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<!DOCTYPE html>
<html>
<head>
<meta charset="utf-8" />
<meta http-equiv="X-UA-Compatible" content="IE=edge" />
<title>Language in Absalom, Absalom!</title>
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<div id="header_logo"><a class="logo" href="http://faulkner.iath.virginia.edu/"><span class="digital">DIGITAL</span> Yoknapatawpha</a> · Teaching & Learning</div>
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<li><a href="http://faulkner.iath.virginia.edu/family/aa_sources.php">Analyzing <em>Absalom, Absalom!</em></a></li>
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<li class="first-item"><a href="http://faulkner.iath.virginia.edu/family/resources-re.php">"A Rose for Emily"</a></li>
<li><a href="http://faulkner.iath.virginia.edu/family/resources-ld.php">As I Lay Dying</a></li>
<li><a href="http://faulkner.iath.virginia.edu/family/resources-sf.php">The Sound and the Fury</a></li>
<li><a href="http://faulkner.iath.virginia.edu/family/resources-aa.php">Absalom, Absalom!</a></li>
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<section>
<div class="banner">
<div class="h2 text-left py-4">Digital Supplement</div>
<div class="h4 text-left"><em>Absalom, Absalom! </em> and the Digital Humanities: Charting Characters, Events, and Language</div>
<div class="h4 pb-3"><small class="text-body-secondary">Johannes Burgers</small></div>
<div id="header-menu-bar">
<ul>
<li><a href="characters_major_revision.html">Characters</a></li>
<li><a href="events_major_revisions.html">Events</a></li>
<li><a href="language_major_revisions.html">Language</a></li>
<li><a href="index.html">About</a></li>
</ul>
</div>
</div>
</section>
<!-- Pre Scroll Text ENDS-->
<section>
<h1 class="content_title">Language</h1>
<h2 class="content_sub_title text-center">
<small class="text-center text-body-secondary">“it struck word by word, the resonant strings of remembering”</small>
</h2>
<div class="essay_section">
<p>
The language in <i>Absalom, Absalom!</i> is very challenging. Faulkner’s language constantly draws attention to itself.
The text reminds us that <i>what</i>is said cannot be separated from <i>how</i> it is said.
</p>
</div>
</section>
<section>
<div class="essay_section">
<h2 class="content_sub_title">The Long Sentence</h2>
<p>Sentences in <i>Absalom, Absalom!</i> are very long. On average, sentences are around 50 words long. The longest sentence is 1,124 words. That’s a 3-4 page college paper in one sentence! Compared to other American Classics, Faulkner’s sentences are much, much longer.</p>
<div id="wordchart"></div>
For Faulkner, these long sentences are more than rhetorical pyrotechnics, they try to capture how the past continuously intrudes upon the present. Asked in an interview about why he wrote such long sentences, Faulkner contends that there is no such thing as “was” because everyone brings their past with them. His long sentences are a way to capture this sensation. In an interview he claims:
<figure>
<div class="blockquote-outline">
<blockquote class="blockquote">“a man, a character in a story at any moment of action is not just himself as he is then, he is all that made him, and the long sentence is an attempt to get his past and possibly his future into the instant in which he does something”</blockquote>
<figcaption class="blockquote-footer">
<em>Faulkner in the University: Class Conferences at the University of Virginia, 1957-1958</em> <cite title="the long sentence">Vintage Books, 1965 </cite>
</figcaption>
</div>
</figure>
In a sense, the prose complements the narrative structure, which also sees the past continuously returning.
</div>
</section>
<section>
<div class="essay_section">
<h2 class="content_sub_title">Neologisms</h2>
<p>
Faulkner also concocts neologisms, new words, by combining words or adding a prefix to an existing word. There are 30 of such words and many other words that are uncommon or archaic.
</p>
<p>Often their meaning tarries between simple binaries, collapsing the neat distinctions created by language.</p>
</div>
</section>
<section>
<div class="scroll_lock">
<div id="scrolly-neologisms">
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<p>They force the reader to consider their meaning. </p>
</div>
<div class="step" data-step="2" style="height: 250px;" data-scrollama-index="1">
<p>Is an "unorganism" alive or dead??</p>
</div>
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<p>How can Quentin speak in "notlanguage"?</p>
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<p>How can Charles be a "nothusband"?</p>
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<div class="essay_section">
<p>Faulkner's recondite vocabulary draws attention to the fact that each individual fact disclosed by the teller is composed of individual words. These words can only be understood in context.</p>
</div>
</section>
<section>
<div class="essay_section">
<h2 class="content_sub_title">Parentheticals</h2>
<p>
Perhaps the most unique feature of the text is Faulkner’s use of parentheses.There are 1278 total or 639 pairs. These parentheses occur across the text, and also nest within each other four levels deep.
</p>
<div class="my-4">
<ul class="text-center">
<li>() Level 1 </li>
<li>(()) Level 2</li>
<li>((())) Level 3</li>
<li>(((()))) Level 4</li>
</ul>
</div>
<p>
The nestings offer a network of digressions, modifications, amplifications, and dead ends. They represent the constant search for words to tell the story of the Sutpen family.
</p>
<div id="parenthesisChart"></div>
</div>
</section>
<section>
<div class="essay_section">
<h2 class="content_sub_title">Faulkner's Language</h2>
<p>The complexity of Faulkner’s language forces the reader to consider the meaning of every word, in every long sentence, throughout the entire work. One cannot pull at any thread in the novel without loosening others. The past existed as a reality, but it can only be translated into the present in and through language.</p>
</div>
</section>
</div>
<div class="pt-4"></div>
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<div id="footer_iath_link"><a href="http://www.iath.virginia.edu/">IATH</a></div>
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