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As I Lay Dying

Part of Modern Library 100 Best Novels

Author William Faulkner

Foreword by E.L. Doctorow

Hardcover

$26.00 US

Random House Group | Modern Library

5.61"W x 8.31"H x 0.94"D | 13 oz | 12 per carton

On sale Nov 28, 2000 | 256 Pages | 9780375504525

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Selected by the Modern Library as one of the 100 best novels of all time

From the Modern Library’s new set of beautifully repackaged hardcover classics by William Faulkner—also available are Snopes, The Sound and the Fury, Light in August, Absalom, Absalom!, and Selected Short Stories

One of William Faulkner’s finest novels, As I Lay Dying, originally published in 1930, remains a captivating and stylistically innovative work. The story revolves around a grim yet darkly humorous pilgrimage, as Addie Bundren’s family sets out to fulfill her last wish: to be buried in her native Jefferson, Mississippi, far from the miserable backwater surroundings of her married life. Told through multiple voices, As I Lay Dying vividly brings to life Faulkner’s imaginary South, one of literature’s great invented landscapes, and is replete with the poignant, impoverished, violent, and hypnotically fascinating characters that were his trademark. Along with a new Foreword by E. L. Doctorow, this edition reproduces the corrected text of As I Lay Dying as established in 1985 by Faulkner expert Noel Polk.

William Faulkner, one of the greatest writers of the twentieth century, was born in New Albany, Mississippi, on September 25, 1897. He published his first book, The Marble Faun, in 1924, but it is as a literary chronicler of life in the Deep South—particularly in the fictional Yoknapatawpha County, the setting for several of his novels—that he is most highly regarded. In such novels as The Sound and the Fury, As I Lay Dying, Light in August, and Absalom, Absalom! he explored the full range of post–Civil War Southern life, focusing both on the personal histories of his characters and on the moral uncertainties of an increasingly dissolute society. In combining the use of symbolism with a stream-of-consciousness technique, he created a new approach to fiction writing. In 1949 he was awarded the Nobel Prize for Literature. William Faulkner died in Byhalia, Mississippi, on July 6, 1962. View titles by William Faulkner

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Jewel and I come up from the field, following the path in single file. Although I am fifteen feet ahead of him, anyone watching us from the cottonhouse can see Jewel's frayed and broken straw hat a full head above my own.

The path runs straight as a plumb-line, worn smooth by feet and baked brick-hard by July, between the green rows of laidby cotton, to the cottonhouse in the center of the field, where it turns and circles the cottonhouse at four soft right angles and goes on across the field again, worn so by feet in fading precision.

The cottonhouse is of rough logs, from between which the chinking has long fallen. Square, with a broken roof set at a single pitch, it leans in empty and shimmering dilapidation in the sunlight, a single broad window in two opposite walls giving onto the approaches of the path. When we reach it I rum and follow the path which circles the house. jewel, fifteen feet behind me, looking straight ahead, steps in a single stride through the window. Still staring straight ahead, his pale eyes like wood set into his wooden face, he crosses the floor in four strides with the rigid gravity of a cigar store Indian dressed in patched overalls and endued with life from the hips down, and steps in a single stride through the opposite window and into the path again just as I come around the comer. In single file and five feet apart and jewel now in front, we go on up the path toward the foot of the bluff.

Tull's wagon stands beside the spring, hitched to the rail, the reins wrapped about the seat stanchion. In the wagon bed are two chairs. Jewel stops at the spring and takes the gourd from the willow branch and drinks. I pass him and mount the path, beginning to bear Cash's saw.

When I reach the top he has quit sawing. Standing in a litter of chips, he is fitting two of the boards together. Between the shadow spaces they are yellow as gold, like soft gold, bearing on their flanks in smooth undulations the marks of the adze blade: a good carpenter, Cash is. He holds the two planks on the trestle, fitted along the edges in a quarter of the finished box. He kneels and squints along the edge of them, then he lowers them and takes up the adze. A good carpenter.

Addie Bundren could not want a better one, a better box to lie in. it will give her confidence and comfort. I go on to the house, followed by the

Chuck. Chuck. Chuck.

of the adze

"For range of effect, philosophical weight, originality of style, variety of characterization, humor, and tragic intensity, [Faulkner's works] are without equal in our time and country."
--Robert Penn Warren

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