Bear, Man, and Black: Hunting the Hidden in Faulkner’s Big Woods I. F aulkner’s “big woods” (GDM 257) might better be called “small,” such is the rate of their contraction from the moment of the Bear’s death in De cember 1883. By June 1885, Major de Spain has sold the timber rights to a Memphis lumber company (234), thereby translating common-land use rights, common at least for the purposes of hunting,1 into property rights. Post sale, extant forestation exists as a commodity about to happen, whose residual form, circa 1942, will be that of a memorial park, “reserved” (243) and marked to protect the resting place of Sam Fathers and Old Ben’s paw (235). It might be objected that I have telescoped a gradual process, seeing 1942 all too imminently in 1883. Yet the paratactic organization of Go Down, Moses (1942) sets disparate times side-by-side as a matter of course: parataxis involves propositions, phrases, or clauses that have been placed in sequence without any grammatical indica tion of their coordination or subordination to one another. The structure of Go Down, Moses may usefully be spoken of as paratactic insofar as any coordination of its parts depends upon inferences cast across pauses and changes in narrative direction, instigated by the gaps between the stories themselves. To experience temporal parataxis (a compounding of deja vu with the uncanny) is to reach for an explanatory focus, though the nature of the form may render such explana tions elusive, since, in Adorno’s phrase, the paratactical tends “inherently [to] elude subsumption under ideas” (134). Isaac McCaslin’s final account of the miniaturization of the woods is use ful. In “Delta Autumn” (set in 1941), perhaps for the last time, Ike (aged 74) is driven to the annual December hunt—the woods are two hundred miles from Jefferson, rather than thirty: He had watched it, not being conquered, destroyed, so much as retreating since its purpose was served now and its time an outmoded time, retreating southward through this inverted-apex, this V-shaped section ofearth between hills and River until ’“On the first morning that Lion led the pack after Old Ben, seven strangers appeared in the camp. They were swampers, gaunt, malaria-ridden men appearing from nowhere, who ran trap-lines for coons or perhaps farmed little patches of cotton and corn along the edge ofthe bottom, in clothes but little better than Sam Fathers” (163). In allowing their request to follow the hunt, Major de Spain points out that Old Ben is “more your bear than ours,” adding, “[ijf you see game in front of my dogs, shoot it” (164). The swampers’ existence plainly depends on their unimpeded taking of what game they can from de Spain’s woods. 3 4 Richard Godden Bear, Man, and Black what was left of it seemed now to be gathered and for the time arrested in one tremen dous density of brooding and inscrutable impenetrability at the ultimate funnelling tip. (253) I am tempted to label the iconic triangle “virgin” and move on, but Faulkner’s geometric emphasis on “funnelling” draws a hairline from the treeline and ren ders the “tip” vaginal, or, more properly (given “density” and “impenetrabil ity”), hymeneal. So, guiltily, I deface my text ... “V” ... with a mark which contradicts the figure’s point by rendering “scrutable” and “penetrable” a terri torial pudendum previously lacking vaginal entry. My scratch makes likely the loss of that which the original figure sought to preserve (permitting “destiny” to slip from “density”). Later, Faulkner will imagine Ike, or more exactingly his death, at the “tip” of this “inverted-apex.” Unable to sleep on the first night of the camp, Ike rec ognizes “why he had never wanted to own any of it. . . . It was because there was just exactly enough of it” (261). On the basis that he and the woods are “coeval,” belonging to the same period, he visualizes their “two spans running out together”: not toward oblivion, nothingness, but into a dimension free of both time and space where once more the untreed land ... would find ample room for both—the names, the faces of the...
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