His voice just stops, exactly like when the needle is lifted from a phonograph record by the hand of someone who is not listening to the record. [...] She speaks the same dead, level tone: two bodiless voices in monotonous strophe and anistrophe: to bodiless voices recounting dreamily something performed in a region without dimension by people without blood [...] Two of them are also motionless, the woman with that stonevisaged patience of a waiting rock, the old man with a spent quality like the charred wick of a candle from which the flame has been violently blown away.
I tell you, they were not men after spoils and glory; they were boys riding the sheer tremendous tidal wave of desperate living. Boys. Because this. This is beautiful. Listen. Try to see it. Here is that fine shape of eternal youth and virginal desire which makes heroes. That makes the doings of heroes border so close upon the unbelievable that it is no wonder that their doings must emerge now and then like gunflashes in the smoke, and that their very physical passing becomes rumor with a thousand faces before breath is out of them, lest paradoxical truth outrage itself.
Burden … began to read to the child in Spanish from the book which he had brought with him from California, interspersing the fine, sonorous flowing of mysticism in a foreign tongue with harsh, extemporized dissertations composed half of the bleak and bloodless logic which he remembered from his father on interminable New England Sundays, and half of immediate hellfire and tangible brimstone of which any country Methodist circuit rider would have been proud.
He turned into the road at that slow and ponderous gallop, the two of them, man and beast, leaning a little stiffly forward as though in some juggernautish simulation of terrific speed though the actual speed itself was absent, as if in that cold and implacable and undeviating conviction of both omnipotence and clairvoyance of which they both partook known destination and speed were not necessary.
Though the mules plod in a steady and unflagging hypnosis, the vehicle does not seem to progress. It seems to hang suspended in the middle distance forever and forever, so infinitesimal is its progress, like a shabby bead upon the mild red string of road. So much so is this that in the watching of it the eye loses it as sight and sense drowsily merge and blend, like the road itself, with all the peaceful and monotonous changes between darkness and day, like already measured thread being rewound onto a spool. So that at last, as though out of some trivial and unimportant region beyond even distance, the sound of it seems to come slow and terrific and without meaning, as though it were a ghost traveling a half mile ahead of its own shape.
She is not listening. If she could hear words like that she would not be getting down from this wagon, with that belly and that fan and that little bundle, alone, bound for a place she never saw before and hunting for a man she ain't going to ever see again and that she has already seen one time too many as it is.
That is the substance of remembering—sense, sight, smell: the muscles with which we see and hear and feel not mind, not thought: there is no such thing as memory: the brain recalls just what the muscles grope for: no more, no less; and its resultant sum is usually incorrect and false and worthy only of the name of dream.
I reckon if there’s ere a man or woman anywhere that He could turn it all over to and go away with His mind at rest, it would be Cora. And I reckon she would make a few changes, no matter how He was running it. And I reckon they would be for man’s good. Leastways, we would have to like them. Leastways, we might as well go on and make like we did.
At night it is better still. I used to lie on the pallet in the hall waiting until I could hear them all asleep, so I could get up and go back to the bucket. It would be black, the shelf black, the still surface of the water a round orifice in nothingness, where before I stirred it awake with the dipper I could see maybe a star or two in the bucket, and maybe in the dipper a star or two before I drank. After that I was bigger, older.
CashI made it on the bevel.1. There is more surface for the nails to grip.2. There is twice the gripping-surface to each seam.3. The water will have to seep into it on a slant. Water moves easiest upand down or straight across.4. In a house people are upright two thirds of the time. So the seams andjoints are made up-and-down. Because the stress is up-and-down.5. In a bed where people lie down all the time, the joints and seams aremade sideways, because the stress is sideways.6. Except.7. A body is not square like a crosstie.8. Animal magnetism.9. The animal magnetism of a dead body makes the stress come slanting, sothe seams and joints of a coffin are made on the bevel.10. You can see by an old grave that the earth sinks down on the bevel.11. While in a natural hole it sinks by the center, the stress being up-and-down.12. So I made it on the bevel.13. It makes a neater job.
The river itself is not a hundred yards across, and pa and Vernon and Vardaman and Dewey Dell are the only things in sight not of that single monotony of desolation leaning with that terrific quality a little from right to left, as though we had reached the place where the motion of the wasted world accelerates just before the final precipice.
Está oscuro. Oigo el bosque, el silencio: los conozco bien. Pero ningún sonido vivo; ni siquiera a él. Era como si la oscuridad lo sacara de su integridad convirtiéndose en una dispersión inconexa de elementos: mucosidades y pataleos, olor a carne tibia y pelo apestando a amoniaco; una ilusión de un conjunto coordinado de piel con manchas y huesos poderosos dentro de la cual, disperso y secreto y familiar, hay un ser diferente de mi ser. Le veo disolverse - las patas, un ojo muy abierto, manchas alegres como llamas frías - y flotar en la oscuridad en solución que se desvanece; todo uno y sin embargo ninguno; todos los dos pero ninguno. Veo con el oído que se enrosca hacia él, le acaricia, le da su forma definitiva: cernejas, lomo, brazuelo y cabeza. Olor y sonido. No estoy asustado.