A classic Faulkner novel which explores the lives of a family of characters in the South. An aging black who has long refused to adopt the black's traditionally servile attitude is wrongfully accused of murdering a white man.
About the Author
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.
Date of Birth:September 25, 1897
Date of Death:July 6, 1962
Place of Birth:New Albany, Mississippi
Place of Death:Byhalia, Mississippi
Read an Excerpt
It was just noon that Sunday morning when the sheriff reached the jail with Lucas Beauchamp though the whole town (the whole county too for that matter) had known since the night before that Lucas had killed a white man.
He was there, waiting. He was the first one, standing lounging trying to look occupied or at least innocent, under the shed in front of the closed blacksmith's shop across the street from the jail where his uncle would be less likely to see him if or rather when he crossed the Square toward the post-office for the eleven oclock mail.
Because he knew Lucas Beauchamp too—as well that is as any white person knew him. Better than any maybe unless it was Carothers Edmonds on whose place Lucas lived seventeen miles from town, because he had eaten a meal in Lucas' house. It was in the early winter four years ago; he had been only twelve then and it had happened this way: Edmonds was a friend of his uncle; they had been in school at the same time at the State University, where his uncle had gone after he came back from Harvard and Heidelberg to learn enough law to get himself chosen County Attorney, and the day before Edmonds had come in to town to see his uncle on some county business and had stayed the night with them and at supper that evening Edmonds had said to him:
'Come out home with me tomorrow and go rabbit hunting:' and then to his mother: 'I'll send him back in tomorrow afternoon. I'll send a boy along with him while he's out with his gun:' and then to him again: 'He's got a good dog.'
'He's got a boy,' his uncle said and Edmonds said:
'Does his boy run rabbits too?' and his uncle said:
'We'll promise he wont interfere with yours.'
So the next morning he and Aleck Sander went home with Edmonds. It was cold that morning, the first winter cold-snap; the hedgerows were rimed and stiff with frost and the standing water in the roadside drainage ditches was skimmed with ice and even the edges of the running water in the Nine Mile branch glinted fragile and scintillant like fairy glass and from the first farmyard they passed and then again and again and again came the windless tang of woodsmoke and they could see in the back yards the black iron pots already steaming while women in the sunbonnets still of summer or men's old felt hats and long men's overcoats stoked wood under them and the men with crokersack aprons tied with wire over their overalls whetted knives or already moved about the pens where hogs grunted and squealed, not quite startled, not alarmed but just alerted as though sensing already even though only dimly their rich and immanent destiny; by nightfall the whole land would be hung with their spectral intact tallowcolored empty carcasses immobilised by the heels in attitudes of frantic running as though full tilt at the center of the earth.
And he didn't know how it happened. The boy, one of Edmonds' tenant's sons, older and larger than Aleck Sander who in his turn was larger than he although they were the same age, was waiting at the house with the dog—a true rabbit dog, some hound, a good deal of hound, maybe mostly hound, redbone and black-and-tan with maybe a little pointer somewhere once, a potlicker, a nigger dog which it took
but one glance to see had an affinity a rapport with rabbits such as people said Negroes had with mules—and Aleck Sander already had his tapstick—one of the heavy nuts which bolt railroad rails together, driven onto a short length of broomhandle—which Aleck Sander could throw whirling end over end at a running rabbit pretty near as accurately
as he could shoot the shotgun—and Aleck Sander and Edmonds' boy with tapsticks and he with the gun they went down through the park and across a pasture to the creek where Edmonds' boy knew the footlog was and he didn't know how it happened, something a girl might have been expected and even excused for doing but nobody else, halfway over the footlog and not even thinking about it who had walked the top rail of a fence many a time twice that far when all of a sudden the known familiar sunny winter earth was upside down and flat on his face and still holding the gun he was rushing not away from the earth but away from the bright sky and he could remember still the thin bright tinkle of the breaking ice and how he didn't even feel the shock of the water but only of the air when he came up again. He had dropped the gun too so he had to dive, submerge again to find it, back out of the icy air into the water which as yet felt neither, neither cold or not and where even his sodden garments—boots and thick pants and sweater and hunting coat—didn't even feel heavy but just slow, and found the
gun and tried again for bottom then thrashed one-handed to the bank and treading water and clinging to a willow-branch he reached the gun up until someone took it; Edmonds'
boy obviously since at that moment Aleck Sander rammed down at him the end of a long pole, almost a log whose first pass struck his feet out from under him and sent his head under again and almost broke his hold on the willow until a voice said:
'Get the pole out of his way so he can get out'—just a voice, not because it couldn't be anybody else but either Aleck Sander or Edmonds' boy but because it didn't matter whose: climbing out now with both hands among the willows, the skim ice crinkling and tinkling against his chest, his clothes like soft cold lead which he didn't move in but seemed rather to mount into like a poncho or a tarpaulin: up the bank until he saw two feet in gum boots which were neither Edmonds' boy's nor Aleck Sander's and then the legs, the overalls rising out of them and he climbed on and stood up and saw a Negro man with an axe on his shoulder, in a heavy sheeplined coat and a broad pale felt hat such as his grandfather had used to wear, looking at him and that was when he saw Lucas Beauchamp for the first time that he remembered or rather for the first time because you didn't forget Lucas Beauchamp; gasping, shaking and only now feeling the shock of the cold water, he looked up at the face which was just watching him without pity commiseration or anything else, not even surprise: just watching him, whose owner had made no effort whatever to help him up out of the creek, had in fact ordered Aleck Sander to desist with the pole which had been the one token toward help that anybody had made—a face which in his estimation might have been under fifty or even forty except for the hat and the eyes, and inside a Negro's skin but that was all even to a boy of twelve shaking with cold and still panting from shock and exertion because what looked out of it had no pigment at all, not even the white man's lack of it, not arrogant, not even scornful: just intractable and composed. Then Edmonds' boy said something to the man, speaking a name: something Mister Lucas: and then he knew who the man was, remembering the rest of the story which was a piece, a fragment of the county's chronicle which few if any knew better than his uncle: how the man was son of one of old Carothers McCaslin's, Edmonds' great grandfather's, slaves who had been not just old Carothers' slave but his son too: standing and shaking steadily now for what seemed to him another whole minute while the man stood looking at him with nothing whatever in his face. Then the man turned, speaking not even back over his shoulder, already walking, not even waiting to see if they heard, let alone were going
'Come on to my house.'
'I'll go back to Mr Edmonds',' he said. The man didn't look back. He didn't even answer.
'Tote his gun, Joe,' he said.
So he followed, with Edmonds' boy and Aleck Sander following him, in single file along the creek toward the bridge and the road. Soon he had stopped shaking; he was just cold and wet now and most of that would go if he just kept moving. They crossed the bridge. Ahead now was the gate where the drive went up through the park to Edmonds' house. It was almost a mile; he would probably be dry and warm both by the time he got there and he still believed he was going to turn in at the gate and even after he knew that he wasn't or anyway hadn't, already beyond it now, he was still telling himself the reason was that, although Edmonds was a bachelor and there were no women in the house, Edmonds himself might refuse to let him out of the house again until he could be returned to his mother, still telling himself this even after he knew that the true reason was that he could no more imagine himself contradicting the man striding on ahead of him than he could his grandfather, not from any fear of nor even the threat of reprisal but because like his grandfather the man striding ahead of him was simply incapable of conceiving himself by a child contradicted and defied.
So he didn't even check when they passed the gate, he didn't even look at it and now they were in no well-used tended lane leading to tenant or servant quarters and marked by walking feet but a savage gash half gully and half road mounting a hill with an air solitary independent and intractable too and then he saw the house, the cabin and remembered the rest of the story, the legend: how Edmonds' father had deeded to his Negro first cousin and his heirs in perpetuity the house and the ten acres of land it sat in—an oblong of earth set forever in the middle of the two thousand acre plantation like a postage stamp in the center of an envelope—the paintless wooden house, the paintless picket fence whose paintless latchless gate the man kneed open still without stopping or once looking back and, he following and Aleck Sander and Edmonds' boy following him, strode on into the yard. It would have been grassless even in summer; he could imagine it, completely bare, no weed no sprig of anything, the dust each morning swept by some of Lucas' womenfolks with a broom made of willow switches bound together, into an intricate series of whorls and overlapping loops which as the day advanced would be gradually and slowly defaced by the droppings and the cryptic three-toed prints of chickens like (remembering it now at sixteen) a terrain in miniature out of the age of the great lizards, the four of them walking in what was less than walk because its surface was dirt too yet more than path, the footpacked strip running plumbline straight between two borders of tin cans and empty bottles and shards of china and earthenware set into the ground, up to the paintless steps and the paintless gallery along whose edge sat more cans but larger—empty gallon buckets which had once contained molasses or perhaps paint and wornout water or milk pails and one five-gallon can for kerosene with its top cut off and half of what had once been somebody's (Edmonds' without doubt) kitchen hot water tank sliced longways like a banana—out of which flowers had grown last summer and from which the dead stalks and the dried and brittle tendrils still leaned and drooped, and beyond this the house itself, gray and weathered and not so much paintless as independent of and intractable to paint so that the house was not only the one possible continuation of the stern untended road but was its crown too as the carven ailanthus leaves are the Greek column's capital.
Nor did the man pause yet, up the steps and across the gallery and opened the door and entered and he and then Edmonds' boy and Aleck Sander followed: a hall dim even almost dark after the bright outdoors and already he could smell that smell which he had accepted without question all his life as being the smell always of the places where people with any trace of Negro blood live as he had that all people named Mallison are Methodists, then a bedroom: a bare worn quite clean paintless rugless floor, in one corner and spread with a bright patchwork quilt a vast shadowy tester bed which had probably come out of old Carothers McCaslin's house, and a battered cheap Grand Rapids dresser and then for the moment no more or at least little more; only later would he notice—or remember that he had seen—the cluttered mantel on which sat a kerosene lamp hand-painted with flowers and a vase filled with spills of twisted newspaper and above the mantel the colored lithograph of a three-year-old calendar in which Pocahontas in the quilled fringed buckskins of a Sioux or Chippewa chief stood against a balustrade of Italian marble above a garden of formal cypresses and shadowy in the corner opposite the bed a chromo portrait of two people framed heavily in gold-painted wood on a gold-painted easel. But he hadn't seen that at all yet because that was behind him and all he now saw was the fire—the clay-daubed fieldstone chimney in which a halfburned backlog glowed and smoldered in the gray ashes and beside it in a rocking chair something which he thought was a child until he saw the face, and then he did pause long enough to look at her because he was about to remember something else his uncle had told him about or at least in regard to Lucas Beauchamp, and looking at her he realised for the first time how old the man actually was, must be—a tiny old almost doll-sized woman much darker than the man, in a shawl and an apron, her head bound in an immaculate white cloth on top of which sat a painted straw hat bearing some kind of ornament. But he couldn't think what it was his uncle had said or told him and then he forgot that he had remembered even the having been told, sitting in the chair himself now squarely before the hearth where Edmonds' boy was building up the fire with split logs and pine slivers and Aleck Sander squatting tugged off the wet boots and then his trousers and standing he got out of the coat and sweater and his shirt, both of them having to dodge around and past and under the man who stood straddled on the hearth, his back to the fire in the gum boots and the hat and only the sheepskin coat removed and then the old woman was beside him again less tall than he and Aleck Sander even at twelve, with another of the bright patchwork quilts on her arm.
Most Helpful Customer Reviews
My second Faulkner after The Sound and the Fury, which was better. Intruder in the Dust is about a black man accused of murder in a small southern town in the 1940s, told from the perspective of a 16-year-old white boy who for complicated reasons feels the need to help him prove his innocence. If that sounds a bit like To Kill a Mockingbird it's because it really is, but I think Faulkner does the story in a more believable and interesting way in that his characters are much more morally gray. Chick, the semi-heroic boy, initially has a respect/hate relationship with the accused man, Lucas, that's based entirely on a history of each one refusing to be in debt to the other--Chick (and the rest of the town) resents that Lucas refuses to play the typical subservient role of a black man in the south. There's also an educated, genteel lawyer who at first seems to be a prototype for Atticus Finch until you find that he immediately assumes Lucas' guilt and, even when he joins in to help prove his innocence, continues to blame Lucas for bringing the whole situation on himself by being too proud for a black man. So basically I really liked that the characters who were doing the right thing still showed evidence of their culture and upbringing, which is something I never really got when I read To Kill a Mockingbird--I mean, why was Atticus Finch such a great guy? Where did that come from?There are also some views expressed in Intruder in the Dust on the relationship between the South and the rest of the country that are complicated and probably wrong, but they are mostly expressed by the obviously flawed character of the lawyer, so I don't know if they are Faulkner's beliefs or not. He said, among other things, that the North couldn't get rid of the racial prejudices of the South, and that only the South could end its own history of racial subjugation, which its black citizens would totally understand because it would mean more to them to have their historically former masters be the ones to set them free instead of complete strangers, and until that happens they would just be happy to wait and be poor and subservient, or some such bullshit. Even if that is Faulkner's opinion, he does a pretty decent job (for a white dude of his generation) of trying to explain the racial situation of the setting, but it is a fault of this book that the black characters are mostly defined against white characters rather than as characters in their own right, so any points he's making about race issues are maybe slightly hampered by the fact that there's only one black character in here who isn't completely a cypher or a stereotype.ETA: In one of the other reviews on LT, there's a quote from one of Faulkner's letters on the theme of the novel: "the premise being that the white people in the south, before the North or the Govt. or anybody else owe and must pay a responsibility to the negro". So it looks like that really was Faulkner's opinion, the problem being that he seems to have thought that it was okay for the white people in the south to take their sweet time finding their collective conscience while black people in the south continued to be second-class citizens.
An honest to goodness edge of your seat thrilling whodunit with massive moral overtones from the man in Mississippi
Intruder in the Dust is about a 16-year-old white boy in Mississippi who (for complex reasons) decides to help a black man who has apparently murdered a white man. As I understand it, Faulkner's message is that the white people of the South need to make right their own wrongs--that the North can't solve the problems of the South. Like most books about racial tension written by Southerners before the mid 20th century, it may insult the modern reader's racial sensibilities. Such readers should possibly consider when it was written and how the readers of THAT time would respond to it.
Faulkner is not easy to read (at least, that is my assessment after reading just two of his novels.) However, he is worth every ounce of effort expended to understand what is occurring because the density of his approach helps build the full story that is being told. (Again, from reading two of his novels.) So, it is with Intruder in the Dust. Stream of consciousness writing combined with the southern prose, if the reader is willing to make the effort, places that reader deep in the south in a time of fear and prejudice.This is a story set in the pre-world war south of a black man unjustly accused of a murder. Unjustly, even though he was found with the gun in hand. He turns to a boy to help clear his name ¿ a boy who owes him a debt from the past. On the surface, this story is about the boy, his black friend, and an old lady taking the steps necessary (including digging up a grave) to prove the man¿s innocence. But interwoven are the fear, hypocrisy, and bigoted viewpoints that existed in the south in such abundance at that time in history.The richness of the story, the background, the intertwined themes, make this a book worth spending time with.
Rereading this one I realized why I¿ve never liked To Kill a Mockingbird (which I read after this one) as much as most people. Not that I don¿t like Harper Lee¿s novel, just that I see it as simpler, more straight forward and less ambiguous than Faulkner¿s. Early in the 40ies Faulkner wrote to his publisher about a book he had in mind which would be a ¿blood-and-thunder mystery novel, original in that the solver is a negro, himself in jail for the murder and is about to be lynched, solves murder in self defense.¿ The main characters are Lucas Beauchamp¿descended from white men as well as black¿and Charles (Chick) Mallinson who¿s 16 at the time of novel. Chick has been trading favors with Lucas for several years¿ever since he fell through the ice one winter and Lucas gave him shelter, a fire to dry his clothes and some food. Chick has attempted to pay him¿assuming it only right that a white man pay a black man for favors, but Lucas wouldn¿t accept the money. Thereafter whenever Chick tried to reward Lucas, Lucas returned the favor until Chick was downright frustrated with his own attempts to do what he thought the code of his people required him to do. Lucas, because he¿s white as well as black though, refuses to be ¿taken care of¿ by whites. Time and again in the novel someone tells him ¿if you¿d only behave like a black man¿¿. Lucas, though, absolutely refuses to ¿act like a black man¿ in a time when codes were clear and black and white coexisted pretty well as long as both played their proper roles. The novel is at base a mystery novel, with Lucas accused of murder and the family of the dead man determined to burn him alive¿but the same code that keeps black and white behavior in sync (and allows retaliation if a black man kills a white man) requires that they not do it on the Sabbath. Lucas is cursed for having committed a murder on a Saturday and making them wait. (There¿s some humor in all these codes and breaking of codes!) Chick¿on the brink of manhood but still a child so that Lucas¿ code allows him to talk to him where he won¿t talk to his uncle, the attorney¿recognizes both the possibility that Lucas is innocent and the essential ¿rightness¿ that he be treated as any other man before the law.I have always bought into Faulkner¿s sense that righting racial wrongs in this country is everyone¿s responsibility (I¿m thinking primarily of The Bear here), whether they¿re Southern or not, even whether they¿re new immigrants whose ancestors never lived here during slavery. His main idea in this novel has to do with the ¿code¿ that developed in the South¿pre- and post-Civil War¿and which required the white man to ¿take care¿ of the black man but which resisted any interference from outside the South, on the theory that, in its own time, the South (meaning of course the white South) would solve the discrimination problem without interference from the North or from the government. (Of course it didn¿t play out the way that Faulkner would have liked¿Northerners did ¿invade¿ the South in order to jump start the Civil Rights movement¿and they met with violent resistance. But that was 20 years after the publication of this novel).
My review: This one would provide good fodder for those who support the burning of books.What I learned from this book: how to suffer in silence and maintain a delusional interest for so long.
Best i ever read because it has a mix of everything i like.