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Lena Grove, a young woman from Alabama, makes her way to Jefferson, Mississippi. Pregnant and alone, Lena relies on the kindness of strangers, hitching rides on numerous wagons during her travels: “Behind her the four weeks, the evocation of far is a peaceful corridor paved with unflagging and tranquil faith and peopled with kind and nameless faces and voices” (5). Lena asks everyone she meets if they know Lucas Burch—the man who got her pregnant. No one knows Lucas, but Lena remains vigilant in her mission to find her unborn child’s father.
Lena reaches a small town and seeks out another wagon. She meets Mr. Armstid, who quickly analyzes her condition: “[He] saw at once that she was young, pregnant, and a stranger” (8). Lena can’t find another wagon to continue toward Jefferson, but Armstid offers her a place to stay. Lena convinces herself, and tries to convince Armstid’s family, that Lucas is waiting for her in Jefferson, where he went to find work. Once he was situated, he was supposed to contact Lena, but he hasn’t reached out in months. Nearing her delivery date now, Lena hopes to find Lucas before she gives birth.
After hearing her story, Mrs. Armstid breaks a china bank filled with coins and gives the money to Lena. The next morning, the Armstids help Lena find a ride into Jefferson. On the road with a new stranger, Lena recounts her story and asks the driver if he knows Lucas Burch. He only knows someone named Bunch and recommends Lena inquire at the mill once they reach Jefferson. Lena finally reaches Jefferson, where she is greeted by the sight of a burning house at the edge of town.
Byron Bunch, a hardworking and noble young man, reflects on his time working at the mill in Jefferson. He thinks about Joe Christmas, a drifter who came to Jefferson three years prior. Joe is allusive but a decent worker: “He did not talk to any of them at all. And none of them tried to talk to him” (34). Byron and the others aren’t sure if Joe is a foreigner because of his mysterious demeanor and tan complexion. After working at the mill for three years, Joe quits without explanation, and the others speculate about what he left to do. The mill workers are skeptical, too, of another drifter who came to the mill for work—Joe Brown. Brown is an unreliable worker and a sociable jokester. Shortly after Joe Christmas quits, Brown follows in his footsteps and leaves the mill without explanation.
The mill workers discover Brown is bootlegging whiskey. They wonder if Joe Christmas is involved because the two men share a cabin on the property of a woman named Joanna Burden. The town gossips: “They still do not know for certain if Christmas is connected with it, save that no one believes that Brown has sense enough to make a profit even from bootlegging” (46). Byron, meanwhile, works tirelessly at the mill, including a half-day on Saturdays. Unbeknownst to his coworkers, he spends his Sundays leading a church choir 30 miles away in the countryside. He also chats with a former minister, Gail Hightower, an outcast who lives alone in a decrepit house in Jefferson.
The house at the edge of town goes up in flames, drawing everyone’s attention, but Byron continues working. Lena arrives at the mill, excited to be reunited with the father of her child, only to be disappointed when Byron has never heard of Lucas Burch. Byron is kind to Lena and immediately wants to care for her. They talk about the burning house, which is Joanna’s. Byron mentions Joe and Brown and their cabin on the same property. Hearing this, Lena deduces Brown might be Lucas Burch using a different name.
Gail Hightower, the ex-minister, reflects on his life and his economic standing. He sells art lessons and hand-painted holiday cards and develops photos to make ends meet, but business is slow. Although he no longer preaches, Gail sends any extra money he has to charities and the church. Sitting in his decaying house, he considers his tarnished reputation in Jefferson: “Hightower. He lives there by himself. He come here as minister of the Presbyterian church, but his wife went bad on him […] He had to resign from the church, but he wouldn’t leave Jefferson, for some reason” (58). Night creeps in, and Gail passes the time as he usually does: alone, sitting in his house.
When Byron first came to Jefferson seven years ago, the town told him the story of Gail Hightower. Hightower and his wife arrived in Jefferson right after he graduated from a seminary. Inside and outside of church, Hightower speaks of visions of his grandfather, a Confederate cavalry man killed during the Civil War, which unsettles the townsfolk. Worse, his wife isolates herself, doesn’t attend church, and is later discovered having an affair in Memphis. Mrs. Hightower mysteriously dies in Memphis, causing a scandal and unwanted attention for Hightower and the church. Hightower refuses to resign from his post and preaches to empty pews but finally resigns after the town locks him out of his own church.
After the scandal, Hightower adapts to a life of isolation. He hires a Black female cook, but rumors circulate about the two of them, and the cook quits. Hightower hires another cook, a Black man, but he is beaten one night after work: “And when Hightower waked the next morning his study window was broken and on the floor lay a brick with a note tied to it, commanding him to get out of town by sunset and signed K.K.K.” (71). Byron wonders why the former minister would stay in Jefferson. Hightower insists the town is good. It isn’t his position, or Byron’s, to judge.
Byron tells Hightower about Lena, and the two gossip about the bootlegging: “when [Joe] took Brown in with him, I reckon Brown wanted to spread out” (78-79). Byron confesses he didn’t tell Lena about Brown’s reputation as a bootlegger. He helped her find a place to stay but kept the details about Brown to a minimum. Hightower doesn’t blame Byron for his actions, seeing it as an act of pity. He wonders if Byron is falling in love with Lena but brushes the thought away.
Byron and Hightower’s conversation moves to the fire. Brown is found at the scene, along with Joanna. Brown is still alive, but Joanna is dead, her throat slashed. When Brown is questioned by the sheriff, he accuses Joe of killing Joanna. To discredit Joe, Brown reveals Joe is biracial: “He’s got n***** blood in him. I knowed it when I first saw him. But you folks, you smart sheriffs and such” (98). Brown remains steadfast and accusatory toward Joe, eager to claim the $1,000 reward for his capture. The sheriff believes Brown but keeps him in custody while the investigation continues. After recounting the town gossip, Byron reiterates to Hightower he hasn’t told Lena anything about the unfolding drama.
Before the fire and the murder, Joe Christmas tries to sleep in his cabin on Joanna Burden’s property. Brown drunkenly stumbles into the cabin. Annoyed by Brown’s noise, Joe hits Brown repeatedly. Joe considers slashing Brown with his razor, but they stop fighting. After Brown falls asleep, Joe goes outside. He ponders. For years, Joe made nightly visits to Joanna, but now their relationship is soured. Angrily, he mutters to himself about their affair: “‘She ought not to started praying over me. She would have been all right if she hadn’t started praying over me. It was not her fault that she got too old to be any good any more” (106). Fed up with both Brown and Joanna, Joe goes to the stables to sleep for a few hours.
The next morning, Joe goes to a nearby convenience store and buys food and a magazine. He returns to the Burden property to eat and read by a tree. When he’s done reading, he burns the magazine and watches it smolder. He unburies a hidden stash of tin cans, full of whiskey—his bootlegging operation. Joe pierces the cans. The whiskey pours out, and he reburies the destroyed cans.
Joe spends the rest of the day walking around town. He spots Brown in a barbershop and glares at him through the window. Evening approaches. Joe walks through a Black neighborhood. He passes a group of people with no incident, at first. Then, Joe curses at them and realizes he’s withdrawn his razor from his pocket: “‘What in the hell is the matter with me?’ he thought. He put the razor back into his pocket and stopped and lit a cigarette” (117). It gets late, and Joe returns home. Staring at Joanna’s house, Joe senses something is going to happen to him. He moves in, closer to the main house.
The first five chapters of Light in August introduce an ensemble cast of main characters. With each new chapter, Faulkner offers a new perspective. Lena’s journey into Jefferson leads her to Byron, who in turn visits Hightower, and Byron and Hightower’s conversation about Joe Christmas leads to Joe’s viewpoint in Chapter 5. By jumping between different characters immediately, Faulkner builds a story not about a single person but about a cast of characters, and he uses that structural choice to develop a message about community.
Chapter 3 gives insights into Hightower’s early years in Jefferson with his wife. When Mrs. Hightower’s spouse doesn’t fit in with the Jefferson community, she is slowly forced into a role by her husband’s congregation: “Anyhow she was now like the ladies had wanted her to be all the time, as they believed that the minister’s wife should be” (66). The other ladies might be content, but not Mrs. Hightower herself, and she dies at a young age from an apparent suicide. Her death is a cautionary tale of what happens when a person is forced to conform to a set of behaviors dictated by others. Faulkner also portrays communities as hostile places with Joanna Burden’s storyline. At the scene of her death, the townsfolk are critical of her: “Folks say she claims that n****** are the same as white folks. That’s why folks dont never go out there” (53). Joanna’s story shows Jefferson is an outwardly racist town, highlighting another primary issue in the novel. Across the first five chapters, Faulkner uses his ensemble cast to show Jefferson as a complicated place brimming with conflict.
Faulkner’s distinct literary style is also established. Dialogue is filled with slang and often foregoes apostrophes and proper grammar. This aesthetic choice makes the characters’ voices distinct from the narrative voice, allowing the characters to feel alive and distinct from the prose. The repeated instances of White characters using the n-word also create a dramatic portrait of the rampant racism in the South in the early 1900s. Additionally, Faulkner employs italics when he wants to dive deeper into a character’s perspective. In Chapter 5, as Joe approaches Joanna’s house, we zoom into his interiority: “He didn’t go fast. He didn’t even think then, Something is going to happen. Something is going to happen to me” (118). Within a sentence, the third person becomes an intimate first person. Faulkner cues the reader to this shift by using italics.
Foreshadowing and ambiguity add tension to the story, helping to propel the story forward. During one of his evening conversations with Hightower, Byron remarks, “And even a liar can be scared into telling the truth, same as a honest man can be tortured into telling a lie” (100). Later in the novel, Byron and Mrs. Hines plead with Mr. Hightower to lie on Joe’s behalf. Hightower, an honest man, is tortured into lying, like Byron’s words suggest. The dialogue feels natural for Byron and Hightower’s relationship while also leaving hints for the reader. Faulkner uses ambiguity as well: He provides information of Joanna’s death and the fire but leaves out key details to build mystery. The novel states early that Joanna was found with her throat slashed, but no one is caught red-handed. In Chapter 5, Joe’s behavior shows him to be a man capable of violent fits, and his razorblade is revealed as a potential murder weapon. The reader has evidence, but not all the dots are connected yet, increasing the dramatic stakes of the story. Within the first five chapters, Faulkner foreshadows future events through dialogue and creates drama with selective information.
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By William Faulkner