Darl
The lantern sits on a stump. Rusted, grease-fouled, its cracked chimney smeared on one side with a soaring smudge of soot, it sheds a feeble and sultry glare upon the trestles and the boards and the adjacent earth. Upon the dark ground the chips look like random smears of soft pale paint on a black canvas. The boards look like long smooth tatters torn from the flat darkness and turned backside out.
Cash labors about the trestles, moving back and forth, lifting and placing the planks with long clattering reverberations in the dead air as though he were lifting and dropping them at the bottom of an invisible well, the sounds ceasing without departing, as if any movement might dislodge them from the immediate air in reverberant repetition. He saws again, his elbow flashing slowly, a thin thread of fire running along the edge of the saw, lost and recovered at the top and bottom of each stroke in unbroken elongation, so that the saw appears to be six feet long, into and out of pa's shabby and aimless silhouette. "Give me that plank," Cash says. "No; the other one." He puts the saw down and comes and picks up the plank he wants, sweeping pa away with the long swinging gleam of the balanced board.
The air smells like sulphur. Upon the impalpable plane of it their shadows form as upon a wall, as though like sound they had not gone very far away in falling but had merely congealed for a moment, immediate and musing. Cash works on, half turned into the feeble light, one thigh and one pole-thin arm braced, his face sloped into the light with a rapt, dynamic immobility above his tireless elbow. Below the sky sheet-lightning slumbers lightly; against it the trees, motionless, are ruffled out to the last twig, swollen, increased as though quick with young.
It begins to rain. The first harsh, sparse, swift drops rush through the leaves and across the ground in a long sigh, as though of relief from intolerable suspense. They are big as buckshot, warm as though fired from a gun; they sweep across the lantern in a vicious hissing. Pa lifts his face, slackmouthed, the wet black rim of snuff plastered close along the base of his gums; from behind his slack-faced astonishment he 'muses as though from beyond time, upon the ultimate outrage. Cash looks once at the sky, then at the lantern. The saw has not faltered, the running gleam of its pistoning edge unbroken. "Get
something to cover the lantern," he says.
Pa goes to the house. The rain rushes suddenly down, without thunder, without warning of any sort; he is swept onto the porch upon the edge of it and in an instant Cash is wet to the skin. Yet the motion of the saw has not faltered, as though it and the arm functioned in a tranquil conviction that rain was an illusion of the mind. Then he puts down the saw and goes and crouches above the lantern, shielding it with his body, his back shaped lean and scrawny by his wet shirt as though he had been abruptly turned wrong, side out, shirt and all.
Pa returns. He is wearing Jewel's raincoat and carrying Dewey Dell's. Squatting over the lantern, Cash reaches back and picks up four sticks and drives them into the earth and takes Dewey Dell's raincoat from pa and spreads it over the sticks, forming a roof above the lantern. Pa watches him. "I dont know what you'll do," he says. "Darl taken his coat with him."
"Get wet", Cash says. He takes up the saw again; again it moves up and down, in and out of that unhurried imperviousness as a piston moves in the oil; soaked, scrawny, tireless, with the lean light body o£ a boy or an old man. Pa watches him, blinking, his. face streaming; again he looks up at the sky with that expression of dumb and brooding outrage and yet of vindication, as though he had expected no less; now and then he stirs, moves, gaunt and streaming, picking up a board or a tool and then laying it down. Vernon Tull is there now, and Cash is wearing Mrs Tull's raincoat and he and Vernon are hunting the saw. After a while they find it in pa's hand.
"Why dont you go on to the house, out of the rain?" Cash says. Pa looks at him, his face streaming slowly. It is as though upon a face carved by a savage caricaturist a monstrous "burlesque of all bereavement flowed. "You go on in," Cash says. "Me and Vernon can finish it."
Pa looks at item. The sleeves of Jewel's coat are too short for him. Upon his face the rain streams, slow as cold glycerin. "I dont begrudge her the wetting," he says. He moves again and falls to shifting the planks, picking them up, laying them down again carefully, as though they are glass. He goes to the lantern and pulls at the propped raincoat until he knocks it down and Cash conies and fixes it back.
"You get on to the house," Cash says. He leads pa to the house and returns with the raincoat and folds it and places it beneath the shelter where the lantern sits. Vernon has not stopped. He looks up, still sawing.
"You ought to done that at first," he says. "You knowed it was fixing to rain."
"It's his fever," Cash says. He looks at the board.
"Ay," Vernon says. "He'd a come, anyway."
Cash squints at the board. On the long flank of it the rain crashes steadily, myriad, fluctuant. "I'm going to bevel it," he says.
“It'll take more time," Vernon says. Cash sets the plank on edge; a moment longer Vernon watches him, then he hands him the plane.
Vernon holds the board steady while Cash, bevels the edge of it with the tedious and minute care of a jeweler. Mrs Tull comes to the edge of the porch and calls Vernon. "How near are you done?" she says.
Vernon does not look up. "Not long. Some, yet."
She watches Cash stooping at the plank, the turgid savage gleam of the lantern slicking on the raincoat AS he moves. "You go down and get some planks off the barn and finish it and come in out of the rain," she says. "You'll both catch your death." Vernon does not move. "Vernon," she says.
"We wont be long," he says. "We’ll be done after a spell." Mrs Tull watches them a while. Then she reenters the house.
"If we get in a tight, we could take some of them planks," Vernon says. "I'll help you put them back."
Cash ceases the plane and squints along the plank, wiping it with his palm. "Give me the next one," he says.
Some time toward dawn the rain ceases. But it is not yet day when Cash drives the last nail and stands stiffly up and looks down at the finished coffin, the others watching him. In the lantern light his face is calm, musing; slowly he strokes his hands on his rain-coated thighs in a gesture deliberate, final and composed. Then the four of them--Cash and pa and Vernon and Peabody-- raise the coffin to their shoulders and turn toward the house. It is light, yet they move slowly; empty, yet they carry it carefully; lifeless, yet they move with hushed precautionary words to one another, speaking of it as though, complete, it now slumbered lightly alive, waiting to come awake. On the dark floor their feet clump awkwardly, as though for a long time they have not walked
on floors.
They set it down by the bed. Peabody says quietly: “Let's eat a snack. It's almost daylight. Where's Cash?"
He has returned to the trestles, stooped again in the lantern's feeble glare as he gathers up his tools and wipes them on a cloth carefully and puts them into the box with its leather sling to go over the shoulder. Then he takes up box, lantern and raincoat and returns to the house, mounting the steps into faint silhouette against the paling east.
In a strange room you must empty yourself for sleep. And before you are emptied for sleep, what are you. And when you are emptied for sleep, you are not. And when you are filled with sleep, you never were. I dont know what I am. I dont know if I am or not. Jewel knows he is, because he does not know that he does not know whether he is or not. He cannot empty himself for sleep because he is not what he is and he is what he is not. Beyond the unlamped wall I can hear the rain shaping the wagon that is ours, the load that is no longer theirs that felled and sawed it nor yet theirs that bought it and which is not ours either, lie on our wagon though it does, since only the wind and the rain shape it only to Jewel and me, that are not asleep. And since sleep is is-not and rain and wind are was, it is not. Yet the wagon is, because when the wagon is was, Addie Bundren will not be. And Jewel is, so Addie Bundren must be. And then I must be, or I could not empty myself for sleep in a strange room. And so if I am not emptied yet, I am is.
How often have I lain beneath rain on a strange roof, thinking of home.