Among the main thematic elements of As I Lay Dying is the distinction between reality and interpretation of truth. Clearly, any objective fact can result in a multitude of subjective interpretations since the characters all have private points of view. Their perspectives of any empirical fact relies on their bias and understandings; as an outcome, absolutely nothing that is stated can be completely relied on or presumed to be pure in its objective fact. Though the book is structured on the basis of the fact that each character experiences the exact same events, they all vary in their analyses and viewpoints. Considering that each character has a viewpoint that the reader can not know for sure is totally precise and honest, the style of As I Lay Dying may be that there is no such thing as objective reality.
To raise this question of reality, William Faulkner presents two literary strategies in As I Lay Passing away that draw into concern the validity of the info being offered. Faulkner not just engages in making use of a wide variety of narrators, however he likewise uses stream-of-consciousness to increase the failure to compare fact and interpretation. The strategy of stream-of-consciousness allows for narrative to be introduced as if the thoughts are reading as the characters are thinking them; ideas and memories occur without premeditation and as such bear the mark of immediacy. In addition, due to the fact that it is the character’s ideas instead of discussion with another, the first instinct is to believe them, considering that thoughts are generally unfiltered.
Using stream-of-consciousness likewise serves to obscure the journey towards finding an unbiased truth. For instance, Cora Tull’s viewpoint on the relationship between Addie and Darl or Addie and Jewel is substantially different than the point of views of those characters, themselves. Hence, any apparently objective truth that exists in any situation can not always be discovered in just one particular point of view. Another instance of this moving viewpoint remains in how Jewel and Peabody think about Addy in terms of being taken advantage of, where as Anse holds on to his truth that places him as a victim.
Another strategy that Faulkner utilizes is to structure the book in the kind of disconnected monologues. For instance, think about the trouble of building a precise timeline of occasions from the monologue in which Dewey Dell faces off with Vardman in the shed. Faulkner writes: “”You durn little sneak!” My hands shake him, hard. Possibly I could not stop them. I didn’t understand they might shake so hard. They shake both of us, shaking. “I never ever done it,” he states. “I never touched them””(Faulkner 383). Both characters firmly insist and think in their own innocence, but clearly both can not be innocent. In addition, they are each so involved insisting upon their variation of the story that the sequence of the actual circumstances is puzzled within their own consciousness. Dewey Dell believed that Vardaman was covertly seeing her, whereas Vardaman labored under the impression that Dewey Dell was going to inform him off. The outcome is a mixing of the past and today and the inability to come to anything even near an unbiased reality. In another instance, the truth of precisely what was taking place in between Cora and Darl stays permanently secured secret since the perspectives presented are inconsistent. As Faulkner writes, “He did not address. He simply stood and looked at his dying mom, his heart too complete for words” (Faulkner 355). Cora views Darl through the rosy lens of being a caring mother; she likewise believes he is Addie’s preferred. From Darl’s point of view, nevertheless, he seems to be totally unresponsive to his mom and the 3 dollar load. In addition, most of the others think that it is Gem who is the preferred. This utter detach serves to cast doubt on the dependability of the storytellers.
What the characters believe and which words they speak, meanwhile, create a foundation upon which to build yet another subjective reality: the reader’s. Faulkner likewise develops the reader’s sense of his/her own, individual perspective by making use of figurative language in describing scenery and characters. Characters frequently turn to utilizing metaphors and similes in addition to other stylistic turns of phrase. For example, when Darl looks for to prompt Dewey Dell, his attempt is not specific. Rather, it is achieved through making use of double entendres. The double entendre is a microcosm of the shifting realities of the story: The phrases have accurate significance, but can be translated in numerous methods. For instance, Darl remarks, “Those cakes will remain in great shape by the time we get to Jefferson” (Faulkner 483). “Cakes” acts as a metaphor for Dewey’s pregnancy. It is Darl, in specific, who utilizes these descriptive flourishes in his narrative; his skill causes some to consider him unusual. Thus, Faulkner utilizes word option not only to mention the moving truths of the unique, but, likewise, to define the distinctions in between the characters.
The distinct language used by characters in the novel typically is a revelation more extensive than the textual material of their stories. Undoubtedly, the words that each character speaks provide the only genuine insights into the unbiased truth of the book. For instance, there are Tull’s numerous recommendations to religion and bible. It is very important in comprehending her to pay attention not just to the truth that she is referencing spiritual iconography, however to how she makes those recommendations. Her manner is to voice them practically like a child would duplicate a catechism he does not completely comprehend. It becomes apparent that Tull herself does not completely comprehend the profundity of the religion she holds on to. Neither does she seem to fully understand what is happening among her household. In contrast, Jewel routinely uses obscene language and speaks rather insensitively, and his fast mood is mirrored by the violence of his language.
The Bundren family can not settle on an objective truth since they make little attempt at reaching any genuine understanding of each other. Simply as the book is a collection of specific narratives and memories, the Bundren family refuses to be a cohesive system; they are simply a set of detached people who occur to share a common origins. The great irony is that what seems to at last bring about their unity is not an event of life, however an event of death. Yet even this attempt at a final reconciliation is only rare, as each family member has their own individual and private inspirations that they refuse to show each other. Generally, in reality, they appear to be callously neglecting the fact that Addy is simply a rotting corpse. In perhaps the most perverse reversal of subjective reality, some of them are repulsed by the stink of death– yet the buzzards flying overhead are drawn to the scene precisely for that stink. Goal reality is merely the outcome of extremely personal subjectivity; what is dreadful to one person will be interesting another.
Therefore, As I Lay Dying presents even the dead member of its cast of characters in a subjective light by questioning whether unbiased reality can exist. Addie’s real qualities as a human being remain a secret; some may see her as a character treading in the icy waters of evil, while others may get to the conclusion that she is the only character worthy of any affection. The several perspectives and the stream-of-consciousness method all produce a work that is purposely based on interpretation. There is no objective truth to the unique any more than there is any unbiased truth to the events that occur within it. Faulkner’s engagement of several narratives likewise serves to end up being a filter that is required for figuring out lies and opinions from accurate events. The outcome is naturally disturbing and complicated– but, as Faulkner desires to make individuals ask hard questions about the nature of reality and the search for an objective fact, that is exactly his intent.