Somehow life needs otherness also. I come to you ´from above´, he ´descends on me´, like God spoke from the heights of mount Sinai to his people. My own self is always the exception (E. Levinas) I may try to picture the other as a self too, but I never succeed in doing so. The self of the other always remains enigmatic, escaping all objectification of consciousness. I am never able to see the other as she or he really is. This makes my small, relatively familiar `I` the exception in a world of silent, hidden and mysterious selves. But it is the most fundamental difference between us and Levinas is the axiom of mine that the otherness of the other is just an illusion. At a fundamental level I and the other are the same. We have the same divine ‘substantia’. We all share the same Self with a capital. When I look the other in the eye and when the other looks at me, we recognize ourselves in our eyes. We love and respect each other, because we are basically the same. This is not a metaphor meaning ´we are all in it together´ or ´we are put up with each other´, no, this is very literally so: my deepest `self´ is no different from your deepest `self´. Today we speak to ourselves happy new year. Now we look to the future and gather our hopes for that. As you know that the North Pole is not where it was two weeks ago and the length of our days is different from what it was in the past, not by much, but the whole planet changed. Looking back can be difficult, and it helps me to remember that, even though we speak of the celebrating of New Year’s as the most ancient of the holy days and holidays, nothing is very ancient right now. We live in a very fresh new world. And we have a long, long way to go. As a human family we have a long way to go to become fully responsible for each other. And as Christians we have a long way to go to digest and make part of our world the teaching of Christ and truly to become the Body of Christ on earth. So, we have a long way to go.
Is there not also a central obscurity, something noble, heroic, beautiful . . . but obscure, obscure? Tolstoi said,”These essays do suggest that he is misty in the middle as well as at the edges, that the secret casket of his genius contains a vapour rather than a jewel”. Moreover the base from which he starts—Christianity “is distasteful to me”(Tolstoi) If anybody had ever struggled with a soul, I am the man. . . . I saw the inconceivable mystery of a soul that knew no restraint, no faith, and no fear, yet struggling blindly with itself.” nevertheless achieves in the course of the novel what one has to call a saving faith, even though he does it at the price of his life. Heyst is not an “infidel…he only thinks he is…Conrad is. Isn’t actually stageable: too much depends on the narrator’s ironic control. For me Victory passes the crudest, indispensable test of tragedy: it makes you cry. That, though, is a necessary but not sufficient condition of tragedy…The tears in Victory are not tragic ones…Heyst says, “She was engaged in the task of defending her position in life. …It’s a very respectable task” Heyst p?re is not systematic but a “destroyer of all systems, of hopes, of beliefs”…Heyst is a post-Hume Victorian unbeliever,…But the philosophical position is strong more by force of character than by any argumentation: “You still believe in something, then? You believe in flesh and blood, perhaps? A full and equable contempt would soon do away with that, too. But since you have not attained to it, I advise you to cultivate that form of contempt which is called pity. . . but all action is bound to be harmful It is devilish. That is why this world is evil upon the whole. But I have done with it! I shall never lift a little finger again. At one time I thought that intelligent observation of facts was the best way of cheating the time which is allotted to us whether we want it nor not; but now I have done with observation, too…by folly alone the world moves. His apparently illogical lurch in to action in the interests of progress, bringing coal as “a great stride forward for these regions”…Heyst has none himself, is never hostile or contemptuous. Compare his narrative to Lena: Being cornered, as I have told you, he went down on his knees and prayed. What do you think of that?” Heyst paused. She looked at him earnestly. You didn’t make fun of him for that?” she said. Heyst made a brusque movement of protest. “My dear girl, I am not a ruffian,” he cried. .. Heyst is in fact as far from Kurtz as from Don Martin Decoud, dying because he can’t stand his own company. Heyst prefers his own company and consistently ascribes all his misfortunes to involvement with the world…“A good man out of the good treasure of his heart brings forth that which is good.”Victory is the story of Heyst’s attainment of self-knowledge (perhaps my mother never has any need of that), but whereas in the primeval garden self-knowledge comes, along with the certainty of death, in the later paradise of youth, self-knowledge is of a redeemed state. Heyst the sceptic is unable to resist the temptation of his Christian impulses…Heyst felt a sudden pity for these beings [the lady artists of Zangiacomo’s troupe, exploited, hopeless, devoid of charm or grace, whose fate of cheerless dependence invested their coarse and joyless features with a touch of pathos” (60). Heyst’s goodness—what else to call it?—provokes him to intervene first in the matter of Morrison then in that of Lena,… The Christ-like self-sacrificing love of Lena, for instance, is much clearer in Victory…Heyst-a man more unexpected than an angel. “Nobody has sent me. I just happened along.” In the New Testament our Lord repeatedly assures those he has miraculously healed that their faith has made them whole: without it there would have been no miracle. The moral discovery in Conrad’s Victory is that it may be possible to love God unawares. before Heaven, I am not!’”… As to me, I am no blacker than the gentleman you are thinking of, and I have neither more nor less determination.” It is true that at one point he calls himself “the world itself, come to pay you a visit” But the other signs are consistently Satanic…A man living alone with a Chinaman on an island takes care to conceal property of that kind so well that the devil himself. ”Heyst’s skepticism…Lena or to Heyst, whose convictions are actually redeemed by his passions…Great achievements are accomplished in a blessed, warm mental fog”… You should try to love me!” she said. He made a movement of astonishment…She resisted without a moment of faltering, because she was no longer deprived of moral support; because she was a human being who counted; because she was no longer defending herself for herself alone; because of the faith that had been born in her—the faith in the man of her destiny, and perhaps in the Heaven which had sent him so wonderfully to cross her path…We have here the wholeness of faith…
One of the major themes of Faulkner’s Light in August is the isolation of individuals from communities and from one another. In the first four chapters of the novel, Faulkner presents four major characters, each of whom is separated from society in some important way. Lena Grove, though she relies cheerfully on the kindness of strangers, is morally isolated because of her illicit pregnancy and socially isolated because of her constant traveling. The sullen Joe Christmas is isolated because of his seemingly mixed racial heritage, which causes him to emphasize the differences between himself and those around him. Byron Bunch is, like Lena, morally isolated, though by his own choice; he makes no friends except Gail Hightower and works almost all the time because he is so afraid of how he might spend his time otherwise. Hightower himself is isolated as an outcast, rejected by society in his case because he failed in his appointed task as guardian of public standards, delivering incoherent sermons while his wife carried on obvious sexual affairs…Characters’ interior states, with all their inconsistencies and unspoken motivations, overlap with the generalized voices of the community to create a dynamic and realistic portrait of individuals constantly asserting and renegotiating their places in the larger social order…Though the characters search for a sense of stability, belonging, and consistency, their inherently fractured natures consistently conspire to thwart these desires…In plumbing the depths that exist beneath people’s words—the vulnerabilities, fears, and evasions that often do not register in articulated speech Faulkner portrays inherently inconsistent and self-contradictory nature of identity. People, he argues, in all their complexity, cannot be reduced to a simple summation or generalized description. What exist instead are warring impulses and an often wide gulf between private and public worlds…In telling the backstory of Joe Christmas, Faulkner continues to explore the notion of a fluid, unstable, indeterminate identity. Christmas is literally a man without a name,… His unknown parentage and ambiguous racial heritage condemn him to a life as a shadow figure. He is a man who walks on the edges of society, just as he restlessly and silently wanders the streets of Jefferson, passing unnoticed through the black and white neighborhoods alike, a stranger to both realms and accepted fully by neither. At times mistaken for a foreigner, Christmas is variously tagged as being either white or black absolute distinctions that deny his essential nature as a biracial man, a person with roots in both worlds….Although Faulkner often shows us that competing interpretations and perspectives can reveal new truths, we see that they can also result in misunderstandings and pave the way for tragic events. When the five-year-old Christmas is caught behind a screen in the dietician’s room, a black comedy of misinterpreted intentions and mistaken impressions ensues. Faulkner’s authorial eye darts forward and backward in time, often presenting a scenario from one character’s point of view and then revisiting the same incident from an alternate perspective…Nameless and mysterious figures the matron, the janitor, the dietician (revealed to be named Miss Atkins only at the episode’s end) populate a classic setting of childhood deprivation and abuse: the orphanage. Ultimately, Faulkner’s portrait of Joe’s formative years serves to complicate the moral questions of his tale.
Throughout Light in August, Faulkner explores the importance of memory amid the various layers of consciousness and thought that contribute to an action, motivation, or story. This approach gives us a more dynamic and complex understanding of character, gesturing to the parts of an individual that words cannot access or elucidate. For all the thoughts, impulses, and articulation that help define a person, there is always an unspoken element, the haunting record of the past that can never be expunged. Amid this seeming confusion, memory emerges as a potent and supreme form of knowledge, or personal truth. For Joe Christmas, memory consists of a painful personal history, an autobiography told not in facts and events but in an ever-present and instinctively referenced record of humiliation, abuse, and shame. For Joe, memory is a burden that cannot be erased or escaped. With his own life and sense of self so emptied and devalued. Yet Faulkner does not seat his characters in a tidy world of moral absolutes, and we cannot label Joe’s upbringing as the sole cause of his vagrancy and criminal activity. Joe himself also plays an active role in seeking his own demise and self-destruction…Her baby represents a hope and a boundless possibility that Joe was never able to fulfill…He slides further and further from his own existence, crossing over a threshold to embrace and embody his bestial associations. Hightower muses that, since being defrocked, he has slowly slipped out of conventional time and entered an existence of his own making. He believes that suffering is the lot of the wicked and good alike. He also believes that joy and pleasure are complicated gifts that most people do not know what to do with…Women form a curious, tangential presence in Light in August. The novel resides in a male-centered, male-dominated world, exploring masculine brutality and the idea of the Byronic hero (named for the nineteenth-century English poet Lord Byron)—a brooding, restless, and flawed individual wounded by life’s cruelties and slights. Women exist on the edges of this world, scapegoats for the frustrations and unrealized potential of the men in their lives, and often the victims of physical brutality…Surprisingly, Hightower, despite his isolation, emerges as the philosophical center of the novel—a humanist presence who rejects the rigid moral codes that confine Jefferson’s residents. Hightower’s static, abstract journey to self-knowledge and self-acceptance contrasts with the strivings of the other main characters, who either fail to attain insight or fail to act on it. Hightower, Lena, and Christmas all attempt to salvage their pride, turn from the harsh realities of the past, and infuse their lives with a newfound purpose. They all are damaged individuals whose reputations and senses of self have been compromised, both by their own actions and by social forces beyond their control. Hightower eventually makes peace with his life of internal struggle, stoically embracing his impending death, armed with the understanding that suffering is an unavoidable component of existence…Faulkner equates life with a game of chess, with its various strategies and attacks and missteps, all obscuring the fact that these individuals are ultimately moving toward a predetermined and inalterable conclusion. In the interim, the characters maintain the sustaining illusion that they are the masters of their own fate, when in fact they are actually pawns being manipulated by forces larger than themselves and beyond their control…Hightower was raised in the presence of these phantoms of the past, his father, mother, grandfather, and the slave woman his grandfather had owned until the war. Hightower entered the seminary and later married, intent on being given a church in Jefferson.
It is because a fellow is more afraid of the trouble he might have than he ever is of the trouble he’s already got…Memory believes before knowing remembers. Believes longer than recollects, longer than knowing even wonder…I had to do it already in the past tense; I had to do it. She said so herself…Perhaps he realized that he could not escape. Anyway, he stayed…“I mind how I said to you once that there is a price for being good the same as for being bad; a cost to pay…Maybe it takes longer to pay for being good than for being bad.”
Do you know what last summer has meant for me? Constant raptures over Emmanuel Levinas and a whole series of spiritual delights which I’ve never experienced before. No student has ever studied so much on his course, and learned so much, as I have this last summer. Earlier I have spent many time in an emotion and an enthusiasm. Now I want to give these gifts to the people away. I want to bestow on them my deepest ‘self’ and pray that each man would find employment based on a natural and a rational joy. We may be in own profession. There is precisely the responsibility of me.
fin