Among William Faulkner’s most popular qualities is his originality. As I Lay Perishing has fifteen unique storytellers, one of them a dead lady, and the novel avoids traditional ideas of direct and chronological structure. Faulkner’s style needs that his readers are aware of his multi-faceted process of seeing a story: if he informs the events in 4 or five different methods, it is because he knows the reader can think of twenty. The advancement of Faulkner’s stories grows past the creation process and into the fabric of the novels themselves. In As I Lay Dying, each character’s interpretation of the occasions represents a various element of grief, sadness, confusion, and numerous other emotions. As each private character shifts from star to storyteller, his or her description of an event becomes simply as important as the action. Several examples described here serve to show this characteristic of the book.
First, in the eighteenth section Money lists thirteen reasons why he constructed the coffin on the bevel. While some of his factors are justifications of why the bevel is much better, other lines appear to have very little significance. They are very important, however. The start lines are primarily associated to woodworking: they discuss surface area gripping area, nailing, and water runoff. The following lines relate the bevel itself with the vertical or horizontal position of a body. The sixth line is simply “except,” and the next line challenges the 4th and 5th lines before going over “animal magnetism” in the seventh and eight lines. Then, the following reasons explain how a diagonal coffin looks when placed in the ground. However Cash’s conclusion remains in the last lines: beveling is better, so he did it.
Cash’s ideas on carpentry are closely tied to his individual viewpoint. He believes that if things are done “on the line,” they will be successful, and for that reason, much better. His succinct bullet points speak to the orderliness of his character, however the products recommend that he has considered more than merely useful points in his construction of the coffin. The mention of animal magnetism-the destination between animate things as well as in between animate and inanimate things- recommends that Cash is considering the importance of Addie’s consistency with her surroundings. Animal magnetism is not a rational concept, but its mention recommends that Cash has taken into account how bodies communicate with each other. Paradoxically, the absence of animal magnetism between the members of the Bundren family is striking: the entire family is separated in some method. Darl, Anse, and Addie, specifically, are at a loss regarding how to interact with others. Vardaman, not fully connecting with the events in the novel, snaps. However Cash is the disciplined perfectionist (shown once again in his exact understanding of the range he fell from the church roofing) working on his masterpiece in his mother’s casket. He invests all of his energies into this project, revealing his deep affection for her.
Cash’s narrative in the thirty-eighth section is 2 sentences: “It wasn’t on balance. I told them that if they wished to carry it and ride on a balance, they would have to.” Even in his state of delirium, he is still devoted to the rules of carpentry like a religion: the response to all lies in “balance” and “line.” When things are unbalanced, or out of line, they are doomed; if they are balanced and on line, then they will be successful. While it is apparent that no quantity of balance would have helped the Bundrens cross the river, Money still demands this belief. Just as carpentry is Money’s religious beliefs and Addie’s coffin is his masterpiece, the tools with which he made the casket resemble the weapons he uses to defend Addie, and their eventual loss is symbolic of emasculation.
The kids’s varying reactions to Addie’s death each reflect an element of their characters. Money’s deadpan, mechanical list talking about the bevel appears at first an indication of cold, or perhaps, simple-mindedness, however his choice to assemble the coffin in front of Addie’s window is a touching and gorgeous gesture of his love and devotion. On the other hand, Jewel, his mom’s favorite, stays completely uncommunicative throughout the unique, as his he is the only Bundren kid whose story does not follow after Addie’s death. While Dewey Dell speaks regularly, her thoughts are consumed with her own problem of pregnancy. She regrets this inability to focus however feels helpless to alter it. Vardaman’s struggle to comprehend the nature of his mom’s death shows his sense of isolation more than his physical age. Cash and Gem’s strong desires to take care of Addie emphasize not just their rivalry, however likewise their characters and techniques to resolving problems. While Money cradles her, and later on risks his life save the casket, Gem boldly wishes to take her throughout the river on his horse.
Among the main themes of As I Lay Perishing is that sanity is not only frequently unsteady, but also unsteadily defined. Cash claims that sanity is specified by the neighborhood’s opinion of a person or occasion. For Faulkner, the distinction in between peace of mind and madness becomes a social construct. Darl, the martyred intellectual, is the most philosophically advanced, however considered insane. Characters in Faulkner’s stories are frequently overwhelmed by the problems and magnitude of themselves, the area, and the world. By approaching this concern from the extremely varied, deeply individual angle he assumes in As I Lay Dying, Faulkner allows the reader to think about the fluidity and differing degrees of sanity.