one hand raised as Sam had stood that afternoon six years ago when Sam led him into the wilderness and showed him and he ceased to be a child, speaking the old tongue which Sam had spoken that day without premeditation either: “Chief,” he said: “Grandfather.”

He couldn’t tell when he first began to hear the sound, because when he became aware of it, it seemed to him that he had been already hearing it for several seconds—a sound as though someone were hammering a gun-barrel against a piece of railroad iron, a sound loud and heavy and not rapid yet with something frenzied about it, as the hammerer were not only a strong man and an earnest one but a little hysterical too. Yet it couldn’t be on the log-line because, although the track lay in that direction, it was at least two miles from him and this sound was not three hundred yards away. But even as he thought that, he realised where the sound must be coming from: whoever the man was and whatever he was doing, he was somewhere near the edge of the clearing where the Gum Tree was and where he was to meet Boon. So far, he had been hunting as he advanced, moving slowly and quietly and watching the ground and the trees both. Now he went on, his gun unloaded and the barrel slanted up and back to facilitate its passage through brier and undergrowth, approaching as it grew louder and louder that steady savage somehow queerly hysterical beating of metal on metal, emerging from the woods, into the old clearing, with the solitary gum tree directly before him. At first glance the tree seemed to be alive with frantic squirrels. There appeared to be forty or fifty of them leaping and darting from branch to branch until the whole tree had become one green maelstrom of mad leaves, while from time to time, singly or in twos and threes, squirrels would dart down the trunk then whirl without stopping and rush back up again as though sucked violently back by the vacuum of their fellows’ frenzied vortex. Then he saw Boon, sitting, his back against the trunk, his head bent, hammering furiously at something on his lap. What he hammered with was the barrel of his dismembered gun, what he hammered at was the breech of it. The rest of the gun lay scattered about him in a half-dozen pieces while he bent over the piece on his lap his scarlet and streaming walnut face, hammering the disjointed barrel against the gunbreech with the frantic abandon of a madman. He didn’t even look up to see who it was. Still hammering, he merely shouted back at the boy in a hoarse strangled voice:

“Get out of here! Dont touch them! Dont touch a one of them! They’re mine!”

“Spotted Horses,” is taken from
The Hamlet
, which began as a group of sketches and fragments about the Snopes clan written early in Faulkner’s career (probably the mid-192os) and elaborated in a series of short stories over the next decade or so. First begun by Faulkner in 1927, various versions of “Spotted Horses” were entitled “As I Lay Dying,” “Aria con Amore,” and “The Peasants.”
The Hamlet
was eventually published by Random House on April 1, 1940. Although the editors did not make the kind of revisions they had made in other works by Faulkner, the text was marred by many typographical and compositional errors. Copy-text for “Spotted Horses” is the ribbon typescript setting copy at the Alderman Library of the University of Virginia (other relevant documents consulted were the holograph manuscript, also at the University of Virginia, and two sets of uncorrected galleys, one privately owned and the other at the Mississippi Department of Archives and History in Jackson).

“Old Man” was originally published as alternating sections with “The Wild Palms” in the novel
The Wild Palms
(and subsequently republished by The Library of America as
If I Forget Thee, Jerusalem
, Faulkner’s original title). All evidence from the typescripts and manuscripts in the Alderman Library of the University of Virginia, from which the current text is derived, indicates that Faulkner did not take two separate stories and interweave them, but rather, wrote, in alternating stints, for a “Wild Palms” section, then an “Old Man” section.

“The Bear” first originated as a 1935 short story, “Lion,” about a dog who tracked a bear. The central character of “Lion,” however is not Isaac McCaslin, but Quentin Compson, who had committed suicide in
The Sound and the Fury
(1929), and whom Faulkner was resurrecting at the same time he was writing “Lion,” for his role in
Absalom, Absalom
. “Lion” was the central story around which he collected a number of stories he had been working on since the 1930s, which he incorporated into
Go Down, Moses
. Throughout 1940, Faulkner apparently worked on revising this story into the long complicated chapter that eventually became “The Bear,” though it was still called “Lion” on the typescript he submitted to Random House. In the fall of 1941, needing money as usual, Faulkner reduced the narrative materials of “Lion” to a twenty-page version (published in
The Saturday Evening Post
, May 4, 1942). Faulkner then carefully revised each story in
Go Down, Moses
and sent to Random House a completely revised and retyped typescript, which the editors pushed through with a minimum of intervention that amounted to virtual indifference. The problems are mostly typographical errors, things that should have been caught by a careful proofreader. The typescript submitted by Faulkner is the copy-text for this edition.

American English continues to fluctuate; for example, a word may be spelled more than one way, even in the same work. Commas are sometimes used expressively to suggest the movements of the voice, and capitals are sometimes meant to give significances to a word beyond those it might have in its uncapitalized form. Since standardization would remove such effects, this volume preserves the spelling, punctuation, capitalization, and wording of the text as established by Noel Polk, which strives to be as faithful to Faulkner’s usage as surviving evidence permits.

The following notes were prepared by Joseph Blotner and are reprinted with permission from
Novels 1936–1940
, (1985) and
Novels 1942–1954
(1994) in the edition of Faulkner’s collected works published by The Library of America. Numbers refer to page and line of the present volume (the line count includes chapter headings). No note is made for material included in the eleventh edition of
Merriam-Webster’s Collegiate Dictionary
. For further information on these three works, consult the appropriate portions of Joseph Blotner,
Faulkner, A Biography
, 2 vols. (New York: Random House, 1974); Joseph Blotner,
Faulkner, A Biography, One- Volume Edition
(New York: Random House, 1984);
Selected Letters of William Faulkner
(New York: Random House, 1977), edited by Joseph Blotner; and Calvin S. Brown,
A Glossary of Faulkner’s South
(New Haven: Yale University Press, 1976).

Spotted Horses

1
frail] Variant of flail.

Old Man

2
sandboils] Places where water mixed with sand comes up though the landward side of a levee, forced up by the pressure of water contained in the levee.

3
Ahenobarbus’] The paternal name of Nero (A.D. 37–68), first called Lucius Domitius Ahenobarbus, later Nero Claudius Caesar.

4
Mound’s Landing] Two miles west of Scott, Mississippi, and 14 miles north of Greenville.

5
Carnarvon] Carnarvon, on the eastern bank of the Mississippi, 14 miles south of New Orleans, where the levee was dynamited on April 29, 1927, to ease the strain on the levee at New Orleans.

The Bear

6
frail] Variant of flail.