William Faulkner

William Cuthbert Faulkner (September 25, 1897 – July 6, 1962) was an American novelist and poet whose works feature his native state of Mississippi. He was regarded as one of the most influential writers of the twentieth century and was awarded the 1949 Nobel Prize for Literature.

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• Man knows so little about his fellows. In his eyes all men or women act upon what he believes would motivate him if he were mad enough to do what the other man or women is doing.
  • Light in August (1932), Ch. 2

• Poor man. Poor mankind.
  • Light in August (1932), Ch. 4

• Even a liar can be scared into telling the truth, same as an honest man can be tortured into telling a lie.
  • Light in August (1932), Ch. 4

• Between grief and nothing I will take grief.
  • The Wild Palms (1939)

• Be scared. You can’t help that. But don’t be afraid. Ain’t nothing in the woods going to hurt you unless you corner it, or it smells that you are afraid. A bear or a deer, too, has got to be scared of a coward the same as a brave man has got to be.
  • “The Bear” in The Saturday Evening Post (9 May 1942)

• It is my ambition to be, as a private individual, abolished and voided from history, leaving it markless, no refuse save the printed books; I wish I had enough sense to see ahead thirty years ago, and like some of the Elizabethans, not signed them. It is my aim, and every effort bent, that the sum and history of my life, which in the same sentence is my obit and epitaph too, shall be them both: He made the books and he died.
  • Letter to Malcolm Cowley (11 February 1949), quoted in William Faulkner : A Critical Essay (1970) by Martin Jarrett-Kerr, p. 46; also published in Selected Letters of William Faulkner (1978) by Joseph Blotner, p. 285

• It's all now you see. Yesterday won't be over until tomorrow and tomorrow began ten thousand years ago. For every Southern boy fourteen years old, not once but whenever he wants it, there is the instant when it's still not yet two o'clock on that July afternoon in 1863, the brigades are in position behind the rail fence, the guns are laid and ready in the woods and the furled flags are already loosened to break out and Pickett himself with his long oiled ringlets and his hat in one hand probably and his sword in the other looking up the hill waiting for Longstreet to give the word and it's all in the balance, it hasn't happened yet, it hasn't even begun yet, it not only hasn't begun yet but there is still time for it not to begin against that position and those circumstances which made more men than Garnett and Kemper and Armistead and Wilcox look grave yet it's going to begin, we all know that, we have come too far with too much at stake and that moment doesn't need even a fourteen-year-old boy to think This time. Maybe this time with all this much to lose than all this much to gain: Pennsylvania, Maryland, the world, the golden dome of Washington itself to crown with desperate and unbelievable victory the desperate gamble, the cast made two years ago; or to anyone who ever sailed a skiff under a quilt sail, the moment in 1492 when somebody thought This is it: the absolute edge of no return, to turn back now and make home or sail irrevocably on and either find land or plunge over the world's roaring rim.
  • Writing about time, with references to Pickett's Charge at the Battle of Gettysburg, and the discovery of America, in Intruder in the Dust (1948)

• 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 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.
  • Speech at the Nobel Prize Banquet after receiving the Nobel Prize for Literature (10 December 1950)

• I decline to accept the end of man. It is easy enough to say that man is immortal 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.
  • Speech at the Nobel Prize Banquet after receiving the Nobel Prize for Literature (10 December 1950)

• Mr. Khrushchev says that Communism, the police state, will bury the free ones. He is a smart gentleman, he knows that this is nonsense since freedom, man's dim concept of and belief in the human spirit is the cause of all his troubles in his own country. But if he means that Communism will bury capitalism, he is correct. That funeral will occur about ten minutes after the police bury gambling. Because simple man, the human race, will bury both of them. That will be when we have expended the last grain, dram, and iota of our natural resources. But man himself will not be in that grave. The last sound on the worthless earth will be two human beings trying to launch a homemade spaceship and already quarreling about where they are going next.
  • Speech to the UNESCO Commission, as quoted in The New York Times (3 October 1959)

• There is something about jumping a horse over a fence, something that makes you feel good. Perhaps it's the risk, the gamble. In any event it's a thing I need.
  • As quoted in "Visit to Two-Finger Typist" by Elliot Chaze in LIFE magazine (14 July 1961)

• When grown people speak of the innocence of children, they dont really know what they mean. Pressed, they will go a step further and say, Well, ignorance then. The child is neither. There is no crime which a boy of eleven had not envisaged long ago. His only innocence is, he may not be old enough to desire the fruits of it, which is not innocence but appetite; his ignorance is, he does not know how to commit it, which is not ignorance but size. But Boon didn't know this. He must seduce me. And he had so little time: only from the time the train left until dark.
  • The Reivers (1962)

• A gentleman can live through anything.
  • The Reivers (1962)

• Why that’s a hundred miles away. That’s a long way to go just to eat.
  • On declining invitation to White House dinner honoring Nobel laureates, as quoted in Life magazine (20 January 1962)

• Some folks wouldn't even speak when they passed me on the street. Then MGM came to town to film Intruder in the Dust, and that made some difference because I'd brought money into Oxford. But it wasn’t until the Nobel Prize that they really thawed out. They couldn’t understand my books, but they could understand thirty thousand dollars.
  • On the opinion of his neighbors of his writing profession, as quoted in "Faulkner Without Fanfare" in Esquire (July 1963), later publised in Conversations with William Faulkner (1999) by M. Thomas Inge, p. 102

• Well, between Scotch and nothin', I suppose I’d take Scotch. It’s the nearest thing to good moonshine I can find.
  • As quoted in National Observer (3 February 1964)

The Sound and the Fury (1929)

• Then Ben wailed again, hopeless and prolonged. It was nothing. Just sound. It might have been all time and injustice and sorrow become vocal for an instant by a conjunction of planets.

• Dilsey stroked Ben's head, slowly and steadily, smoothing the bang upon his brow. He wailed quietly, unhurriedly. "Hush," Dilsey said. "Hush, now. We be gone in a minute. Hush, now." He wailed quietly and steadily.

• Because no battle is ever won, he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.

• A man is the sum of his misfortunes. One day you'd think misfortune would get tired, but then time is your misfortune.

• Clocks slay time. Time is dead as long as it is being clicked off by little wheels; only when the clock stops does time come to life.

• Women do have an affinity for evil, for believing that no woman is to be trusted, but that some men are too innocent to protect themselves.

As I Lay Dying (1930)

• 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 anymore than for pride or fear.

• 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.

• 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 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.

• My mother is a fish.

• People to whom sin is just a matter of words, to them salvation is just words too.

• Life was created in the valleys. It blew up onto the hills on the old terrors, the old lusts, the old despairs. That's why you must walk up the hills so you can ride down.

• 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.

Mistral (1931)

Short story found in Collected Stories (1950)

• For the holy are susceptible to to evil, even as you and I, signori; they too are helpless before sin without God's aid… and the holy can be fooled by sin as quickly as you or I, signori. Quicker, because they are holy.

Beyond (1933)

Short story later published in Collected Stories (1950)

• Proof is but a fallacy invented by man to justify to himself and his fellows his own crass lust and folly.

• Who is he who will affirm that there must be a web of flesh and bone to hold the shape of love?

Requiem for a Nun (1951)

• The past is never dead. It's not even past.

• So vast, so limitless in capacity is man's imagination to disperse and burn away the rubble-dross of fact and probability, leaving only truth and dream.

• Maybe the only thing worse than having to give gratitude constantly is having to accept it.
  • Act 2, sc. 1

Go Down, Moses (1940)

• This delta, he thought: This Delta. This land which man has deswamped and denuded and derivered in two generations so that white men can own plantations and commute every night to Memphis and black men own plantations and ride in jim crow cars to Chicago to live in millionaires’ mansions on Lakeshore Drive, where white men rent farms and live like niggers and niggers crop on shares and live like animals, where cotton is planted and grows man-tall in the very cracks of the sidewalks, and ursury and mortgage and bankcruptcy and measureless wealth, Chinese and African and Aryan and Jew, all breed and spawn together until no man has time to say which is which nor cares…. No wonder the ruined woods I used to know don’t cry for retribution! He thought: The people who have destroyed it will accomplish its revenge.

The Town (1957)

• The poets are wrong of course. … But then poets are almost always wrong about facts. That's because they are not really interested in facts: only in truth: which is why the truth they speak is so true that even those who hate poets by simple and natural instinct are exalted and terrified by it.

Paris Review interview (1958)

The Paris Review interview (1956) with Jean Stein; later published in Writers at Work : The Paris Review Interviews (1958), First Series, edited by Malcolm Cowley

• If I had not existed, someone else would have written me, Hemingway, Dostoevsky, all of us. Proof of that is that there are about three candidates for the authorship of Shakespeare's plays. But what is important is Hamlet and A Midsummer Night's Dream, not who wrote them, but that somebody did. The artist is of no importance. Only what he creates is important, since there is nothing new to be said. Shakespeare, Balzac, Homer have all written about the same things, and if they had lived one thousand or two thousand years longer, the publishers wouldn’t have needed anyone since.

• All of us failed to match our dreams of perfection. So I rate us on the basis of our splendid failure to do the impossible.
  • On himself and his contemporaries.

• I’m a failed poet. Maybe every novelist wants to write poetry first, finds he can’t, and then tries the short story, which is the most demanding form after poetry. And, failing at that, only then does he take up novel writing.

• Always dream and shoot higher than you know you can do. Don't bother just to be better than your contemporaries or predecessors. Try to be better than yourself. An artist is a creature driven by demons. He don’t know why they choose him and he’s usually too busy to wonder why. He is completely amoral in that he will rob, borrow, beg, or steal from anybody and everybody to get the work done.

• The writer's only responsibility is to his art. He will be completely ruthless if he is a good one. He has a dream. It anguishes him so much that he can't get rid of it. He has no peace until then. Everything goes by the board: honor, pride, decency, security, happiness, all, to get the book written. If a writer has to rob his mother, he will not hesitate; the “Ode on a Grecian Urn” is worth any number of old ladies.

• Art is not concerned with environment either; it doesn't care where it is … the best job that was ever offered to me was to become a landlord in a brothel. In my opinion it’s the perfect milieu for an artist to work in.

• My own experience has been that the tools I need for my trade are paper, tobacco, food, and a little whisky.

• If I were reincarnated, I’d want to come back a buzzard. Nothing hates him or envies him or wants him or needs him. He is never bothered or in danger, and he can eat anything.

• Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.

• No one is without Christianity, if we agree on what we mean by that word. It is every individual’s individual code of behavior by means of which he makes himself a better human being than his nature wants to be, if he followed his nature only. Whatever its symbol — cross or crescent or whatever — that symbol is man’s reminder of his duty inside the human race. Its various allegories are the charts against which he measures himself and learns to know what he is. It cannot teach a man to be good as the textbook teaches him mathematics. It shows him how to discover himself, evolve for himself a moral codes and standard within his capacities and aspirations, by giving him a matchless example of suffering and sacrifice and the promise of hope.

• There were many things I could do for two or three days and earn enough money to live on for the rest of the month. By temperament I’m a vagabond and a tramp. I don’t want money badly enough to work for it. In my opinion it’s a shame that there is so much work in the world. One of the saddest things is that the only thing that a man can do for eight hours a day, day after day, is work. You can’t eat eight hours a day nor drink for eight hours a day nor make love for eight hours — all you can do for eight hours is work. Which is the reason why man makes himself and everybody else so miserable and unhappy.

• The two great men in my time were Mann and Joyce. You should approach Joyce's Ulysses as the illiterate Baptist preacher approaches the Old Testament: with faith.

• Don Quixote — I read that every year, as some do the Bible.

• The artist doesn't have time to listen to the critics. The ones who want to be writers read the reviews, the ones who want to write don't have the time to read reviews.

• Life is motion, and motion is concerned with what makes man move — which is ambition, power, pleasure. What time a man can devote to morality, he must take by force from the motion of which he is a part. He is compelled to make choices between good and evil sooner or later, because moral conscience demands that from him in order that he can live with himself tomorrow. His moral conscience is the curse he had to accept from the gods in order to gain from them the right to dream.

• The aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life. Since man is mortal, the only immortality possible for him is to leave something behind him that is immortal since it will always move. This is the artist's way of scribbling "Kilroy was here" on the wall of the final and irrevocable oblivion through which he must someday pass.

• People between twenty and forty are not sympathetic. The child has the capacity to do but it can’t know. It only knows when it is no longer able to do — after forty. Between twenty and forty the will of the child to do gets stronger, more dangerous, but it has not begun to learn to know yet. Since his capacity to do is forced into channels of evil through environment and pressures, man is strong before he is moral. The world’s anguish is caused by people between twenty and forty.

• If we Americans are to survive it will have to be because we choose and elect and defend to be first of all Americans; to present to the world one homogeneous and unbroken front, whether of white Americans or black ones or purple or blue or green. Maybe the purpose of this sorry and tragic error committed in my native Mississippi by two white adults on an afflicted Negro child is to prove to us whether or not we deserve to survive. Because if we in America have reached that point in our desperate culture when we must murder children, no matter for what reason or what color, we don’t deserve to survive, and probably won’t.
  • A statement regarding the Emmett Till murder.

• Time is a fluid condition which has no existence except in the momentary avatars of individual people. There is no such thing as was — only is. If was existed, there would be no grief or sorrow. I like to think of the world I created as being a kind of keystone in the universe; that, small as that keystone is, if it were ever taken away the universe itself would collapse.