Faulkner's As I Lay Dying: Part Four – Absurdism and the Bundren's Quest

I asked Google's Gemini AI to draw an image depicting the content of this post.  It rendered several but this one struck me as the most relevant.

As I Lay Dying can be a bummer to read. Its cast of complex, deeply flawed characters can be difficult to care anything about, though I found Darl worthy of special interest as I related in Part Three. The individual perspectives and motivations of these challenging characters drive the narrative forward. Even though each character serves a unique role in the novel, contributing to its thematic depth and narrative complexity, readers can find the whole thing strange. They are really just a bunch of base, shallow misfits. That can be tough to get in to.

Of the 15 character perspectives, six of them only appear once throughout the story. These one-off chapters offer us a break in the somewhat repetitive narrative flow among the Bundren family members. Other “regulars” in the story include Vernon Tull, a neighboring farmer, and his devoutly religious wife, Cora. They are as close as the story comes to showing us the perspective of “friends” of the family, of which there are few, if any. As mentioned in Parts One and Three, the character I most connect with and sort of root for is Darl, who also emerges as one of the most enigmatic figures in the novel. But the other characters, though uncouth, selfish, unsavory and often weak, are an important mix crucial to the novel's distinctive feel.

Addie Bundren, though physically absent for most of the novel, exerts the most powerful influence over the narrative and the other characters. We saw in Part Two how her single chapter, narrated posthumously, provides crucial context for understanding the family's dynamics and her own philosophy of life. Addie's nihilistic worldview, shaped by her father's teaching that "the reason for living is to get ready to stay dead a long time," permeates the novel and influences her children's perspectives.

She is a woman who only knows hatred and violence, her relationship with her children most often reflected in her desire to discipline and punish them. Her affair with Reverend Whitfield and the resulting birth of Jewel add layers of secrecy and resentment to the family's relationships. Addie's alleged desire to be buried in Jefferson is the driving force of the plot, symbolizing both her rejection of her married life and her lasting impact on her family even after death.

Jewel, the product of Addie's affair, occupies a unique position within the family. His intense, often violent and cussing nature along with his special relationship with Addie set him apart from his siblings. Jewel's devotion to his horse, which he sees as an extension of himself, symbolizes his fierce independence and his complicated relationship with his mother. His role in saving Addie's coffin during the river crossing and again at the burning barn emphasizes his position as Addie's favored child and his commitment to fulfilling her last wish.

Dewey Dell's story parallels her mother's in several ways, adding depth to the novel's exploration of women's experiences and the cyclical nature of family history. Though not showing yet, she is pregnant and seeking an abortion, Dewey Dell's situation personifies Addie's own struggles with unwanted motherhood and societal expectations. Her desperation and naivety lead her into vulnerable situations, highlighting the limited options available to women in her society. Dewey Dell's chapters provide insight into the psychological impact of her predicament and the ways in which her family's journey intersects with her personal crisis.

Anse, the sorry excuse for a family patriarch, is a selfish and manipulative figure whose actions often exacerbate the family's hardships. His insistence on fulfilling Addie's burial wish, despite the numerous obstacles and the toll it takes on his children, reveals both his stubbornness and his underlying motivations. Anse's acquisition of a new set of false teeth and, shockingly, a new wife at the journey's end exposes his self-serving nature and adds a final, darkly absurd note to the family's odyssey.

The reader will discover that he likely puts his family on its quest more so to get a new set of teeth than to fulfill any wish of his dead wife. In fact, though no one questions this “wish,” no one else confirms or acknowledges it either. They simply go along, many with their own private motives for doing so. Rachel, a minor character that only appears in the one-off chapter told by her husband, Samson, calls the whole thing an “outrage,” speaking for most everyone the Bundrens encounter – which may be why the perceptive Darl laughs about it all as the absurd journey begins.

Cash, the eldest son, is characterized by his practical skills and stoic endurance. His methodical approach to building Addie's coffin and his willingness to suffer physical pain without complaint reflect his role as the family's steady, reliable presence. Cash's broken leg and the family's misguided attempts to treat it are a physical manifestation of the harm they inflict on each other throughout their journey.

Vardaman, the youngest Bundren child, his exact age unknown, provides some of the novel's most striking and surreal perspectives. His famous declaration, "My mother is a fish," encapsulates his childlike attempts to understand death and change. Vardaman's chapters, with their stream-of-consciousness style and confused logic, offer a unique window into the mind of a child grappling with loss and the often incomprehensible absurdities of adult behavior.

In what is one of the most absurd occurrences in the novel, Vardaman's mind wanders between the fish he has caught and prepared for cooking and the fact that Cash has nailed his mother's body into coffin. His young mind reflects on a time when he was in his crib and could not breathe. He projects this experience onto his dead mother's body in the nailed shut coffin and, later, uses Cash's auger to drill holes into the top so the dead body can breathe. Inadvertently, we are told by Tull, he drills two holes into his mother's face. Talk about absurd.

This exemplifies a point I made in Part One. Tull, who is observing the scene, describes how Cash carefully makes the coffin, but then he switches to discussing Vardaman’s actions without explicitly naming him. Tull describes how "he" drilled the holes in the coffin, and it is initially unclear from the context that "he" refers to Vardaman, not Cash.

This subtle shift in pronouns without explicit identification is a common narrative technique in Faulkner’s work, where the reader must carefully piece together the identity of the characters being referenced. As I stated in my earlier post, Faulkner’s style often requires readers to pay close attention to context and subtext to understand who is being discussed, as he frequently shifts perspectives and leaves things unsaid, adding to the novel’s complex and layered narrative.

It strikes me that there are no genuinely major or minor characters in the novel, as everyone's perspective, even the one-offs, is vital to piecing together the story Faulkner tells. The interplay between all these characters creates a intricate web of relationships, motivations, and conflicts. Each character's unique voice and perspective contribute to the novel's polyphonic structure, challenging readers to piece together a coherent narrative from often incongruent accounts.

These characters are not merely vehicles for the plot but complex individuals whose inner lives are gradually revealed through their own narratives and the perspectives of others. Their roles intertwine and conflict, creating a matrix of human experience that reflects the novel's broader themes. Through these flawed yet compelling characters, Faulkner explores the complexities of family relationships, the impact of societal expectations, and the universal human struggle to find purpose and understanding in the face of mortality and absurdity.

The novel defies simple categorization, particularly when it comes to its tone. While some readers and critics have identified "comic" elements in the story, a closer examination reveals that its dominant tone is more accurately described as absurdist. What might be seen as the novel's comedic qualities are actually the prevalence of absurd elements that contribute to the overall themes and impact of the work.

The notion that As I Lay Dying contains comic elements stems from certain situations and characterizations that, on the surface, might appear darkly humorous. For instance, Vardaman's confusion leading him to drill holes in his dead mother's face, or Anse's quest for new teeth amidst the family tragedy, or the stacking of Cash with his broken leg atop his mother's coffin on the wagon could be seen as grotesquely funny. However, to label these moments as truly comic misses the deeper, more unsettling nature of the novel's tone.

In contrast to genuine comedy, which often provides relief or resolution, the seemingly humorous moments in As I Lay Dying heighten the sense of discomfort and alienation. They do not offer catharsis or lighthearted reprieve but rather emphasize the characters' desperate circumstances and the futility of their actions. This aligns more closely with absurdism than with comedy.

Absurdism, a philosophical and literary concept often associated with existentialism, posits that human beings exist in a purposeless, chaotic universe. The search for meaning in an essentially meaningless world leads to a sense of absurdity. This perspective permeates As I Lay Dying, manifesting in various ways throughout the narrative.

The Bundren family's determined journey to bury Addie's decomposing body in her hometown of Jefferson despite numerous obstacles and disasters epitomizes absurdism. Their dogged persistence in the face of floods, fire, and injury highlights the often irrational nature of human behavior and the futile search for meaning in arbitrary goals or traditions.

The function of absurdism in As I Lay Dying goes beyond mere stylistic choice; it reinforces key themes and philosophical ideas. By presenting characters trapped in absurd situations and thought patterns, Faulkner highlights the existential struggles at the heart of the human condition. This is perhaps best seen in Darl, as I have said, being completely trapped in the ignorant, selfish and hate-filled world of his family.

The characters' actions, often futile or self-defeating, emphasizes the lack of inherent meaning in life and the arbitrary nature of societal conventions and personal goals. The absurdist elements also accentuate the characters' alienation and isolation. Their inability to communicate effectively, their misunderstandings, and their often self-centered perspectives all contribute to a sense of profound disconnection, both from each other and from any larger sense of purpose or community.

Through absurdism, Faulkner offers a critique of societal norms and expectations. The Bundrens' adherence to the duty of burying Addie in her hometown, despite the immense hardship it causes, calls into question the rationality of social obligations and the blind following of tradition.

While Faulkner’s novel predates the formal development of absurdism as a school of philosophical thought by about a decade, it can be connected to earlier existentialist thought, particularly the ideas of philosopher Søren Kierkegaard, who grappled with the meaning of existence and the human condition. Kierkegaard explored the concept of the "absurd" in the context of faith and the leap required to believe in something beyond reason. Faulkner’s work anticipates formal absurdism by exploring themes of meaninglessness, existential doubt, and the human struggle against an indifferent universe.

The novel embodies many of the themes that would later be central to absurdist thought. The absurdity of the Bundrens' journey, Darl's existential musings, and the pervasive sense of futility and isolation all resonate with the ideas that Albert Camus and others would develop more fully several years later. Thus, I do not claim that Faulkner is an absurdist in the formal sense. Rather, this novel should be seen as a precursor to the movement, reflecting a deep engagement with the same existential questions that absurdism seeks to address.

It's important to distinguish between dark humor and pure absurdism in the novel. While dark humor often invites laughter in the face of grim circumstances, the absurdism in As I Lay Dying rarely, if ever, provokes genuine mirth or even a smile. Instead, it creates a sense of unease and discomfort, forcing readers to confront the irrational and often meaningless nature of human existence. This is another reason the novel can seem so strange and difficult to connect with for some readers. This isn't exactly entertaining stuff, but then, hardly any of Faulkner's works can be classified that way. They are all fascinating, brilliantly conceived and poetically expressed but they wallow in darkness and despair.

When analyzing seemingly "comic" scenes through an absurdist lens, we see that their purpose is not to amuse but to disquiet. For example, the scene where Cash stoically endures having his broken leg "set" by simply covering it in cement is ridiculously stupid but it isn't funny; it's a disturbing illustration of misguided actions and the acceptance of suffering, highlighting the absurdity of the family's situation and decision-making.

While As I Lay Dying may contain elements that could be misconstrued as darkly comic, its overarching tone is fundamentally absurdist, not employed for comedic effect but rather as a means of exploring deep existential themes. Through absurdism, Faulkner presents an arresting view of the human condition, one in which individuals struggle to find meaning and connection in a world that often defies logical understanding. The novel's power lies not in any humorous aspects but in its unflinching portrayal of the absurd nature of existence, challenging readers to confront uncomfortable truths about life, death, and the human search for purpose.

As I Lay Dying is engaged with existentialist philosophy, particularly through its exploration of life's meaning (or lack thereof) in the face of death. This theme is most prominently embodied in Addie Bundren's nihilistic worldview. Darl's philosophical musings and eventual (apparent) descent into madness can be seen as a result of his heightened awareness of life's absurdity. Jewel's intense devotion to his horse and Dewey Dell's desperate search for an abortion are, in their ways, attempts to assert meaning and control in a seemingly meaningless and chaotic world.

The family's journey to bury Addie in Jefferson becomes a metaphor for the human search for purpose. Their determination to fulfill this duty, despite numerous obstacles and disasters, highlights the human need to create meaning through action, even when those actions appear futile or irrational to others. All of this even though, as I stated previously, none of the family has any connection with Jefferson whatsoever. As far as the reader knows, they have never been to Jefferson as a family before.

The Bundren's are a microcosm for exploring complex and often dysfunctional family relationships. The novel lays bare the tensions, secrets, and misunderstandings that can exist even among those closest to us. The varying reactions of the Bundren children to Addie's death and the subsequent journey reveal the different ways family members process grief and duty. Cash's stoic practicality, Darl's philosophical detachment, Jewel's fierce protectiveness, Dewey Dell's preoccupation with her own crisis, and Vardaman's confused attempts to understand all showcase the diverse and often conflicting responses to shared family experiences.

Each character's narrative reveals their unique perspective on events, often at odds or complementing the accounts of others. This multiplicity of truths challenges the idea of objective reality and highlights how personal biases, limited information, and individual experiences shape our understanding of the world.

Darl's apparent clairvoyance and his ability to narrate events he didn't witness firsthand further complicate the notion of truth in the novel. His insights raise questions about the nature of knowledge and perception, blurring the lines between objective fact and subjective interpretation.

The theme of perception is also explored through the characters' self-awareness, or lack thereof. While some characters, like Darl, seem to have deep insights into themselves and others, characters like Anse or Jewel appear largely oblivious to their own motivations and the consequences of their actions. This varying level of self-awareness contributes to the novel's exploration of how we perceive ourselves and others.

A pervasive sense of isolation and alienation runs through As I Lay Dying. Despite being part of a family unit, each character seems profoundly alone in their struggles. This isolation is partly due to the characters' inability to communicate effectively with one another. Their internal monologues reveal thoughts, feelings and even self-misunderstandings that are rarely, if ever, expressed to others, creating a chasm between their inner lives and their outward interactions.

The Bundren family's physical journey is a metaphor for their emotional and psychological isolation. As they travel through the countryside, encountering various obstacles and interacting with community members, their outsider status becomes increasingly apparent. The family's poverty, their unusual mission, and their often erratic behavior set them apart from society, reinforcing their alienation. In this way, Faulkner creates a work that is both deeply rooted in the specific context of the rural American South and universally relevant in its examination of the absurd within human experience and consciousness.

(to be continued)