Published May
11, 1942, by Random House, under the (mistaken) title of Go Down,
Moses, And Other Stories; dedicated “To Mammy Caroline
Barr, Mississippi, [1840-1940]: Who was born in slavery and who
gave to my family a fidelity without stint or calculation of recompense
and to my childhood an immeasurable devotion and love.”
One of Faulkners masterpieces, Go Down,
Moses is an episodic novel consisting of short stories, most
of which were published elsewhere. A difficult novel at times (particularly
in Section 4 of “The Bear”), the novel tells the story
of the McCaslin family, beginning with the family patriarch Lucius
Quintus Carothers McCaslin, and his many descendants, both black
and white. It is a noteworthy exploration of race, particularly
as it is compounded with miscegenation, and is concerned also with
the vanishing wilderness.
The Story
The novel unfolds in discrete stories that
are achronological. For an examination of the plot sequence in the
order in which they appear in time, see Arthur F. Kinneys
Go Down, Moses: The Miscegenation
of Time.
“Was”
Isaac
McCaslin, 'Uncle Ike,' past seventy and nearer eighty than he
ever corroborated any more, a widower now and uncle to half
a county and father to no one
this was not something participated
in or even seen by himself, but by his elder cousin, McCaslin
Edmonds, grandson of Isaac's father's sister and so descended
by the distaff, yet notwithstanding the inheritor, and in his
time the bequestor, of that which some had thought then and
some still thought should have been Isaac's, since his was the
name in which the title to the land had first been granted from
the Indian patent and which some of the descendants of his father's
slaves still bore to the land. |
“Was,” the first story/chapter
in Go Down, Moses begins with a reference to Isaac McCaslin, one of the key characters in the novel, and a flashback
to an event which occurred in 1859, eight years before Isaac was
born, relating to Isaac's father, Theophilus “Buck” McCaslin, and Buck's twin brother
Amodeus (“Buddy”). His cousin McCaslin
“Cass” Edmonds, was nine years
old at the time of the story and it is he who tells it to Isaac.
The story is comic, but it is an ironic comedy for reasons that
will be revealed later in the novel.
As the story proper opens, chaos has broken
out at the McCaslin plantation: the fox which the McCaslins keep
caged in the bedroom has broken loose, with the dogs chasing it
through the house; and more significantly, the slave Tomeys Turl has escaped. As we discover, it is a regular event
for Turl, who goes to Hubert Beauchamps plantation, Warwick, in the neighboring county to visit his beloved
Tennie. Thus begins the ritual
hunt for Turl: Buck gets his necktie, because Hubert has a sister,
Sophonsiba, and then
sits down to breakfast to give Turl a sporting chance.
Much of the humor in the piece is the way
in which this “hunt” for the escaped slave goes badly
for Buck, as Turl again and again gets the better of his would-be
captor. Turls ultimate triumph, however, he accomplishes with
the aid of Sophonsiba, who desperately longs for a husband. Bucks
misadventure leads him to “accidentally” get into bed
with Sophonsiba, and so to live up to his regions code of
conduct, he must marry her.
Buck gets out of his nuptial quandary only
by the poker-playing skill of his brother, who comes to rescue his
brother from his obligation and in the process wins Tennie as well.
“The Fire and the Hearth”
[T]o
the sheriff Lucas was just another nigger and both the sheriff
and Lucas knew it, although only one of them knew that to Lucas
the sheriff was a redneck without any reason for pride in his
forbears nor hope for it in his descendants. |
Set in the present day of the early 1940s,
“The Fire and the Hearth” tells principally of Lucas
Quintus Carothers McCaslin Beauchamp, son of Tomeys
Turl and grandson, as it turns out, of old Lucius Quintus Carothers McCaslin, his namesake and the white patriarch
of the McCaslin family. It is comprised of two previously
published stories, “A Point of Law” and “Gold Is Not Always,” both of which Faulkner extensively revised
for Go Down, Moses.
As in “Was,” much of “The
Fire and the Hearth” is comical, particularly Lucass
determination to put an end to the moonshining activities of George
Wilkins, who like Lucas is a tenant on the McCaslin plantation
currently run by Roth Edmonds (grandson of Cass Edmonds), not because of the competition
with his own moonshining operation but rather because Lucas fears
Georges youthful indiscretion will get both of them caught.
Complicating matters is the fact that George is enamored of Lucass
youngest daughter, Nat.
Lucas plans to tell Roth Edmonds of Georges
operation, but first, he must hide his own still. While doing so,
he uncovers a single gold coin, which sets his mind racing about
old stories of buried treasure and instills in him a new determination
to find it. Before he can do so, however, he is himself arrested
for moonshining when Nat plants his still in his own backyard to
allay suspicion away from George. The comedy in the story follows
Lucass actions to outwit the prosecutor from bringing him
to trial for moonshining and later to trick a “divining machine”
salesman into giving him the device to find the treasure Lucas still
believes is hidden somewhere on the McCaslin plantation.
The story has a far more serious side, however.
In an extended flashback, we find that Lucas very nearly killed
Zack Edmonds when he believed Zack to be sleeping with his wife,
Mollie, shortly after Zacks wife had died giving birth to
Roth. Only by a misfired bullet did Lucas avoid murder, both of
Zack and of himself, which would inevitably result in the case of
a black man killing a white. Another serious moment in the story
is when Roth as a young boy enters into his heritage of racial recognition,
when he asserts his superiority as a white over his black friend
and playmate Henry, the son of Lucas and Mollie.
The story ends on a note of tenderness and
love, when Mollie, determined to put an end to Lucass avarice
in hunting the treasure, intends to divorce him. Though he stubbornly
persists in going through with it, even appearing in court, Lucas
finally relents, even debasing himself before a white man in order
to preserve his marriage.
“Pantaloon in Black”
But
she had not stopped. She was fading, going. “Wait,” he
said, talking as sweet as he had ever heard his voice speak
to a woman: “Den lemme go wid you, honey.” But
she was going. She was going fast now, he could actually
feel between them the insuperable barrier of that very
strength which could handle alone a log which would have
taken any two other men to handle, of the blood and bones
and flesh too strong, invincible for life, having learned
at least once with his own eyes how tough, even in sudden
and violent death, not a young man's bones and flesh perhaps
but the will of that bone and flesh to remain alive, actually
was. |
Like “The Fire and the Heart,”
this story is likewise set in the present, though it has only tangential
relation to the rest of the novel. Rider, a powerful black lumber
mill worker, is grieving over the death of his wife. His grief
is so great that nothing he does can relieve it. Finally, he
ends up
at a crooked dice game, where he kills the operator, Birdsong,
knowing that the act will lead to his own lynching. His suicidal
gesture is misinterpreted, however, by the sheriffs deputy
who had been “officially in charge of the business” as
the crazed action of “damn nigger”; as he tells his
wife, black men like Rider “aint human. They look like
a man and they walk on their hind legs like a man, and they can
talk and you can understand them and you think they are understanding
you, at least now and then. But when it comes to the normal human
feelings and sentiments of human beings, they might just as well
be a damn herd of wild buffaloes.”
“The Old People”
Commentary forthcoming...
“The Bear”
Commentary forthcoming...
“Delta Autumn”
Commentary forthcoming...
“Go Down, Moses”
Commentary forthcoming...
![Previous Novel](images/goleft.gif) |
The Hamlet |
|
Intruder in the Dust |
![Next Novel](images/goright.gif) |
Top of Page
|