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A S I L AY D Y I N G Mientras Agonizo
by de
William Faulkner William Faulkner
tr. de Javier Coy
5 to Hal Smith _______________
X
1 X 1
DARL (1) DARL Darl (1)
1
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
Cora (1)
of the adze. de la azuela.
In this section we find the spoken
5 2 X 2 and unspoken words of Cora Tull,
CORA (1) CORA a neighbour of the Bundrens. She
is sitting by Addie’s bed, keeping
SO I saved out the eggs and CONQUE ayer recogí los huevos y the dying woman company but
following her own train of thought.
baked yesterday. The cakes turned preparé el horno. Los bollos me salie-
When her thoughts eventually turn
Opossum: any mainly tree-living marsupial 10 out right well. We depend a lot on ron muy bien. Dependemos mucho de to the dying Addie they conflict
of the family Didelphidae, native to America, our chickens. They are good layers, n u e s t r a s g a llin a s . S o n b u e n a s with her spoken words. She says
having a prehensile tail and hind feet with an what few we have left after the ponedoras; las pocas que nos dejan las that Addie will soon be well enough
animales perjudiciales a la caza menor, como la zorra, el gato montés, el milano, etc.
opposable thumb possums and such. Snakes, too, in the zarigüeyas** y alimañas así. También las to bake cakes, but she believes that
** Mamífero marsupial de tamaño mediano o summer. A snake will break up a serpientes, en verano. Una serpiente se cuela Addie will die.
pequeño y aspecto que recuerda a la rata; las
15 hen-house quicker than anything. So en un gallinero más rápido que nada. Con-
extremidades tienen cinco dedos y las de atrás
el pulgar oponible; la cola es prensil, lisa y after they were going to cost so much que después de que nos costaran mucho más
desnuda. Es mamífero nocturno y omnívoro, more than Mr. Tull thought, and after de lo que creía Mr. Tull, y después de pro-
que hace nido en los árboles y su preñez dura I promised that the difference in the meterle yo que pagaríamos la diferencia con
trece días. number of eggs would make it up, I los huevos que pusieran, tengo que andarme
20 had to be more careful than ever con mucho más cuidado que nunca, porque
because it was on my final say-so we fue por mí «de acuerdo» final por lo que las
took them. We could have stocked compramos. Podríamos haber comprado
cheaper chickens, but I gave my unas gallinas más baratas, pero yo estuve
promise as Miss Lawington said de acuerdo cuando Miss Lawington me
25 when she advised me to get a good aconsejó que las comprásemos de bue-
breed, because Mr. Tull himself na raza, porque el propio Mr. Tull ad-
COMMENTARY: This section
admits that a good breed of cows or mite que una buena raza de vacas o
demonstrates the efectiveness of
hogs pays in the long run. So when cerdos a la larga compensa. De modo Faulkner’s technique, for we see
we lost so many of them we couldn’t que como nos hemos quedado sin tantas how the unspoken thoughts of the
30 afford to use the eggs ourselves, no nos atrevemos a quedarnos con los character reveal that character’s
because I could not have had Mr. Tull huevos para nosotros, porque no podría personality and how they flow
chide me when it was on my say-so soportar los gruñidos de Mr. Tull, pues around and away from the
immediate environment of the
we took them. So when Miss si las compramos fue por mí. Conque
character. Cora is exposed as a
Lawington told me about the cakes I cuando Miss Lawington me habló de los woman of limited vision, liable to
35 thought that I could bake them and X bollos pensé que podría hacerlos yo y think long and hard on the small
earn enough at one time to increase ganar lo suficiente de una vez como incidents of her life and to think
the net value of the flock the para aumentar el valor neto del corral of them in a passive way. This
equivalent of two head. And that by en el equivalente a dos gallinas. Y que passivity is encouraged by Cora’s
religious beliefs and the only time
saving the eggs out one at a time, even echando un huevo menos cada vez, in-
that her vocabulary goes beyond
40 the eggs wouldn’t be costing cluso los huevos no me costarían nada. the narrowly colloquial is when
anything. And that week they laid so Y esta semana pusieron tantos que no she thinks of God, using the
well that I not only saved out enough sólo ahorré bastantes más huevos de language which the preacher
eggs above what we had engaged to sell, los que pensaba vender, con los que must use, such as ‘eternal and
to bake the cakes with, I had saved hacer los bollos, además había ahorra- everlasting salvation’. Cora’s
passivity and limited responses
45 enough so that the flour and the sugar do los bastantes como para que la ha-
contrast sharply with those of
and the stove wood would not be rina y el azúcar y la leña del horno me Darl, two of whose sections
costing anything. So I baked salieran por nada. Conque preparé los appear either side of Cora (1).
yesterday, more careful than ever I bollos ayer, con más cuidado que nun- They also contrast sharply, in
baked in my life, and the cakes ca en mi vida, y los bollos me salie- their acceptance of the world as
50 turned out right well. But when we ron muy bien. Pero cuando fuimos it is, with the feelings of the
woman beside whose bed Cora
got to town this morning Miss e s t a m a ñ a n a a l p u e b l o M i s s
sits, feelings revealed in Addie’s
Lawington told me the lady had Lawington me dijo que la señora ha- only section in the book.
changed her mind and was not going bía cambiado de idea y al final no iba Cora uses the language of
to have the party after all. a celebrar la fiesta. religion in an incantatory way, the
55 long words providing a soothing
“She ought to taken those cakes —De todos modos debiera quedarse chorus against which the
hardships of life may be set and
anyway,” Kate says. con los bollos —dice Kate.
diminished. Religion has also
given Cora an idea of how other
“Well,” I say, “I reckon she never —Claro —digo yo—, aunque para mí people should behave and we
60 had no use for them now.” que ahora ya no le hacen falta. sense that she does not altogether
approve of the Bundrens. She
“She ought to taken them,” Kate —Debiera quedarse con ellos —dice talks of Addie’s ‘blindness’,
something which is made more
says. “But those rich town ladies can Kate—. Pero estas sañoras ricas del pueblo
explicit in Cora’s later sections
change their minds. Poor folks can’t.” pueden cambiar de idea. Los pobres, no. but which obviously implies some
65 sort of moral judgement on
Riches is nothing in the face of the La riqueza no es nada delante del Se- Addie. More generally, Faulkner
Lord, for He can see into the heart. ñor, pues Él ve dentro de los corazones. successfully creates the
“ M a y b e I c a n s e ll t h e m a t t h e —A lo mejor el sábado los puedo vender atmosphere of the sick room in
this section, with Cora sitting in
b a z a a r S a t u r d a y, ” I s a y. en el mercadillo de la parroquia —digo—.
silence most of the time,
70 T h e y t u r n e d o u t r e a l w e l l . Me salieron bien de verdad. thinking her own thoughts and
only occasionally becoming
“You can’t get two dollars a piece —No sacarás ni dos dólares por cada aware of those around her. The
for them,” Kate says. uno —dice Kate. words which are actually spoken
are sporadic and infrequent, thus
heightening the sense of time
75 “Well, it isn’t like they cost me —Bueno, es como si no me hubieran
hanging heavily for those who sit
anything,” I say. I saved them out costado nada —digo yo.
Los he ido apartando poco a poco by Addie’s bedside.
and swapped a dozen of them for X Los cogí en el corral y cambié una do-
the sugar and flour. It isn’t like cena por el azúcar y la harina. Es como si
2
X
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
the cakes cost me anything, as Mr. los bollos no me hubieran costado, pues el
Tull himself realizes that the eggs propio Mr. Tull comprende que los huevos
I saved were over and beyond que ahorré eran muchos más de los que
what we had engaged to sell, so it pensábamos vender, conque era como si
5 was like we had found the eggs or hubiéramos encontrado los huevos o nos
they had been given to us. los hubieran dado.
“She ought to taken those cakes when —Debiera quedarme con esos bollos,
* El punto y aparte no da la di-
she same as gave you her word,” Kate says. X pues te los encargó ella —dice Kate.
mensión que son palabras no di-
10 The Lord can see into the heart. If it * El señor ve dentro de los corazo- chas de Kate pero sí pensadas por
is His will that come folks has nes. Si es su voluntad que unas perso- ella. Habría que dejar comillas.
different ideas of honesty from other nas tengan ideas sobre la honradez dis-
folks, it is not my place to question tintas que otras, no me toca discutir sus
His decree. designios.
15
“I reckon she never had any use for —Para mí que nunca los necesitó —
them,” I say. They turned out real well, too. digo—. *Pero me salieron ricos de verdad. Si arriba pone punto y coma, ¿por
qué no aquí?
The quilt is drawn up to her chin, Tiene la colcha subida hasta la barbilla,
20 hot as it is, with only her two hands con todo el calor que hace, y sólo las dos
and her face outside. She is propped X manos y la cara destapadas. Está apoyada en
on the pillow, with her head raised la almohada, con la cabeza erguida de
so she can see out the window, and modo que pueda mirar por la ventana, y
we can hear him every time he takes X nosotros oímos a Cash* cada vez que coje Demasiado descriptivo y nada
25 up the adze or the saw. If we were la azuela o la sierra. Si fuéramos sor- sugestivo.
deaf we could almost watch her face dos, con sólo mirarle la cara a ella casi
and hear him, see him. Her face is X podríamos oír a Cash, verle. Tiene la cara
wasted away so that the bones draw tan consumida que los huesos se le dibujan
just under the skin in white fines. Her debajo de la piel como línes blancas. Sus
30 eyes are like two candles when you ojos son igual que dos velas a las que
cuencos de los brazos
gutter 1 (de una casa) canalón; (on roof) canaleta
f, canalón m desagüe 2 (en la calle) alcanta-
watch them gutter down into the X ves derretirse en los soportes de un
rilla, cuneta: someone was lying in the gutter, sockets of iron candle-sticks. But the candelabro de hierro. Pero la salvación
alguien estaba tendido en la cuneta 3 (los)
barrios bajos (lowest section of society) the ~ eternal and the everlasting salvation eterna y perdurable y la gracia no han
el arroyo, desagüe; (before n) the ~ press la
prensa sensacionalista
and grace is not upon her. descendido sobre ella.
35 really nice
real nice: (col.) really nice “They turned out real nice,” I —Me salieron ricos de verdad —digo—.
say. “But not like the cakes Addie X Pero no como los bollos que solía hacer
used to bake .” You can see that Addie. — Se puede ver cómo lava y plan-
girl’s washing and ironing in the cha esa chica fijándose en la funda de la
40 pillow-slip, if ironed it ever was. almohada, si es que la ha planchado alguna
Maybe it will reveal her blindness vez. Puede que eso hiciera a Addie consciente
laying yaciendo to her, laying there at the mercy X de su ceguera: estar allí tumbada a merced
and the ministration of four men X ____________ de cuatro hombres y una
a girl who behaves like a boy
tom-boy girl: a girl who behaves like and a tom-boy girl. “There’s not a marimacho—. No hay mujer en estos
a boy, virago, hombruna
45 woman in this section could ever bake contornos capaz de amasar como
with Addie Bundren,” I say. “First X Addie Bundren —digo—. Si se
thing we know she’ll be up and levantara y amasase otra vez, lo
baking again, and then we won’t sabríamos enseguida porque las
have any sale for ours at all.” Under demás no venderíamos nada.
50 the quilt she makes no more of a hump
bar
X Debajo de la colcha no abulta más
listón, madero
than a rail would, and the only way que una tabla, y el único modo de sa-
mattress shucks: (Am. English) the you can tell she is breathing is by the ber que respira es oyendo el crujido de ** Las hojas secas de las mazorcas de maíz, que se usan
straw or springs
straw or springs in the mattress sound of the mattress shucks. Even the las [58] hojas** del jergón***. Ni si- como relleno de los colchones en las zonas rurales.
hair at her cheek does not move, even quiera se le mueve el pelo que tiene pe- *** Colchón de paja, esparto o hierba y sin bastas.
55 with that girl standing right over her, gado a la cara, ni con esa chica de pie,
fanning her with the fan. While we a su lado, dándole aire con el abanico.
watch she swaps the fan to the other X Mientras miramos se pasa el abanico a
hand without stopping it. la otra mano sin dejar de moverlo.
I could have used the money real Habría empleado el dinero bien de ver-
75 well. But it’s not like they cost me dad. Pero es como si no me hubieran costado
anything except the baking. I can tell nada, excepto el cocerlos en el horno. Puedo
him that anybody is likely to make a decirle que cualquiera puede cometer un
mistake
a miscue: a mistake miscue, but it’s not all of them that error, pero que no todos son capaces de
3
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
can get out of it without loss, I can salir de él sin pérdidas, puedo decirle. No
tell him. It’s not everybody can eat todo el mundo puede comerse sus erro-
Darl (2)
their mistakes, I can tell him. res, puedo decirle.
This section consists largely of
5 Someone comes through the hall. Alguien atraviesa el zaguán. Es Darl. the unspoken and unverbalised
It is Darl. He does not look in as he No mira dentro cuando pasa delante de thoughts of Darl. It begins as he
passes the door. Eula watches him as la puerta. Eula le observa fijamente mien- goes to take a drink from the gourd.
he goes on and passes from sight tras él siguie y se pierde nuevamente de When Anse asks, ‘Where’s Jewel?’,
Darl has already started on a train
again toward the back. Her hand rises vista por la parte de atrás. Levanta una
of thought relating to previous
10 and touches her beads lightly, and mano y se toca levemente las cuentas del experiences of drinking from the
then her hair. When she finds me collar; después el pelo. A1 darse cuenta wooden bucket. He follows this
watching her, her eyes go blank. de que la miro, se le turba la vista. train of thought to its end before
replying to his father’s question
3 with ‘Down to the barn. Harnessing
the team’, and this reply immediately
15 DARL (2) DARL
leads him into another train of thought
in which he imagines in detail a scene
PA and Vernon are sitting on the PADRE y Vernon están sentados en between Jewel and the horse.
back porch. Pa is tilting snuff from el porche de atrás. Padre se echa rapé**, ** Polvo de tabaco que se consumía aspirándo-
the lid of his snuff-box into his lower de la tapa de la caja en el labio inferior, lo por la nariz. Su efecto inmediato se traducía
hacia fuera en fuertes estornudos que despejaban la cabeza.
20 lip, holding the lip outdrawn between manteniendo el labio estirado _____ en-
thumb and fingen. They look around tre pulgar e índice. Levantan la vista cuan-
** En el original, gourd: recipiente para líqui-
as I cross the porch and dip the gourd do cruzo el poche y meto la calabaza** dos fríos que se obtenía vaciando una calabaza
into the water bucket and drink. en el cubo de agua y bebo. y dejándola secar.
4
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
Inside the barn Jewel slides Dentro de la cuadra Jewel se deja caer
stall 75 running to the ground before the horse al suelo a toda prisa antes de que el caballo
1 (= stable) establo m (= manger) pesebre m
(for single horse etc) casilla f 2 (in market) stops. The horse enters the stall, Jewel se pare. El caballo entra en el pesebre con
puesto m (in fair) caseta f; casilla f 3 (British) following. Without looking back the Jewel detrás. Sin mirar atrás, el caballo
(theatre) the stalls el patio de butacas
1 parar; calar 2 [+ person] entretener horse kicks at him, slamming a single le suelta una coz, alcanzando con uno
1 [car] pararse [plane] perder velocidad 2 (=
delay) andar con rodeos; esquivar
5
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
hoof into the wall with a pistol-like de los cascos la pared con un estampido
report. Jewel kicks him in the como de pistola. Jewel le da patadas en
stomach; the horse arches his neck el estómago; el caballo arquea el cue-
crop-toothed: with teeth shortened
(presumably by filing down) back, crop-toothed; Jewel strikes him llo, enseñando los dientes; Jewel le gol-
5 across the face with his fist and slides pea la cara con el puño y se desliza has-
on to the trough and mounts upon it. ta la artesa y se sube encima de ella.
Clinging to the hay-rack he lowers Pegándose al montón de heno, agacha
his head and peers out across the stall la cabeza y mira por encima de los tabi-
tops and through the doorway. The ques del pesebre hacia la entrada. El
10 path is empty; from here he cannot sendero está desierto; desde aquí ni si-
even hear Cash sawing. He reaches quiera puede oír a Cash serrando. Se
up and drags down hay in hurried X estira y _______ llena apresuradamen-
armfuls and crams it into the rack. te, a manos llenas, el comedero.
6
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
the speaker.
hitched up: having the horses or “If you’re hitched up,” —Si has enganchado el caballo —
mules harnessed to the wagon
I s a y . I s a y “ W a i t . ” He digo yo. Digo—: Espera.
stops, looking at pa. Vernon spits, Se para, mirando a padre. Vernon es-
5 without moving. He spits with cupe, sin moverse. Escupe con correcta
decorous and deliberate precision into y deliberada precisión en el polvo COMMENTARY: In this
pocked: marked with holes the pocked dust below the porch. Pa picado de viruelas del pie del porche. Pa- section Darl’s powers of precise
rubs his hands slowly on his knees. dre se restriega lentamente las manos en observation are used to record
with apparent accuracy the actual
He i s g a z i n g o u t b e y o n d t h e las rodillas. Mira a algo que está más allá
words spoken by his father,
10 crest of the bluff, out across the land. de la cresta del farallón, por encima del himself, Vernon, Tull and Jewel.
Jewel watches him a moment, then he campo. Jewel le observa un momento, lue- The personalities of the various
goes on to the pail and drinks again. go sigue hasta el cubo y vuelve a beber. speakers are implicit in the words
which they use. When, for
mislike: (Am. col.) dislike “I mislike undecision as much as —Me revienta la indecisión como a example, Anse hesitates and then
says ‘1 mislike undecision as
15 ere a man,” pa says. cualquiera —dice padre.
much as ere a man’, the words are
empty. The words spoken by
“It means three dollars,” I say. The —Eso significa tres dólares —digo yo. La ca- Jewel also expose his basic
hump: deformity of the spine shirt across pa’s hump is faded lighter misa está [63] más descolorida en la joroba de nature. We have already seen him
than the rest of it. There is no sweat padre que en el resto. No hay ni una mancha de distressed by the sound of the
20 stain on his shirt. I have never seen a sudor en su camisa. _____ ______ ______ adze in Jewel (1). It is consistent,
therefore, to find that Darl recalls
sweat stain on his shirt. He was sick X _____ _________ Una v e z , c u a n d o
Jewel repeatedly trying to register
once from working in the sun when t e n í a v e i n t i d ó s a ñ o s , s e p u s o a protest against the noise and ‘the
he was twenty-two years old, and he m a l o p o r t r a b a j a r a p l e n o s o l y buzzards’. Darl also notices that
tells people that if he ever sweats, he cuenta a la gente que si volviera a sudar, Jewel cannot bring himself to say
25 will die. I suppose he believes it. se moriría. Supongo que se lo cree. the word ‘coffin’. This tells us
something not revealed in Jewel’s
own section, namely that Jewel
“But if she don’t last until you get back,” —Pero si ella no dura hasta que volváis
does not want to acknowledge
he says. “She will be disappointed.” —dice—. Le molestaría mucho. that his mother is dying and
cannot bear to utter the word
30 Vernon spits into the dust. But it Vernon escupe al polvo. Pero lloverá ‘coffin’ which would set the seal
will rain before morning. antes de que vuelva a ser de día. of death on the proceedings.
Thus in this section we see
Anse successfully deceiving
“She’s counted on it,” pa says. —Ella cuanta con eso —dice padre—
himself and insisting that he
“She’ll want to start right away. I . Querrá ponerse en marcha inmediata- wants to do his best for Addie and
35 know her. I promised her I’d keep the mente. La conozco. Le prometí que ten- we see Jewel trying to deceive
team here and ready, and she’s dría el tiro aquí y preparado, y cuenta himself by refusing to
counting on it.” con ello. acknowledge that his mother is
dying. The recorder of both these
deceptions is Darl, whose role in
“We’ll need that three dollars —Entonces necesitaremos esos tres
this particular interaction is to
then, sure,” I say. He gazes out
40 dólares, seguro —digo. Él mira por advocate that they should take the
over the land, rubbing his hands on encima del campo, frotándose las wagon and go, leaving Addie
his knees. Since he lost his teeth manos en las rodillas. Desde que se alone. He has clearly analysed the
his mouth collapses in slow quedó sin dientes la boca se le hunde weak points of his father ’s
dips: dips his head to drink water repetition when he dips. The en lentas repeticiones cuando traga. character, playing on Anse’s love
stubble: growth of facial hair of money, and he also tries to hurt
45 stubble gives his lower face that Los cañones de la barba dan a la parte de
cañón : 6. Lo más recio, inmediato Jewel by reminding him that
a la raíz, del pelo de la barba. appearance that old dogs have. abajo de su cara ese aspecto que tienen los Addie is very ill. This jealousy of
“You’d better make up your mind perros viejos—. Será mejor que se decida en- his brother is an ever-present
soon, so we can get there and get seguida, así podríamos ir allí y traer una car- aspect of Darl’s outlook.
a load on before dark,” I say. ga antes de que oscurezca —digo. At the end of the section Darl
50 notices that the physical layout of
ain’t: (col.) is not the house leads to an apparent
“Ma ain’t that sick,” Jewel says. —Madre no está tan grave —dice
separation between the voices and
“Shut up, Darl.” Jewel—. Cállate, Darl. the speakers from whom they
emanate, ‘As you enter the hall,
“That’s right,” Vernon says. “She —Es cierto —dice Vernon—. Hoy they sound as though they were
55 seems more like herself to-day than parece mejor que en toda la semana. Para speaking out of the air about your
she has in a week. Time you and cuando tú y Jewel volváis, estará levan- head’. As the book progresses
such sensitivity to his
Jewel get back, she’ll be setting up.” tada.
environment proves to be a
burden to Darl. His world
“You ought to know,” Jewel says. —Eso usted lo sabrá —dice Jewel—. becomes increasingly odd and so
“ Yo u b e e n h e r e o f t e n e n o u g h
60 Se ha pasado mucho tiempo aquí mirán- his experience of it, coming to
looking at her. You or your folks.” dola. Usted y los suyos. him through his finely attuned
Vernon looks at him. Jewel’s eyes Ve r n o n l e m i r a . L o s o j o s d e senses, also becomes increasingly
odd.
look like pale wood in his Jewel parecen madera clara en su
high-blooded face. He is a head taller cara rubicunda. Nos saca la cabe-
65 than any of the rest of us, always was. za a todos los demás, siempre nos
I told them that’s why ma always la ha sacado. Les dije que por eso
whipped him and petted him more. le pegaba madre más y le mimaba
peakling: (neologism) wandering Because he was peakling around the más. Porque era el más enfermizo
weakly
house more. That’s why she named de la casa. Por eso le llamaron
70 him Jewel I told them. Jewel, joya, les dije. [64]
7
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
you,” I say. “If she didn’t wait for us.” tro —digo yo—. Si ella no nos espera.
“Ah, shut your goddamn mouth,” —Cierra esa maldita boca —dice
Jewel says. Jewel.
5
ourn: (Am. col.) our own one “She’ll want to go in ourn,” pa —Querrá ir en el nuestro —dice pa-
says. He rubs his knees. “Don’t ere a dre. Se frota las rodillas—. Nada me re-
don’t ere a man mislike: (Am. col.) man mislike it more.” ventaría más.
no man ever disliked
10 “It’s laying there, watching Cash —Estar ahí tumbada, viendo a Cash
whittle v. 1 tr. & (foll. by at) intr. pare (wood etc.) with whittle on that damn . . .” Jewel says. cepillando esa maldita... —dice Jewel.
repeated slicing with a knife. 2 tr. (often foll. by
away, down) reduce by repeated subtractions. He says it harshly, savagely, but he Lo dice áspera, salvajemente, pero no
reducir poco a poco
does not say the word. Like a little llega a pronunciar la palabra. Como un
flail (=mayal 1. m. Palo del cual tira la caballería
que mueve los molinos de aceite, tahonas y boy in the dark to flail his courage niño en la oscuridad para darse valor
malacates. 2. Instrumento compuesto de dos pa-
los, uno más largo que otro, unidos por medio de 15 and suddenly aghast into silence by que, de repente, calla aterrorizado por
una cuerda, con el cual se desgrana el centeno
dando golpes sobre él.) his own noise. su propia voz.
flail a threshing-tool consisting of a wooden staff with
a short heavy stick swinging from it. Batir, sacu-
dir, desgranar con un mayal “She wanted that like she wants to —Ella lo quiso así, igual que quiere
1 tr. beat or strike with or as if with a flail (mayal=
dos palos unidos por cuero). 2 intr. wave or swing go in our own wagon,” pa says. “She’ll ir en nuestra carreta —dice padre—. Des-
wildly or erratically (went into the fight with arms
flailing). 20 rest easier for knowing it’s a good cansará más tranquila si sabe que está
one, and private. She was ever a bien hecha, y es suya. Siempre fue una
private woman. You know it well.” mujer muy suya. Lo sabéis bien.
sho: (Am. col.) surely, certainly 30 “Sho,” Vernon says, “she’ll hold —Claro —dice Vernon—,esperará
on till it’s finished. She’ll hold on hasta que esté terminada. Esperará hasta
till everything’s ready, till her own que esté todo preparado; hasta el momen-
good time. And with the roads like to adecuado. Y con los caminos tal y
they are now, it won’t take you no como están ahora, no os supondrá mu-
35 time to get her to town.” cho tiempo llevarla hasta el pueblo.
fixing up to: (Am. col.) preparing “It’s fixing up to rain,” pa says. “I —Va a llover —dice padre—. Soy
to am a luckless man. I have ever been.” un hombre sin suerte. Siempre lo he
He rubs his hands on his knees. “It’s sido —se frota las manos en los panta-
40 that durn doctor, fiable to come at lones—. Es ese maldito médico, viene
any time. I couldn’t get word to cuando le apetece. No le pude avisar
him tiff so late. If he was to come hasta muy tarde. Si viniera mañana y
to-morrow and tell her the time was le dijera que había llegado el momen-
nigh, she wouldn’t wait. I know her. to, ella no esperaría. La conozco. Con
45 Wagon or no wagon, she wouldn’t carreta o sin carreta, ella no esperaría.
wait. Then she’d be upset, and I Quedaría toda trastornada y yo no que-
wouldn’t upset her for the living rría trastornarla por nada del mundo.
world. With that family burying- Con esa tumba de la familia en
ground in Jefferson and them of her Jefferson y [65] todos los de su sangre
50 blood waiting for her there, she’ll be esperándola allí, se impacientará. Le di
impatient. I promised my word me and mi palabra de que yo y los chicos la lle-
the boys would get her there quick as varíamos allí todo lo deprisa que an-
mules could walk it, so she could rest den las mulas; así descansará tranquila
quiet.” He rubs his hands on his knees. —se frota las manos en las rodillas—.
55 “No man ever misliked it more.” Nada me reventaría más.
“It was her wish,” pa says. “You —Fue su voluntad —dice padre—. No
got no affection nor gentleness for sientes ningún afecto ni dulzura por ella.
65 her. You never had. We would be Nunca lo sentiste. No queremos tener que
beholden: indebted beholden to no man,” he says, “me agradecerle nada a nadie —dice—, ni beholden to no man estar en deuda con nadie
and her. We have never yet been, yo ni ella. Todavía no lo tenemos que
and she will rest quieter for agradecer, y ella descansará tranquila sa-
knowing it and that it was her own biéndolo; y que sea uno de su propia san-
70 blood sawed out the boards and gre el que sierre las tablas y clave los cla-
drove the nails. She was ever one vos. Siempre fue de las que lo dejan todo
to clean up after herself.” limpio antes de irse.
“It means three dollars,” I say. “Do —Eso significa tres dólares —digo
75 you want us to go, or not?” Pa rubs yo—. ¿Quiere que vayamos a no? —pa-
his knees. “We’ll be back by dre se frota las rodillas—. Estaremos de
to-morrow sundown.” vuelta mañana al ponerse el sol.
8
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Well . . .” pa says. He looks out —Bueno —dice padre. Mira hacia el cam-
awry-haired: (neologism) with hair over the land, awry-haired, mouthing po; el pelo enmarañado, mascando el taba-
untidily ruffled
the snuff slowly against his gums. co lentamente con las encías desdentadas.
5 “Come on,” Jewel says. He goes —Vámonos —dice Jewel. Baja los
down the steps. Vernon spits neatly escalones. Vernon escupe limpiamente
into the dust. en el polvo.
“By sundown, now,” pa says. “I —Hasta que se ponga el sol, entonces —dice
10 would not keep her waiting.” padre—. No quiero que tenga que esperar.
Jewel glances back, then he goes Jewel echa un vistazo atrás, luego ro-
on around the house. I enter the hall, dea la casa. Yo entro en el zaguán, oyen-
hearing the voices before I reach the do las voces antes de alcanzar la puerta.
15 door. Tilting a little down the hill, as Ladeándose un poco cerro abajo, como
our house does, a breeze draws hace nuestra casa, una brisa sopla todo
through the hall all the time, el tiempo en el zaguán arriba. Una plu-
upslanting. A feather dropped near ma que cayera cerca de la puerta de de-
the front door will rise and brush lante se levantaría y rozaría el techo, os-
20 along the ceiling, slanting backward, cilando hacia el fondo, hasta alcanzar la
until it reaches the downturning corriente que da vueltas alrededor de la
current at the back door: so with puerta de atrás: lo mismo las voces. Cora (2)
voices. As you enter the hall, they Cuando entras en el zaguán, suenan como
sound as though they were speaking si estuvieran hablando en el aire por en-
25 out of the air about your head. cima de tu cabeza. [66] This section consists of Cora’s
observations as Darl and Jewel
prepare to leave the farm, her self-
6
congratulatory thoughts and, with
CORA (2) CORA a sudden alteration in the time-
scale, some recollections of a time
30 IT was the sweetest thing I ever FUE la cosa más bonita que he vis- after Addie has died.
saw. It was like he knew he would to jamás. Fue como si él supiera que
never see her again, that Anse no la volvería a ver nunca; que Anse
Bundren was driving him from his Bundren le estaba alejando del lecho
mother’s death-bed, never to see her mortuorio de su madre y nunca la vol-
35 in this world again. I always said Darl vería a ver en este mundo. Siempre dije
was different from those others. I que Darl era distinto a los demás. Siem-
always said he was the only one of pre dije que era el único de ellos que
them that had his mother’s nature, had tenía el carácter de su madre, que sentía COMMENTARY: This section
has three main features. Firstly, it
any natural affection. Not that Jewel, X afecto ____ por ella. No ese Jewel, por
underlines the disparity between
40 the one she laboured so to bear and quien tanto padeció para traerlo al mun- appearance and reality; secondly,
tantrum n. an outburst of bad temper or petulance coddled and petted so and him do y consintió y mimó tanto y él siem- it gives the reader an insight into
(threw a tantrum). rabietas, pataletas, berrinche flinging into tantrums or sulking pre cogiendo rabietas o enfurruñándose, Cora’s self-satisfied ‘Christian’
spells, inventing devilment to devil i n v e n t a n d o diabluras para character and, thirdly, it abandons
frailed: (Am. English) punished her till I would have frailed him time endemoniarla; yo le habría sacudido the normal chronological
ordering of events.
45 and time. Not him to come and tell una y otra vez. No será él quien venga
The first feature is particularly
her good-bye. Not him to miss a a decirle adiós. No será él quien des- obvious in relation to Darl. In the
chance to make that extra three perdicie la ocasión de ganar tres dóla- immediately preceding section,
dollars at the price of his mother’s res de más por darle un beso de adiós Darl (3), he tried to force Jewel
good-bye kiss. A Bundren through a su madre. Un Bundren de cabo a to leave the farm. Yet Cora
50 and through, loving nobody, caring rabo; a nadie quiere, de nada se pre- chooses to believe that it is Anse
and Jewel who are driving Darl
for nothing except how to get ocupa a no ser de cómo conseguir algo
away from his dying mother. The
something with the least amount of con la menor cantidad de trabajo posi- second aspect, Cora’s smugness,
work. Mr. Tull says Darl asked them ble. Mr. Tull dice que Darl les pidió que (complacency, suficiencia) is
to wait. He said Darl almost begged esperaran. Dijo que Darl casi les supli- apparent in both what she says
55 them on his knees not to force him to có de rodillas que no le obligasen a and what she thinks. She is
leave her in her condition. But apartarse de ella en tal estado. Pero nada convinced that her code of
conduct is the right one and she
nothing would do but Anse and Jewel podría impedir que Anse y Jewel deja-
judges people according to how
must make that three dollars. Nobody ran de ganar esos tres dólares. Nadie que far their conduct departs from her
that knows Anse could have expected conozca a Anse esperaría otra cosa, pero standard. At the same time, she
60 different, but to think of that boy, that pensar que ese chico, Jewel, vende to- is convinced that she is not smug
Jewel, selling all those years of dos esos años de abnegación y de la about her goodness ‘not that I
self-denial and down-right más completa predilección (no me en- deserve any credit for it’. On the
basis of her standards, Cora
partiality—they couldn’t me: Mr. Tull g a ñ a n : M r. Tu l l d i c e q u e a Mrs.
disapproves of the Bundrens,
says Mrs. Bundren liked Jewel the Bundren el que menos le gustaba de to- thinking it wrong that they should
65 least of all, but I knew better. I knew dos era Jewel, pero yo estoy mejor entera- refuse to bury Addie with the
partial Los adjetivos partial y parcial comparten she was partial to him, to the same da. Sé que sentía debilidad por él, que veía other members of the family at
la idea de incompleto y, en sentido ético, in- New Hope. According to Cora,
justo, prejuiciado, pero partial se usa además quality in him that let her put up with en él la misma cualidad que le permitía so-
para aficionado, a ff e c t i o n a t e , f o n d , k i n d , Anse Bundren when Mr. Tull said she portar a Anse Bundren cuando Mr. Tull dijo Addie’s body is being taken to
a t ta c h e d . Jefferson not because Addie
ought to poisoned him—for three que ella le debería envenenar), por tres
wishes to be buried there but
70 dollars, denying his dying mother the dólares, negándole a su madre moribun- because the family want to get rid
good-bye kiss. da el beso de adiós. of her. Cora’s reliance on arbitrary
standards when assessing other
Why, for the last three weeks I Porque durante las tres últimas sema- people does tend to lead her to
have been coming over every time I nas he estado viniendo siempre que po- misinterpret their motives and
their characters.
75 could, coming sometimes when I día, a veces viniendo cuando no debía,
However, not all of her
shouldn’t have, neglecting my own descuidando a mi propia familia y mis analyses of the Bundrens’
family and duties so that somebody obligaciones para que estuviera alguien situation are wrong; Faulkner
would be with her in her last moments con ella en sus últimos momentos y así leaves the reader to separate the
correct from the incorrect
9
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
and she would not have to face the no tuviera que encarar lo Desconocido analysis, a process which forces
the Great Unknown: a euphemism Great Unknown without one familiar sin una cara familiar que le diera valor. the reader to concentrate on the
for what lies beyond death situation of the characters and so
face to give her courage. Not that I Y no es que yo merezca que se me pre-
encourages him to have a deeper
deserve credit for it: I will expect the mie por ello: espero que hagan lo mismo understanding of the Bundrens.
5 same for myself. But think God it will [67] conmigo. Pero gracias a Dios ten- The third aspect of this section
be the faces of my loved kin, my dré cerca las caras de los que quiero, los is the abandonment of the linear
blood and flesh, for in my husband de mi sangre y mi carne, pues gracias a measure of time so that Cora is
and children I have been more blessed mi marido y mis hijos he sido más feliz apparently sitting with the still li-
ving Addie yet can, in her
than most, trials though they have que la mayoría, aunque a veces haya ha-
thoughts, remember a time after
10 been at times. bido problemas. Addie has died. In a situation
where memory, not strict
She lived, a lonely woman, Addie vivía, era una mujer solitaria, chronology, rules, the character
lonely with her pride, trying to a solas con su orgullo, tratando de hacer remembering a past event relives
make folks believe different, hiding que la gente creyera otra cosa, ocultando it as though it were happening in
the present. So, when Cora thinks
15 the fact that they just suffered her, el hecho de que los suyos se limitaban a
of her vigil by Addie’s bed, then
because she was not cold in the soportarla; porque no se había enfriado she is ‘living’ at that time; when
coffin before they were carting her en el ataúd y ya habían recorrido sesenta she thinks of her conversation
f o r t y m i l e s a w a y t o b u r y h e r, y cinco kilómetros para enterrarla, me- with Tull after Addie’s death, then
flouting the will of God to do it. nospreciando la voluntad de Dios al ha- she is ‘living’ in that later
20 Refusing to let her lie in the same cerlo. Negándose a dejarla descansar en moment. The order in which the
moments appear is dictated not by
earth with those Bundrens. la misma tierra que esos Bundren.
any considerations of linear time
but by the order in which the
“But she wanted to go,” Mr. Tull —Pero ella quería ir —dijo Mr. character remembers them.
said. “It was her own wish to lie Tull—. Era deseo suyo decansar entre
25 among her own people.” los de su familia.
“It was her own wish,” Mr. Tull —Era deseo suyo —dijo Mr. Tull—.
35 said. “I heard Anse say it was.” Se lo oí decir a Anse_____.
45 “Don’t tell me,” I said. “A woman’s —No me digas —le dije—. E1 pues-
place is with her husband and children, to de una mujer está al lado de su marido
alive or dead. Would you expect me e hijos, viva o muerta. ¿Esperarías que
to want to go back to Alabama and yo quisiera volver a Alabama y dejarte a
leave you and the girls when my time ti y a las chicas cuando me llegue la hora,
50 comes, that I left of my own will to después de que los dejé por propia vo-
cast my lot with yours for better and luntad para vivir contigo en lo bueno y
worse, until death and after?” en lo malo, hasta la muerte y después?
“Well, folks are different,” he said. —Bueno, la gente no es igual —dijo él.
55
I should hope so. I have tried to Eso espero. He tratado de vivir recta-
live right in the sight of God and man, mente ante Dios y los hombres, para hon-
for the honour and comfort of my rar y animar a mi cristiano marido y que-
Christian husband and the love and rer y respetar a mis cristianos hijos. De
60 respect of my Christian children. So modo que cuando deje esta vida cons-
that when I lay me down in the ciente de mis obligaciones y del pago que
consciousness of my duty and reward merezco estaré rodeada de los rostros de
I will be surrounded by loving faces, los que me quieren, llevándome como
carrying the farewell kiss of each of recompensa el beso de adiós de todos a
65 my loved ones into my reward. Not los que quiero. No como Addie Bundren
like Addie Bundren dying alone, que muere sola, escondiendo su orgu-
hiding her pride and her broken heart. llo y su corazón destrozado. Conten-
Glad to go. Lying there with her head ta de irse. Allí tumbada con la cabeza
propped up so she could watch Cash en [68] alto para poder ver a Cash fabri-
70 building the coffin, having to watch cándole el ataúd, obligada a vigilarle para
skimp: use too little wood or other him so he would not skimp on it, like que no haga una chapuza, con esos skimp 1 tr. (often foll. by in) supply (a person etc.)
meagrely with food, money, etc. 2 tr. use a
material as not, with those men not worrying hombres que no se preocupan de nada ex- meagre or insufficient amount of, stint (mate-
rial, expenses, etc.). 3 intr. be parsimonious
about anything except if there was cepto de si tendrán tiempo de ganar otros skimp: use too little wood or other material; econo-
time to earn another three dollars tres dólares antes de que llueva y el río mizar; to skimp on fabric/work/food escatimar
tela/trabajo/alimento
75 before the rain came and the river got crezca demasiado para poder cruzarlo. Si skimpy meagre; not ample or sufficient, insignifi-
cante, insuficiente
too high to get across it. Like as not, no hubieran decidido llevar esa última adj. scanty, ligera
n. colloq. a small or scanty thing, esp. a skimpy
if they hadn’t decided to make that carga, lo mismo hubieran sido capaces garment. ligera de ropas
last load, they would have loaded her de haberla cargado en la carreta encima
10
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
into the wagon on a quilt and crossed de una colcha y cruzar el río y luego de-
the river first and then stopped and tenerse y darle tiempo a que muriera de
give her time to die what Christian muerte tan cristiana como hubieran de-
death they would let her. cidido dejarle tener.
5
Except Darl. It was the sweet- Excepto Darl. Fue la cosa más bo-
est thing I ever saw. Sometimes I nita que haya visto jamás. A veces pier-
lose faith in human nature for a do la fe en la naturaleza humana du-
time; I am assailed by doubt. But rante cierto tiempo; me asalta la duda.
10 always the Lord restores my faith Pero el Señor siempre me devuelve la
and reveals to me His bounteous fe y me revela su bondadoso amor ha-
love for His creatures. Not Jewel, cia sus criaturas. Pero no Jewel, al que
the one she had always cherished, ella siempre quiso tanto; él no. Sólo iba
not him. He was after that three detrás de esos tres dólares de más. En
15 extra dollars. It was Darl, the one cambio tuvo que ser Darl ése del que
t h a t f o l k s s a y i s q u e e r, l a z y, la gente dice que es raro, perezoso, que
potter 1 v. (US putter) 1 intr. a (often foll. by about,
around) work or occupy oneself in a desultory pottering about the place no better pierde el tiempo por ahí igual que
(unmethodically) but pleasant manner (likes than Anse, with Cash a good carpen- Anse, al contrario de Cash, un buen
pottering about in the garden). b (often foll. by at,
in) dabble (chapotear) in a subject or occupation. ter and always more building than he carpintero y siempre con más trabajo
2 intr. go slowly, dawdle, loiter (pottered up to the
pub). 3 tr. (foll. by away) fritter (waste) away (one’s 20 can get around to, and Jewel always del que puede, y Jewe1 que siempre
time etc.).
fritter : waste, dissipate, (desperdiciar, malgastar) waste (money, time, doing something that made him some hace cosas que le proporcionen dine-
energy, etc.) triflingly, indiscriminately, or on divided aims
money or got him talked about, and that ro o da que hablar, y esa chica medio
desultory adj.1 going constantly from one subject to another, esp. in a half-
hearted way. 2 disconnected; unmethodical; superficial. Inconstante,
near-naked girl always standing over desnuda que siempre anda encima de
intermitente,inconexo, irregular, poco metódico, intemitente, variable, vo- Addie with a fan so that every time a Addie con un abanico de modo que
luble, inconstante, erratic, insconstant, irrelevant, tedious, pointless, boring,
diufused 25 body tried to talk to her and cheer her cada vez que alguien trata de hablar
up, would answer for her right quick, con ella y animarla, contesta en su lu-
like she was trying to keep anybody gar a toda prisa, como si tratara de
from coming near her at all. impedir que se le acerque nadie.
30 It was Darl. He come to the door Tuvo que ser Darl. Vino hasta la puer-
and stood there, looking at his dying ta y se quedó allí, mirando a su madre
mother. He just looked at her, and I moribunda. Se limitó a mirarla, y yo noté
felt the bounteous love of the Lord nuevamente el bondadoso amo r d e l
again and His mercy. I saw that with S e ñ o r y s u m i s e r i c o r d i a. Vi q u e
35 Jewel she had just been pretending, [con] Je w e l s ó l o a p a r e n t a b a , p e r o
but that it was between her and Darl que lo que había entre ella y Darl
that the understanding and the true e r a c o m p r e n s i ó n y a u t é n t i c o a m o r.
love was. He just looked at her, not Se limitó a mirarla, ni siquiera se
even coming in where she could see acercó adonde ella le pudiera ver
40 him and get upset, knowing that Anse y sobresaltarse, sabiendo que
was driving him away and he would Anse le iba a llevar lejos y nunca
never see her again. He said nothing, l a v o l v e r í a a v e r. N o d i j o n a d a , s e
just looking at her. limitó a mirarla.
45 “What you want, Darl?” Dewey —¿Qué quieres, Darl? —dijo Dewey
Dell said, not stopping the fan, Dell, sin dejar de abanicar, hablando
speaking up quick, keeping even muy deprisa, apartándole incluso a él.
him from her. He didn’t answer. He El no contestó. Se limitó a estar allí de
just stood and looked at his dying pie y mirar a su madre moribunda, con
50 m o t h e r, h i s h e a r t t o o f u l l f o r el corazón demasiado abrumado para Dewey Dell (1)
words. palabras. [69]
This section begins with
Dewey Dell recalling the day on
7 which she was picking cotton
DEWEY DELL (1) DEWEY DELL with someone called Lafe and
55 when she allowed him to make
picked down the row: picked cotton THE first time me and Lafe La primera vez que yo y Lafe reco- love to her. She believes that it
from a row of cotton plants was not her responsibility,
picked on down the row. Pa gíamos algodón surco abajo. Padre no
dassent: (Am. col.) dare not because she had decided to make
dassent sweat because he will catch quiere sudar porque se pondrá malo y love only if her sack was full
his death from the sickness so everybody morirá así que todos nos vienen a ayu- when they reached the end of the
60 that comes to help us. And Jewel don’t dar. Y a Jewel no le importa nada ni le row. She then begins to think of
care about anything he is not kin to us importamos nosotros sus parientes, no Darl, who has not said anything
care-kin: (neologism) not related to in caring, not care-kin. And Cash le importa su familia. Y a Cash le gusta to her but who, she senses, knows
the rest of the family in feeling what she has done. Darl himself
like sawing the long hot sad yellow serrar los días largos y cálidos y tristes y
then enters the sick-room.
days up into planks and nailing them amarillos y convertirlos en tablas y cla-
65 to something. And pa thinks because varlos a algo. Y padre cree que los veci-
neighbours will always treat one nos siempre se portarán unos con otros
another that way because he has del mismo modo porque siempre ha es-
always been too busy letting tado demasiado ocupado dejando que los
COMMENTARY: By this
neighbours do for him to find out. vecinos trabajen por él para averiguarlo.
stage in the novel, the reader is
70 And I did not think that Darl would, Y creí que Darl tampoco se enteraría, beginning to see certain events
that sits at the supper table with his sentado a la mesa con la mirada perdida and observations recurring in
eyes gone further than the food and más allá de la cena y la lámpara, llena sections belonging to different
the lamp, full of the land dug out of del campo que se saca del cráneo y con characters. This is natural
his skull and the holes filled with las órbitas de los ojos llenas de lejanía enough, for the world of the
Bundren family is a small one and
75 distance beyond the land. de más allá del campo.
different people are liable to re-
cord and reflect on the same
We picked on down the row, the Recogíamos algodón surco abajo, los things. In these unspoken
woods getting closer and closer and árboles y la sombra secreta acercándose thoughts of Dewey Dell’s we see
that she believes her father’s story
11
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
the secret shade, picking on into the cada vez más; recogíamos copos hacia la that if he sweats he will die. The
secret shade with my sack and Lafe’s sombra secreta en mi saco y en el saco idea has already been mentioned
by Darl, who does not believe the
sack. Because I said will I or won’t I de Lafe. Porque ¿lo haré o no lo haré?,
story.
when the sack was half-full because dije cuando el saco estaba medio lleno, Dewey Dell’s sexual encounter
5 I said if the sack is full when we get porque si el saco está lleno, dije, cuando with Lafe takes place against a
to the woods it won’t be me. I said if lleguemos a los árboles no será por mi background of brothers and a
it don’t mean for me to do it the sack culpa. No dependerá de mí, dije, si no lo father who seem to be wholly
will not be full and I will turn up the hago sino de si el saco no está lleno y preoccupied with their own
affairs. Jewel is seen here, as
next row but if the sack is full, I tengo que dar la vuelta y coger el surco
elsewhere, as remote from the
10 cannot help it. It will be that I had to siguiente pero si el saco está lleno, no lo family, Cash as only being
do it all the time and I cannot help it. podré evitar. Será que lo tenía que hacer concerned with sawing, Anse
And we picked on toward the secret todo el tiempo y no lo podía evitar. Y with avoiding work and Darl with
shade and our eyes would drown recogíamos algodón hacia la sombra se- inscrutable thoughts. Yet, after
together touching on his hands and creta y nuestros ojos se hundían juntos she has had intercourse, Dewey
Dell realises that Darl knows what
15 my hands and I didn’t say anything. I al tocarse sus manos y mis manos y yo
she has done, ‘he said he knew
said “What are you doing?” and he sin decir nada. Dije: «¿Qué estás hacien- without the words like he told me
said “I am picking into your sack.” do?» —y él dijo: « Recogiendo en tu that ma is going to die without the
And so it was full when we came to saco.» Y así éste estaba lleno cuando lle- words’. This unspoken
the end of the row and I could not help gamos al final del surco y no lo pude evi- communication between Dewey
20 it. tar. Pell and Darl may be no more
than a figment of Dewey Dell’s
imagination, but it is equally
And so it was because I could not Y así fue porque no lo pude evitar. possible that in this close and
help it. It was then, and then I saw Fue entonces, y entonces vi a Darl y closed family circle Darl would
Darl and he knew. He said he knew lo sabía. Dijo sin decir palabra que be able to sense that his sister had
25 without the words like he told me that lo sabía igual que me dijo sin decir a guilty secret and so would know
ma is going to die without words, and palabra que madre se moría, y me di without anything being said.
Dewey Dell resents this intrusion
I knew he knew because if he had said cuenta de que lo sabía porque si hu-
into her privacy, so when Darl
he knew with the words I would not biera dicho con palabras que lo sabía appears at the door of the
have believed that he had been there yo no habría creído que había estado sickroom (the same moment as
30 and saw us. But he said he did know allí y nos vio. Pero dijo que lo sabía recorded in Cora (2) immediately
and I said “Are you going to tell pa y yo [70] dije: «¿Vas a contárselo a before) the exchange which takes
are you going to kill him?” without padre, lo vas a matar?» —sin decir pa- place is hostile. By putting
together pieces from Darl (3),
the words I said it and he said “Why?” labra lo dije y él dijo: «¿Por qué?»
Cora (2) and Dewey Dell (1) the
without the words. And that’s why I —sin decir palabra. Y por eso es por reader begins to see that Darl is
35 can talk to him with knowing with lo que puedo hablar con él que lo sabe taking revenge on his mother,
hating because he knows. y al que odio porque lo sabe. insisting that they go to collect the
wood so that Addie will have to
He stands in the door, looking at her. Está en la puerta, mirándola. die without the presence of Jewel
whom she loves and of whom
Darl is so jealous.
40 “What you want, Darl?” I say. —¿Qué quieres, Darl? —digo.
“I want him to help me load,” he —Quiero que me ayude a cargar — Tull (1)
55 says. dice él.
This section consists of Tull’s
unspoken thoughts about the
8
Bundrens and his conversations
TULL (1) TULL with the people around him as
they sit waiting for Anse to deci-
ANSE keeps on rubbing his
60 ANSE sigue restregándose las rodillas. de whether or not the wagon
knees. His overalls are faded; on one Tiene el mono descolorido; en una rodilla un should be sent to collect wood and
knee a serge patch cut out of a pair remiendo de sarga cortado de unos pantalo- so risk Addie’s death occurring in
Sunday pants: (Am. English) the absence of Darl and Jewel.
of Sunday pants, wore ironslick. nes de los domingos, lustroso por el uso.
trousers kept for special When he and his family at last
occasions “No man mislikes it more than me,” —No hay hombre al que le reviente mount their wagon to depart, they
65 he says. más que a mí —dice. begin to discuss the possible
repercussions of Addie’s death
barruntar. 1. Prever, conjeturar o pre-
sentir por alguna señal o indicio. “A fellow’s got to guess ahead —Un individuo tiene que barruntar and Tull notices that there is a
barrunto 1 indicio, sospecha, noticia, now and then,” I say. “But, come long las cosas de vez en cuando —digo yo—. storm brewing.
inkling, suspicion, doubt, hope,
desire, indication, conjecture, and short, it won’t be no harm done Pero, pase lo que pase, en ningún caso
reason. Asomo, atisbo, augurio.
70 neither way.” será nada malo.
“She’ll want to get started right —Ella querrá ponerse en marcha in-
off,” he says. “It’s far enough to mediatamente —dice él—. Jefferson está
Jefferson at best.” bastante lejos en el mejor de los casos.
75
“But the roads is good now,” I. say. —Pero ahora los caminos están bien —digo yo. COMMENTARY: The sense
It’s fixing to rain to-night, too. H i s Además parece que esta noche va a of time hanging heavily on the
folks buries at New-Hope, llover. Además los parientes de Anse es- hands of those who await Addie’s
death is as strong here as it was
12
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
t o o , n o t t h r e e m i l e s a w a y. tán enterrados en New Hope, ni a cinco in Cora (1). Like Cota and Darl,
B u t i t ’s j u s t l i k e h i m t o kilómetros de distancia. Pero sólo a él se Tull has time to observe in detail
the world around him. Although
marry a woman born a le ocurre casarse con una mujer que ha
many of the details are repeated
d a y ’s h a n d r i d e a w a y a n d nacido a un día largo de camino y que from section to section, some
5 have her die on him. encima tenga que morírsele. belong specifically to individual
characters.
He looks out over the Mira hacia el campo, restregándose Tull’s unspoken observation
land, rubbing his knees. las rodillas. that the fish caught by Vardaman
seems to be ‘hiding into the dust
“ No man so mislikes it,” —No hay hombre al que le reviente
like it was ashamed of being dead,
10 h e s a y s . tanto —dice. like it was in a hurry to get back
hid again’ is a simple one, yet it
“They’ll get back in plenty of —Volverán con tiempo de sobra — is also prophetic of what happens
time,” I say. “I wouldn’t worry none.” digo—. Yo no me preocuparía nada. in Vardaman’s section.
Collectively, the Tull family
share a view of the Bundrens,
15 “It means three dollars,” he says. —Es que supone tres dólares —dice él.
believing that they are held
together by Addie. As they ride
“Might be it won’t be no need for —Puede que no necesiten volver a away, the Tulls imagine each of
noways: (Am. English) in no way them to rush back, noways,” I say. “I toda prisa, en ningún caso —digo—. Eso the sons seeking a wife to replace
hope it.” espero. the lost mother. In a sense, they
20 are right in assuming that Addie
is central but, as the book shows,
“She’s a-going,” he —Se está yendo —dice él—. No pien-
she is central in a far more subtle
says. “Her mind is set on it.” sa en otra cosa. and complicated way than any
It’s a hard life on women, for a fact. Es dura la vida para las mujeres, por that the Tulls might suspect.
Some women. I mind my mammy cierto. Para algunas mujeres. Recuerdo
25 l i v e d t o b e s e v e n t y a n d mo r e . que mi madre vivió hasta los setenta años
Worked every day, rain or shine; y pico. Trabajaba todo el santo día, con
never a sick day since her last lluvia o con sol; nunca estuvo enferma
chap was born until one day she desde que le nació el último crío hasta
kind of looked around her and then que un día hizo que miraba a su alrede-
30 she went and taken that lace-trimmed dor y luego fue y cogió aquel camisón
nightgown she had had forty-five adornado con encaje que hacía cuarenta
years and never wore out of the chest y cinco años que tenía y nunca había sa-
and put it on and laid down on the cado del arca y se lo puso y se metió en
bed and pulled the covers up and shut la cama y se tapó con la ropa y cerró los
35 her eyes. “You all will have to look ojos. «Ahora todos tendréis que cuidar
out for pa the best you can,” she de papá lo mejor que podáis» —dijo—.
said. “I’m tired.” «Estoy cansada.»
Anse rubs his hands on his knees. Anse se restriega las manos en las rodillas.
40 “The Lord giveth,” he says. We can —El Señor nos lo dio —dice.
hear Cash a-hammering and sawing Oímos a Cash martillar y serrar
beyond the corner. pasada la esquina.
“Down to the bridge,” he says. He —De allá abajo, junto al puente —dice
turns it over, the under-side caked over él. Le da la vuelta; la parte de abajo tiene
60 with dust where it is wet, the eye una costra de polvo donde está húmedo; el
coated over, humped under the dirt. ojo tapado, hinchado bajo el polvo.
“Are you aiming to leave it laying —¿Es que piensas dejarlo ahí tirado?
there?” Anse says. —dice Anse.
65
“I aim to show it to ma,” Vardaman —Voy a enseñárselo a madre —dice
says. He looks toward the door. We Vardaman. Mira hacia la puerta. Oímos
can hear the talking, coming out on la conversación, viene con la corriente
the draught. Cash, too, knocking and de aire. A Cash también, martillando y
70 hammering at the boards. “There’s clavando las tablas—. Ahora tiene com-
company in there,” he says. pañía —dice.
“Just my folks,” I say. “They’d —Sólo son mis parientes —digo yo—
enjoy to see it, too.” . También les gustará verlo.
75
He says nothing, watching the No dice nada y mira la puerta. Lue-
door. Then he looks down at the fish go baja la vista hacia el pez que yace
laying in the dust. He turns it over en el polvo. Le da la vuelta con el pie
13
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
with his foot and prods at the y le pincha el globo del ojo con el dedo
gouge 1 a a chisel with a concave blade, used in eye-bump with his toe, gouging at it. gordo, barrenándoselo. Anse está mi-
carpentry, sculpture, and surgery. b an indentation
or groove made with or as with this. Gubia 2 US Anse is looking out over the land. rando hacia el campo. Vardaman mira
colloq. a swindle.
1 tr. cut with or as with a gouge. creuser à la gouge Vardaman looks at Anse’s face, then la cara [72] de Anse, luego a la puer-
(bois). (escarbar con gubia) 2 tr. a (foll. by out) 5 at the door. He turns, going toward ta. Se vuelve, dirigiéndose hacia la es-
force out (esp. an eye with the thumb) with or as
with a gouge. b force out the eye of (a person). 3 the corner of the house, when Anse quina de la casa, cuando Anse le lla-
tr. US colloq. swindle; extort money from. (US.
sl.) refaire, estamper, soutirer, extorquer, se sucrer. calls him without looking around. ma sin mirarle.
estafar, swindle
“You clean that fish,” Anse says. —Limpia ese pescado —dice Anse.
10
Va r d a m a n s t o p s . Vardaman se para.
“ W h y c a n ’t D e w e y D e l l c l e a n —¿Es que no lo puede limpiar Dewey
it?” he says. Dell? —dice.
“You clean it,” Anse says. He don’t —Que lo limpies —dice Anse. No
look around. Vardaman comes back le mira. Vardaman vuelve y coge el
20
and picks up the fish. It slides out of pescado. Se le escurre de entre las
his hands, smearing wet dirt on to him, manos, manchádose de barro húmedo,
goggle-eyed: (Am. col.) with staring and flops down, dirtying itself again, y cae al suelo, manchándose todavía
eyes gap-mouthed, goggle-eyed, hiding X más, la ____ boca, los ojos saltones, y
25 into the dust like it was ashamed se esconde en el polvo como si le aver-
of being dead, like it was in a hurry gonzara estar muerto, como si tuviera
cusses: (Am. col.) curses
to get back hid again. Vardaman prisa en volver a esconderse. Vardaman
cusses it. He cusses it like a grown lo insulta. Lo insulta como un hombre
man, standing a-straddle of it. Anse hecho y derecho, a caballo encima de
30 don’t look around. Vardaman picks él. Anse no mira. Vardaman lo vuelve
it up again. He goes on around the a coger. Se aleja rodeando la casa,
toting: (Am. col.) carrying house, toting it in both arms like agarrándole con las dos manos como a
an armful of wood, it overlapping una brazada de leña mientras el pescado aso-
him on both ends, head and tail. ma por ambos extremos, cabeza y cola.
35 Durn nigh big as he is. Maldito, casi tan grande como él.
Anse’s wrists dangle out of his Las muñecas de Anse le asoman por
sleeves: I never see him with a shirt las mangas. En toda mi vida nunca le he
on that looked like it was his in all visto con una camisa que pareciera suya.
40 my life. They all looked like Jewel Todas parecen como si Jewel le hubiera
might have give him his old ones. Not dado las suyas viejas. No son de Jewel,
Jewel, though. He’s long-armed, even con todo. Es largo de brazos, como si
spindling: (Am. English) long and if he is spindling. Except for the lack estuviera dando un estirón. Y no es-
thin, like a spindle of sweat. You could tell they ain’t tán sudadas. Puedes asegurar que no
45 been nobody else’s but Anse’s that way han sido de nadie más que de Anse
without no mistake. His eyes look like sin equivocarte. Sus ojos parecen dos
pieces of burnt-out cinder fixed in his carbones quemados y clavados en su
face, looking out over the land. cara, y miran hacia el campo.
50 When the shadow touches the Cuando la sombra alcanza los escalones dice:
s t e p s h e s a y s “It’s five o’clock.” —Son las cinco.
14
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Anse’ll let us know,” I say. —Ya nos lo dirá Anse —digo yo.
10
Anse don’t look at us. He looks Anse no nos mira. Pasea la vista a su
around, blinking, in that surprised alrededor, guiñando los ojos, de ese modo
hisself: (Am. col.) himself way, like he had wore hisself down asombrado, como si estuviera destroza-
being surprised and was even do por la sorpresa y le asombrara estarlo.
15 surprised at that. If Cash just works Si Cash por lo menos trabajase con ese
that careful on my barn. mismo cuidado en mi granero...
“It comes to all of us,” Cora says. —A todos nos llegará la hora —dice Cora—.
25 “Let the Lord comfort you.” Que el Señor le dé resignación.
“Maybe she’ll hold out till you are —Puede que ella dure hasta que us-
laid by,” I say. ted lo tenga listo —digo yo.
40
“If God wills it,” he says. —Si Dios lo quiere —dice él.
“Let Him comfort you,” Cora says. —Que Él le dé resignación —dice Cora.
We get into the wagon. Cora sets Subimos a la carreta. Cora se pone
55 the cake-box on her lap. It’s fixing to la caja de los bollos en el regazo. Va a
rain, sho. llover, seguro.
“I don’t know what he’ll do,” Cora —No sé qué será de él —dice
says. “I just don’t know.” Cora—. No lo sé.
60
“Poor Anse,” I say. “She kept him —Pobre Anse —digo yo—. Ella le ha
at work for thirty-odd years. I reckon dado trabajo durante más de treinta años.
she is tired.” Creo que está cansada.
65 “And I reckon she’ll be behind him —Y yo creo que ella va a seguir de-
for thirty years more,” Kate says. “Or trás de él otros treinta años —dice Kate—
if it ain’t her, he’ll get another one . O si no sigue, ya se buscará él otra an-
before cotton-picking.” tes de la recogida del algodón.
70 “I reckon Cash and Darl can get —Para mí que Cash y Darl podrían
married now,” Eula says. casarse ya —dice Eula.
“That poor boy,” Cora says. “The —Ese pobre chico —dice Cora—. Ese
tyke, 1 a small child, especially a boy, fry, nestling,child poor little tyke.” pobre granujilla.
a young person of either sex; «she writes books 75
for children»; «they’re just kids»; «`tiddler’ is a
British term for youngsters» 2 peasant, barbarian, “What about Jewel?” Kate says. —¿Y qué pasa con Jewel? —dice Kate.
boor, churl, Goth, tike a crude uncouth ill-bred
person lacking culture or refinement 3 a mongrel,
perro mestizo, chucho
“He can, too,” Eula says. —También podría —dice Lula.
15
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Why, Kate!” Cora says. The —¡Vamos, Kate! —dice Cora. La ca-
rattle hacer sonar como una carraca ; batir o sacudir wagon begins to rattle. “The poor rreta se pone a chirriar—. El pobre
con ruido; desatinar, atolondrar, atarantar, aturdir,
aturrullar, correr, proferir, articular rápidamente; 10 little tyke,” Cora says. granujilla —dice Cora.
(mar.) atar con rebenques. - v. intr. zurri(a)r, ma-
traquear, rechinar, sonar, guachapear,
zangolotearse, repiquetear; charlatanear, parlo- It’s fixing to rain this night. Yes, Va a llover esta noche. Sí, señor. In-
tear; (mec.) ratear, moverse o funcionar con rui-
do desapacible: to rattle away, parlotear; rodar a sir. A rattling wagon is mighty dry cluso una carreta Birdsell**6 chirría
distancia, haciendo ruido; to rattle down (mar.)
arreglar los flechastes. weather, for a Birdsell. But that’ll be cuando el tiempo está muy seco. Pero eso
s. rechin(ad)o, rechinamiento, zumba, zurrido; so-
najero, sonajillas, matraca; carraca; bramadera; 15 cured. It will for a fact. se arreglará. Seguro que sí.
cascabel del crótalo; parla, charla; (in the throat),
estertor; rattlebrained, rattle-headed, rattle-pated,
ligero de cascos, casquivano; voluble, voltario; “She ought to taken them —Podría haberse quedado con los
rattlehead, ratttepate o rattleskull
rattle cakes after she said she would,” bollos después de decir que los quería —
I n. 1 (juguete) sonajero (de serpiente) cascabel (para
fiestas) matraca 2 ruido (de tren, carro) traqueteo Kate says. dice Kate. [75]
(de cadena, monedas, llaves) repiqueteo 20
II v. tr. 1 (llaves, monedas) hacer sonar 2 familiar
desconcertar, poner nervioso : she gets rattled over 9
nothing, se pone nerviosa por nada
III vi (tren) traquetear: the train rattled past, el tren ANSE (1) ANSE
pasó traqueteando (metal) repiquetear (ventana)
vibrar
DURN that road. And it fixing to CONDENADO camino. Y va a Anse (1)
25 rain, too. I can stand here and same l l o v e r, a d e m á s , p u e d o q u e d a r m e
as see it with second-sight, a-shutting aquí como si viera la lluvia; espesa Anse’s section consists of his
unspoken thoughts and
down behind them like a wall, por detrás de ellos como una pared,
recollections. The first paragraph
shutting down betwixt them and my espesa entre ellos y lo que he pro- is a series of curses, as Anse
given promise. I do the best I can, metido. Hago lo que puedo, hasta blames the weather, the road and
30 much as I can get my mind on donde me da de sí la cabeza, pero his sons for his situation. The
anything, but durn them boys. esos condenados chicos... second, third and fourth
paragraphs reveal his unspoken
and somewhat superstitious
A-laying there, right up to my Ahí está el camino, justo hasta mi
feelings about the road.
door, where every bad luck that puerta, para que cualquier mal fario de
35 comes and goes is bound to find it. los que van y vienen llegue hasta aquí.
I told Addie it wasn’t any luck Le dije a Addie que no daba ninguna bue-
living on a road when it come by na suerte vivir junto a un camino; que
here, and she said, for the world esté tan cerca. Y ella, como mujer que
like a woman, “Get up and move, es, dijo: «Entonces carretera y manta.»
COMMENTARY: We have
40 then.” But I told her it wasn’t no Pero lo que yo le decía es que no daba already had several glimpses of
luck in it, because the Lord put ninguna buena suerte, porque el Señor Anse and have realised that he is
roads for travelling: why He laid hizo los caminos para ir de un sitio a otro; a lazy man who continually shifts
them down flat on the earth. When ¿para qué, si no, los iba a poner en la tie- responsibility for his predicament
He aims for something to be always rra? Cuando decide que algo esté siem- on to the world around him. This
section confirms this impression.
45 a-moving, He makes it long ways, pre moviéndose, lo hace alargado, como
His superstitious belief that the
like a road or a horse or a wagon, un camino o un caballo o una carreta, road is at the root of all his
but when He aims for something to pero cuando decide que algo se esté quie- troubles is both evidence of
stay put, He makes it up-and-down to, lo hace que sea de arriba abajo, como Anse’s curious brand of simple-
ways, like a tree or a man. And so un árbol o un hombre. Y por eso nunca mindedness and a comic
50 he never aimed for folks to live on le gustó que las personas vivieran junto reflection on the lengths to which
he will go to find something to
a road, because which gets there a un camino, porque, ¿qué es lo prime-
which he can attach blame. He is
first, I says, the road or the house? ro?, pregunto yo, ¿el camino o la casa? not at all critical of himself and
Did you ever know Him to set a ¿Se sabe que Dios haya puesto alguna vez cannot conceive of the possibility
road down by a house? I says. No un camino junto a una casa? pregunto. that he might have had something
55 y o u n e v e r, I s a y s , b e c a u s e i t ’s Nunca jamás, es lo que yo digo, y con to do with the family’s poverty.
always men can’t rest till they gets todo los hombres no descansan hasta que Indeed, he says and obviously
believes that ‘it ain’t that I am
the house set where everybody that ponen la casa donde todo el que pase en
afraid of work; I always fed me
passes in a wagon can spit in the carreta pueda escupir en el entrada, man- and mine and kept a roof above
doorway, keeping the folks restless teniendo inquietas a las personas y dán- us’.
60 a n d w a n t i n g t o g e t u p a n d g o doles ganas de coger y marcharse a otra
somewheres else when He aimed parte cuando El quería que los hombres predicament apuro, aprieto, lío, dilema, trance,
situación difícil: having been robbed on her trip
for them to stay put like a tree or a se quedaran quietos como un árbol o un abroad, she was in a real predicament, como
le robaron durante su viaje al extranjero, se
stand of corn. Because if He’d a campo de maíz. Pues si hubiera que- encontró en un auténtico aprieto
aimed for man to be always rido que el hombre estuviera siem- predicament n. 1 a difficult, unpleasant, or
embarrassing situation, quandary, plight. 2
65 a-moving and going somewheres pre moviéndose y yendo de un sitio Philos. a category in (esp. Aristotelian) logic.
predicamento prestige, influence, standing,
else, wouldn’t He a put him a otro, ¿no lo hubiera hecho alarga- reputation.
longways on his belly, like a snake? do por la tripa como una serpiente?
It stands to reason He would. Es lógico que sí, si lo hubiera querido.
70 Putting it where every bad luck Puesta donde cualquier mal fario
merodeando prowling can find it and come que ande por ahí pueda encontrarla y
straight to my door, charging me taxes colarse por mi puerta, y encima los im-
on top of it. Making me pay for Cash puestos. Me obligan a pagar porque a
having to get them carpenter notions Cash se le ocurriera aprender nociones
75 when if it hadn’t been no road come de carpintería cuando si el camino no
there, he wouldn’t a got them; falling llegara hasta ahí, no se le habría ocu-
off of churches and lifting no hand in rrido; se cae de las [76] iglesias y no
six months and me and Addie slav- da golpe en seis meses y yo y Addie
16
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
ing and a-slaving, when there’s plenty igual que esclavos, cuando hay tanto
of sawing on this place he could do if que serrar y él lo podría haber hecho si
he’s got to saw. hubiera podido serrar.
Making me pay for it. She was Me lo han hecho pagar. Ella era una
hale :drag or draw forcibly. HAUL, PULL 2 : to compel to go well and hale as ere a woman ever mujer sana y fuerte como la que más,
free from defect, disease, or infirmity : SOUND; also
: retaining exceptional health and vigor <a hale were, except for that road. Just la culpa es del camino. Ahí está tum-
and hearty old man> synonym see HEALTHY
25 laying down, resting herself in her bada, descansando en su propia cama,
own bed, asking naught of none. sin decirle nada a nadie.
“Are you sick, Addie?” I said. —¿Estás mala, Addie? —le dije.
“Lay still and rest,” I said. “You —Estate quieta y descansa —dije
40 are just tired. You can get up yo—. Sólo estás cansada. Puedes levan-
to-morrow.” And she was laying tarte mañana —y allí seguía tumbada;
there, well and hale as ere a woman una mujer sana y fuerte como la que más;
ever were, except for that road. la culpa es del camino.
“She’s a-laying down,” I said. “She’s —Se ha echado —dije yo—. Sólo está
just a little tired, but she’ll——” un poco cansada, pero...
outen: (Am. col.) out of 55 “Get outen here, Anse,” he said. —Salga de aquí, Anse —dijo él—.
“Go set on the porch a while.” Vaya a sentarse al porche un momento.
And now I got to pay for it, me Y ahora me lo hacen pagar, a mí que
without a tooth in my head, hoping no tengo ni un diente en la boca y espe-
60 to get ahead enough so I could get my raba levantar cabeza lo suficiente para
mouth fixed where I could eat God’s que me arreglaran la boca y poder comer
victuals: food own victuals as a man should, and her como Dios manda, y era una mujer sana
hale :drag or draw forcibly. HAUL, PULL 2 : to compel to go hale and well as ere a woman in the y fuerte como la que más hasta [77] aquel
free from defect, disease, or infirmity : SOUND; also :
retaining exceptional health and vigor <a hale and land until that day. Got to pay for día. Las voy a pagar todas juntas por ne-
hearty old man> synonym see HEALTHY 65 being put to the need of that three cesitar esos tres dólares. Las tengo que
dollars. Got to pay for the way for pagar porque los chicos se tengan que ir
them boys to have to go away to earn a ganar por ahí fuera. Y ahora puedo ver
it. And now I can see same as second igual que si lo adivinara la lluvia espesa
sight the rain shutting down betwixt entre nosotros, apareciendo por ese ca-
70 us, a-coming up that road like a durn mino como un hombre endemoniado,
man, like it wasn’t ere a other house como si no hubiera otra casa en todas
to rain on in all the living land. estas tierras encima de la que llover.
I have heard men cuss their luck, He oído a hombres renegar de su suer-
75 and right, for they were sinful men. te, y con razón, pues eran pecadores. Pero
But I do not say it’s a curse on me, no digo que lo mío sea una maldición,
because I have done no wrong to be porque no he hecho nada malo por lo que
cussed by. I am not religious, I se me puediera maldecir. No soy religio-
17
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
reckon. But peace is my heart: I know so, lo reconozco. Pero tengo el corazón
it is. I have done things but neither en paz: sé que es así. He hecho cosas,
better nor worse than them that pero ni peores ni mejores que los que
Old Marster: (Am. col.) God pretend otherlike, and I know that Old pretenden otra cosa, y sé que Dios Nues-
5 Marster will cace for me as for ere a tro Señor se ocupará de mí como de un
sparrow that falls. But it seems hard gorrión que cae. Pero me parece cruel que
that a man in his need could be so un hombre en apuros pueda verse tan
flouted by a road. perjudicado por un camino.
“Go wash them hands,” I say. But I —Vete a lavarte las manos —digo yo.
just can’t seem to get no heart into it. Pero no tengo ánimo para nada. [78]
35 10
DARL (4) DARL
HE has been to town this week: the HA estado esta semana en la ciudad: Darl (4)
back of his neck is trimmed, with a la nuca rapada, con una línea blanca en-
This section contains Darl’s
40 white fine between hair and sunburn tre el pelo y la piel quemada por el sol unspoken thoughts as he and
like a joint of white bone. He has not como una articulación de hueso blanco. Jewel ride off on the wagon. He
once looked back. No ha vuelto la vista ni una vez. notices the way in which the road
appears to run between the ears
“ J e w e l , ” I s a y. B a c k r u n n i n g , —Jewel —digo yo. Corriendo hacia of the mules, ponders briefly on
bob 1 : to strike with a quick light blow 2 : to move the mystery of birth and death,
up and down in a short quick movement <bob the 45 tunnelled between the two sets of bobbing atrás, entre los dos pares de inquietas
head> 3 : to polish with a bob 5 bobsled, bob thinks of Dewey Dell and the
ride a bobsled; «The boys bobbed down the hill mule ears, the road vanishes beneath the orejas de las mulas, el camino desaparece unspoken secret they share and
screaming with pleasure» menearse, agitarse, wagon as though it were a ribbon and the debajo de la carreta como si fuera una cinta
bazucar= menear o revolver una cosa líquida mo- then returns to the present. He
viendo la vasija en que está front axle were a spool. “Do you know y el eje delantero una devanadera—. Jewel, registers that the sun is setting and
1 a : to move up and down briefly or repeatedly <a
cork bobbed in the water> b : to emerge, arise, or she is going to die, Jewel?” ¿sabes que se va a morir? then imagines what is happening
appear suddenly or unexpectedly <the question back at the farm.
bobbed up again> 2 : to nod or curtsy briefly 3 : 50
to try to seize a suspended or floating object with It takes two people to make you, Se necesitan dos personas para hacer-
the teeth <bob for apples>
bob I verbo intransitivo 1 balancearse en el agua: and one people to die. That’s how the te, y una persona para morir. Así es como
the boats bobbed up and down, los barcos se
balanceaban en el agua 2 cortarse el pelo por world is going to end. el mundo se encamina a su fin.
encima de los hombros pero cubriendo la nuca II
nombre 1 movimiento sobre las olas 2 pelo corto
3 Bob, sobrenombre de Robert 4 GB chelín 55 I said to Dewey Dell: “You want Le dije a Dewey Dell:
her to die so you can get to town: is —Quieres que se muera para así
that it?” She wouldn’t say what we poder irte a la ciudad, ¿es eso? —Ella
both knew. “The reason you will not no diría lo que los dos sabemos—. El COMMENTARY: By this
say it is, when you say it, even to motivo por el que no lo dices es que si lo time, the reader is aware that Darl
60 yourself, you will know it is true: is dices, aunque sea a ti misma, comprenderás is likely to record his environment
that it? But you know it is true now. I que es verdad, ¿Es eso? Pero sabes que es in minute detail and also that he
can almost tell you the day when you cierto. Casi puedo decirte desde qué día is guilty of putting pressure on
other members of the family.
knew it is true. Why won’t you say sabes que es cierto. ¿Por qué no te lo
When he says to Jewel ‘do you
it, even to yourself?” She will not say quieres decir, ni a ti misma? —No lo know she is going to die’, Darl is
65 it. She just keeps on saying Are you quiere decir. No deja de decir: ¿Se lo vas trying to hurt Jewel, to make him
going to tell pa? Are you going to kill a contar a padre? ¿Es que lo quieres ma- aware that he has left his dying
him? “You cannot believe it is true tar?—. No puedes creer que sea mother behind and that he is not
because you cannot believe that cierto porque no puedes creer que likely to see her alive again.
Darl’s reflection on the mystery
Dewey Dell, Dewey Dell Bundren, Dewey Dell, Dewey Dell Bundren, pue-
of birth and death brings Dewey
70 could have such bad luck: is that it?” da tener tan mala suerte, ¿es eso? Dell to mind, for to him she is
equated with birth. His statement,
The sun, an hour above the El sol, que lleva una hora sobre el ‘it takes two people to make you
horizon, is poised like a bloody egg horizonte, está suspendido como un hue- and one people to die’ is strange
upon a crest of thunderheads; the light vo ensangrentado encima de una cresta but accurate. Darl’s use of the
word ‘people’ instead of person
75 has turned copper: in the eye de cúmulos; la luz se ha vuelto cobre:
might be seen as an early
portentous, in the nose sulphurous, amenazadora para el ojo, sulfurosa para indication that at the end of the
smelling of lightning. When Peabody la nariz, huele a relámpago. Cuando lle- book he effectively splits into
comes, they will have to use the rope. gue Peabody, tendrán que usar la soga. two separate people. His
reactions to the environment are,
18
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
pussel-gutted: (Am. col.) fat, He has pussel-gutted himself eating Se le ha inflado la tripa de tanto comer as usual, lyrical. The sun is
overfed cold greens. With the rope they will verdura. Con la soga tirarán de él sende- likened to ‘a bloody egg upon the
crest of thunderheads’, a phrase
haul him up the path, baloon-like up ro arriba; ascenderá como un globo por
which clearly belongs to the
the sulphurous air. el aire sulfuroso. unverbalised as opposed to the
5 unspoken level, the words being
“Jewel,” I say, “do you know that —Jewel —digo—, ¿sabes que Addie too long and erudite to belong to
Addie Bundren is going to die? Addie Bundren se va a morir? ¿Que Addie Darl’s own vocabulary.
Bundren is going to die?” Bundren se está muriendo? [79]
10 11
PEABODY (1) PEABODY
WHEN Anse finally sent for CUANDO Anse por fin mandó por mí Peabody (1)
me of his own accord, I said por su propia voluntad yo me dije: «Al
has wore: (Am. col.) has worn, has This section contains the
15 “ He has wore her out at last.” And I fin ha terminado con ella.» Y dije: «Ya
exhausted unspoken thoughts of Doctor
said a damn good thing and at first I era hora», y al principio no me apetecía Peabody. He seems to know the
would not go because there might be ir porque a lo mejor era algo que yo po- family well and takes a tolerant,
something I could do and I would dría hacer y, Dios mío, tal vez podría re- even a faintly amused, view of
have to haul her back, by God. I cuperarla. Pensé que a lo mejor en el cielo their idiosyncrasies. When he
20 thought maybe they have the same tienen el mismo tipo de ética idiota que reaches Addie’s bedside, Peabody
fool ethics: (Am. English) foolish sees at once that she has given up
sort of fool ethics in heaven they en la Facultad de Medicina y que a lo
moral codes all desire to live. Nevertheless, he
have in the Medical College and that mejor era Vernon Tull el que mandaba demands why Anse did not send
it was maybe Vernon Tull sending for otra vez por mí para que llegara en el for him sooner. He receives no
me again, getting me there in the nick momento justo, pues Vernon siempre satisfactory answer and at that
25 of time, as Vernon always does hace esas cosas, mira más por el dinero moment Dewey Dell summons
things, getting the most for Anse’s de Anse que por el suyo. Pero cuando el them both back to the sickroom.
Peabody feel that Addie does not
money like he does for his own. But día avanzó lo suficiente para interpretar
want him there, and, reflecting on
when it got far enough into the day las señales que indicaban el tiempo que how strange it is that women
for me to read weather sign I knew iba a hacer, comprendí que sólo me po- attach themselves to worthless
30 it couldn’t have been anybody but dría haber llamado Anse. Comprendí que men, he prepares to leave.
Anse that sent. I knew that nobody sólo un hombre sin suerte podría necesi- Suddenly, Addie speaks for the
but a luckless man could ever need a tar un médico cuando estaba a punto de first time, calling on Cash.
doctor in the face of a cyclone. And empezar un ciclón. Y comprendí que si a
I knew that if it had finally occurred Anse al fin se le había ocurrido que ne-
35 to Anse himself that he needed one, cesitaba un médico es que ya era dema-
it was already too late. siado tarde.
When I reach the spring and get Cuando llego al manantial y me apeo
COMMENTARY: Peabody’s
down and hitch the team, the sun has y ato las caballerías, el sol se había es-
section is very useful to the
40 gone down behind a bank of black condido detrás de un banco de nubes ne- reader, for it lets him see the
cloud like a top-heavy mountain gras como un macizo de montañas más Bundrens and the background
range, like a load of cinders dumped pesadas por arriba, como una carga de through the eye of an intelligent,
over there, and there is no wind. I ceniza allí vertida; y no hay viento. humorous outsider, someone who
could hear Cash sawing for a mile Oigo serrar a Cash más de un kilóme- is not bound by religious beliefs
like the Tulls. He confirms the
45 before I got there. Anse is standing at tro antes de llegar. Anse está de pie en
notion that Anse is unfortunate,
the top of the bluff above the path. lo alto del farallón, encima del sendero. ‘nobody but a luckless man could
ever need a doctor in the face of
“Where’s the horse?” I say. —¿Dónde está el caballo? —digo. a cyclone’. Peabody also confirms
what the reader has by now come
50 “Jewel’s taken and gone,” he says. —Jewel lo pilló y se fue —dice—. to suspect, namely that being
ketch hit: : (Am. col.) catch it married to Anse is not a desirable
“Can’t nobody else ketch hit. You’ll Nadie más lo puede coger. Para mí que
state for any woman. His
have to walk up, I reckon.” va a tener usted que subir andando. reluctance (renuencia) to go out
to the farm if there is any chance
“Me, walk up, weighing two —¿Andando yo con mis ciento y pico that he might save Addie shows
55 hundred and twenty-five pounds?” I kilos de peso? —digo—. ¿Subir andando that he feels for Addie’s suffering.
say. “Walk up that durn wall?” He a ese maldito despeñadero? —Allí sigue Later in the section, in the lines
from ‘she has been dead these ten
stands there beside a tree. Too bad the de pie junto a un árbol. Una desgracia que
days’ to ‘a tenement or a town’,
Lord made the mistake of giving trees el Señor cometiera el error de dar raíces a Peabody puts her death into a
roots and giving the Anse Bundrens He los árboles y, en cambio, dar a los Anse more general perspective.
60 makes feet and legs. If He’d just Bundren que hizo pies y piernas. Si hubie- The idea that Addie is finding
swapped them, there wouldn’t ever be ra hecho al revés, nunca habría que pre- it difficult to make the transition
a worry about this country being ocuparse de que algún día esta comarca from the state of being alive to
that of being dead ties in with
deforested some day. Or any other country. quedase deforestada. O cualquier otra comar-
Peabody’s notion that life with
“What do you aim for me to do?” I say. ca—. ¿Qué intenta que haga? —digo—. Anse must have been a form of
65 “Stay here and get blowed clean out ¿Que me quede aquí y que el viento living death for her. Peabody also
of the county when that cloud me borre de la faz de tierra cuando rejects the idea that death is either
breaks?” Even with the horse it would estalle esa nube? —Incluso con el ca- an end or a beginning, preferring
take me fifteen minutes to ride up ballo me llevaría un cuarto de hora to see it simply as the movement
of one individual away from his
across the pasture to the top of the subir por el prado hasta lo alto del
habitual place. The rest of the
70 ridge and reach the house. The path risco y llegar a la casa. El sendero world, the ‘tenement or the town’,
looks like a crooked limb blown parece una rama retorcida lanzada continues to function and exist,
against the bluff. Anse has not been contra el despeñadero. Anse hace doce as does the dead individual, albeit
in town in twelve years. And how his años que no va a la ciudad. ¿Y cómo se in a different place. This notion
mother ever got up there to bear him, las arreglaría su madre para subir allí a is prophetic; after Addie’s death
we see the continuing evidence
75 he being his mother’s son. parirle, pues es hijo de su madre?
that she has been in the
gittin’ (Am. col.) getting ‘tenement’ of the family in the
“Vardaman’s gittin’ the rope,” he says. —Vardaman traerá la cuerda —dice. marks she has left on her sons.
Peabody’s section is full of
reflections of equal profundity,
19
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
After a while Vardaman appears Al cabo de un rato aparece Vardaman though of less seriousness and it
with the ploughline. He gives the end con la cuerda del arado. Le da un extre- provides a useful, ironical view
of the Bundrens. The Doctor is
of it to Anse and comes down the mo a Anse y baja por el sendero,
not simply ironic, however, he
path, uncoiling it. desenrrollándola. also evinces a large measure of
5 human sympathy, feeling concern
I done already: (Am. col.) I have “You hold it tight,” I say. “I done — A g á r r e l a f u e r t e — d i g o — . Ya for the silent Vardaman and for
already already wrote this visit on to my he anotado esta visita en el libro, the dying Addie. In the end,
books, so I’m going to charge you just c o n q u e s e l a t e n g o q u e c o b r a r, Peabody makes a remark which
allows the reader to see the
the same, whether I get there or not.” tanto si subo como si no.
Bundrens in a new context, ‘That
10 durn little tyke . . . and brooding
kin: (Am. col.) can “I got hit,” Anse says. “You kin —Ya agarro bien —dice Anse—. Pue- image.’ Such things as the
come on up.” de usted subir. repetition of the sound of sawing,
the resentment of Jewel by Darl,
I’ll be damned if I can see why Que el demonio me lleve si entien- even the slow indolence of Anse,
are seen here against a back-
15 I don’t quit. A man seventy years do por qué no lo dejo. Que a un hom-
ground of a country where things
old, weighing two hundred and bre de setenta años, que pesa ciento y do move slowly, where everything
odd pounds, being hauled up and pico kilos, le suban y le bajen por una seems to continue for long
down a damn mountain on a rope. condenada montaña con una cuerda... periods. Isolated on the bluff, the
I reckon it’s because I must reach Supongo que es porque debo llegar a Bundrens’ world would appear, in
20 the fifty-thousand dollar mark of la cifra de cincuenta mil dólares de the light of this remark by
Peabody, to be a little world
dead accounts on my books before cuentas sin cobrar antes de dejarlo. —
which mirrors the larger world
I can quit. “What the hell does your ¿Cómo se le ocurre ponerse mala a tu beyond in the sense that it is a
wife mean,” I say, “taking sick on mujer —digo—, ponerse mala en la place of slow, almost impercepti-
top of a durn mountain?” cima de una maldita montaña? ble change.
25
“I’m right sorry,” he says. He let —Lo siento mucho —dice él. Ha
the rope go, just dropped it, and he soltado la cuerda, la ha dejado caer,
has turned toward the house. There y se ha vuelto hacia la casa. Aquí
is a little daylight up here still, of the arriba todavía hay un poco de luz,
30 colour of sulphur matches. The X del color del azufre_____. Los tablo-
boards look like strips of sulphur. nes parecen tiras de azufre. Cash no
Cash does not look back. Vernon Tull mira hacia atrás. Vernon Tull dice
says he brings each board up to the que lleva cada tabla a la ventana
window for her to see it and say it is para que las vea ella y diga si están
35 all right. The boy overtakes us. Anse bien. El chico nos adelantaba. Anse
looks back at him. “Where’s the se vuelve a mirarle—. ¿Dónde está
rope?” he says. la cuerda? —dice.
“It’s where you left it,” I say. “But —Donde usted la dejó —digo—. Pero no
40 never you mind that rope. I got to get se preocupe por esa cuerda. Tendré que vol-
back down that bluff. I don’t aim for ver a bajar por esos riscos. No tengo inten-
that storm to catch me up here. I’d ción de que esa tormenta me coja aqui arri-
blow too durn far once I got started.” ba. Me iba a hacer volar demasiado lejos.
She looks at us. Only her eyes seem Nos mira. Sólo sus ojos parecen mo-
to move. It’s like they touch us, not verse. Es como si nos tocaran, y no como
65 with sight or sense, but like the stream la vista o sentido, sino igual que te toca
from a hose touches you, the stream el chorro de una manguera, un chorro que
at the instant of impact as dissociated en el instante del impacto se disociara de
from the nozzle as though it had never la boca de la manguera como si no hu-
been there. She does not look at Anse biera salido de ella. No mira a Anse en
70 at all. She looks at me, then at the boy. absoluto. Me mira a mí, luego al chico.
Beneath the quilt she is no more than Debajo de la colcha no es más que un
a bundle of rotten sticks. manojo de palos podridos.
“Well, Miss Addie,” I say. The —Bien, Miss Addie —digo. La chi-
75 girl does not stop the fan. “How ca no deja de abanicar—. ¿Cómo va
are you, sister?” I say. Her head eso, mujer? —digo. Su cabeza descan-
lies gaunt on the pillow, looking sa demacrada en la almohada y mira al
at the boy. “You picked out a fine chico—. Valiente tiempecito ha elegido
20
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
time to get me out here and bring usted para hacerme venir hasta aquí y qué
up a storm.” Then I send Anse and tormenta nos ha preparado. —Entonces
the boy out. She watches the boy mando a Anse y al chico fuera. Ella sigue
as he leaves the room. She has not al chico con la mirada cuando éste sale
5 moved save her eyes. del cuarto. Sólo ha movido los ojos.
He and Anse are on the porch when El chico y Anse están en el porche
I come out, the boy sitting on the cuando salgo; el chico sentado en los es-
steps, Anse standing by a post, not calones, Anse de pie junto a un poste,
10 even leaning against it, his arms pero no apoyado en él, con los brazos
dipper (cazo) rooster: (Am. dangling, the hair pushed and matted caídos, el pelo revuelto y desgreñado matted (of a colour, surface, etc.) dull, without
lustre. 1 a border of dull gold round a framed
English) like a cockerel which has up on his head like a dipper rooster. como un pollo mojado. Vuelve la cabe- picture. 2 (in full matt paint) paint formulated
been soaked with water He turns his head, blinking at me. za, mirándome con ojos semicerrados. to give a dull flat finish (cf. gloss 1). 3 the
appearance of unburnished gold.
— v.tr. (matted, matting) 1 make (gilding etc.)
dull. 2 frost (glass) (escarchar).
15 “Why didn’t you send for me —¿Por qué no me mandó a buscar matted 1a tr. (esp. as matted adj.) entangle in a
thick mass (matted hair). b intr. become
sooner?” I say. antes? —digo. matted. 2 tr. cover or furnish with mats.
matted A adj. 1 matted tangled in a dense mass;
hit: (Am. col.) it “tried to push through the matted undergowth”
jest: (Am. col.) just “Hit was jest one thing and then —Por una cosa u otra fui de- 2 flat, mat, matt, matte, matted not reflecting
light; not glossy; “flat wall paint”; “a photograph
another,” he says. “That ere corn me jándolo —dice—. Estaba ese with a matte finish”
matted adj. (pelo) enmarañado
20 and the boys was aimin’ to git up maíz que teníamos que recoger
with, and Dewey Dell a-takin’ good yo y los chicos, y Dewey Dell
keer: (Am. col.) care
keer of her, and folks comin’ in, la cuidaba bien, y la gente ve-
sich: (Am. col.) such a-offerin’ to help and sich, till I jest nía, nos ofrecía ayuda, hasta
thought . . .” que pensé...
25
“Damn the money,” I say. “Did you —Maldito dinero —digo—. ¿Ha oído
ever hear of me worrying a fellow de alguna vez que molestase a un vecino
before he was ready to pay?” porque no me pagara?
45 “And a damn good thing, too,” I —Pues hace muy bien —digo—. Una
say. “With a trifling——” He sits on pizca más y... —está entado en el esca-
the top step, small, motionless in lón de arriba, pequeño, inmóvil en su
faded overalls. . When I came out mono descolorido. Cuando salí alzó la
he looked up at me, then at Anse. vista hacia mi, luego hacia Anse. Pero
50 But now he has stopped looking at ya ha dejado de mirarnos. Se limita a es-
us. He just sits there. tar allí sentado.
yit: (Am. col.) yet “Have you told her yit?” Anse says. —¿Se lo ha dicho ya? —dice Anse.
55 “What for?” I say. “What the —¿Para qué? —digo yo—. ¿Para qué
devil for?” demonios?
hit: (Am. col.) it “Shell know hit. I knowed that —Ya lo sabrá. Yo sabía que en cuanto
when she see you she would know hit, le viera a usted, lo sabría igual que si
60 same as writing. You wouldn’t need estuviera escrito. No tenía ninguna ne-
to tell her. Her mind ——” cesidad de decírselo. Sólo piensa en...
21
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
shoving at me with them. I have seen tuviera barriendo de allí con ellos. Ya
it before in women. Seen them drive lo he visto antes en las mujeres. Las he
from the room them coming with visto echar del cuarto a las que vienen
sympathy and pity, with actual help, con simpatia y piedad, con ayuda efec-
5 and clinging to some trifling animal tiva, y aferrarse a un insignificante
to whom they never were more than animal para el que nunca fueron más
pack-horses. That’s what they mean que bestias de carga. Eso es lo que para
by the love that passeth ellas significa amar por encima de todo:
understanding: that pride, that furious orgullo, ese furioso deseo de esconder
ABJECT, - Qui inspire l'aversion, le dégoût, la répulsion;
qui attire le mépris, l'opprobre.“ 10 desire to hide that abject nakedness esa abyecta desnudez que traemos con
Abject adj.1 miserable, wretched. 2 degraded, self-abas-
ing, humble. 3 despicable. Miserable, bestial, vil.
which we bring here with us, carry nosotros, que arrastramos hasta la sala
Abjecto 1. adj. Despreciable, vil en extremo. 2. desus. with us into operating rooms, carry de operaciones, que terca y
Humillado, abatido. Acobardado
stubbornly and furiously with us furiosamente arrastramos de nuevo con
into the earth again. I leave the nosotros a la tierra. Salgo del cuarto.
15 room. Beyond the porch Cash’s saw Más allá del porche la sierra de Cash
snores steadily into the board. A ronca con fuerza en la tabla. Un minu-
minute later she calls his name, her to después, ella dice su nombre, con voz
voice harsh and strong. áspera y enérgica.
20 “Cash,” she says; “you, Cash!” —Cash —dice—. Oye, Cash. [83]
12 X ___
DARL (5) DARL
25 PA stands beside the bed. From PADRE está de pie al lado de la cama. Darl (5)
behind his leg Vardaman peers, Desde detrás de su pierna Vardaman atis-
In this section, Darl
with his round head and his eyes ba, con su cabeza redonda y sus ojos re-
imaginatively reconstructs the
round and his mouth beginning to dondos y la boca que se le empieza a scene around his mother’s death-
open. She looks at pa; all her abrir. Ella mira a padre; toda su desfalle- bed. He becomes so preoccupied
30 failing life appears to drain into ciente vida parece derramársele por los with his imaginings that he
h e r e y e s , u rg e n t , i r r e m e d i a b l e. ojos, urgente, irremediablemente. scarcely seems to notice either the
“It’s J e w e l s h e w a n t s , ” D e w e y —Es a Jewel a quien quiere —dice wagon on which he is travelling
or his companion, Jewel.
Dell says. Dewey Dell.
22
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
She lies back and turns her head Se vuelve a tumbar y gira la ca-
without so much as glancing at pa. beza sin siquiera mirar a [84] padre.
She looks at Vardaman; her eyes, the Mira a Vardaman; sus ojos, la vida
life in them, rushing suddenly upon en ellos, regresa a toda prisa; las
5 them; the two flames glare up for a dos llamas chisporrotean durante
steady instant. Then they go out as un intenso instante. Luego se apa-
though someone had leaned down and gan como si alguien se hubiera aga-
blown upon them. chado y soplado.
Pa leans above the bed in the Padre inclina sobre la cama en el cre-
twilight, his humped silhouette púsculo su silueta encorvada que com-
partaking of that owl-like quality of parte esa cualidad propia de la lechuza
45 awryfeathered, disgruntled outrage de plumas ahuecadas ofendida, que es-
within which lurks a wisdom too conde dentro una sabiduría demasiado
profound or too inert for even profunda o demasiado inerte para poder
thought. ser comprendida.
Jewel, I say. Overhead the day Jewel, digo yo. El día pasa liso y gris
drives level and grey, hiding the sun por encima, ocultando el sol con un vue-
by a flight of grey spears. In the lo de lanzas grises. Bajo la lluvia las
55 r a i n t h e m u l e s s m o k e a l i t t l e , mulas humean un poco, salpicadas del
splashed yellow with mud, the off amarillo del barro, la de la derecha se
one clinging in sliding lunges to the agarra con arremetidas deslizantes al
side of the road above the ditch. b o rde del camino, sobre la cuneta.
T h e t i l t e d l a m b e r g l e a m s d u l l La leña inclinada brilla amarillo apa-
60 yellow, water-soaked and heavy as gado, empapada de agua y pesada como
lead, tilted at a steep angle into the plomo, volcada en un ángulo empinado
d i t c h a b o v e t h e b ro k e n w h e e l ; en la cuneta encima de la rueda rota;
about the shattered spokes and entre los radios rotos y entre los to-
about Jewel’s ankles a runnel of billos de Jewel corre un arroyo ama-
65 yellow neither water nor earth swirls, rillento, ni de agua ni de tierra,
curving with the yellow road neither of ____ ___________ ________ ____ ___
X
earth nor water, down the hill dissolving __ _____ cerro abajo, disolviéndose en
into a streaming mass of dark green una [85] masa que fluye verde oscuro,
neither of earth nor sky. Jewel, I say. ni de tierra ni de cielo. Jewel, digo.
70
Cash comes to the door, carrying Cash aparece en la puerta, trae la sie-
the saw. Pa stands beside the bed, rra. Padre está de pie al lado de la cama,
humped, his arms dangling. He turns encorvado; le cuelgan los brazos. Vuel-
his head, his shabby profile, his chin ve la cabeza y muestra su perfil ajado, su
75 collapsing slowly as he works the barbilla que se hunde poco a poco mien-
snuff against his gums. tras aprieta el rapé contra las encías.
23
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“She taken and left us,” pa says. —Se ha ido y nos deja —dice padre.
Cash does not look at him. “How nigh Cash no le mira. ¿Cuánto te falta? —
are you done?” pa says. Cash does not dice padre. Cash no responde. Entra, con
5 answer. He enters, carrying the saw. la sierra—. Para mí que es mejor que
“I reckon you better get at it,” pa says. sigas con eso —dice padre—. Tienes
“You’ll have to do the best you can, que hacerla lo mejor que puedas, mien-
with them boys gone off that-a-way.” tras los chicos estén de camino —Cash
Cash looks down at her face. He is baja la vista hacia la cara de madre. No
10 not listening to pa at all. He does not escucha en absoluto a padre. No se acer-
approach the bed. He stops in the ca a la cama. Se detiene en medio del
middle of the floor, the saw against cuarto, con la sierra junto a la pierna,
his leg, his sweating arms powdered los brazos sudorosos ligeramente espol-
lightly with sawdust, his face voreados de serrín, el rostro tranquilo—
15 composed. “If you get in a tight, . Si andas corto de tiempo, a lo mejor
maybe some of them’ll get here mañana viene alguien a ayudarte —dice
to-morrow and help you,” pa says. padre—. Puede que Vernon —Cash no
“Vernon could.” Cash is not listening. escucha. Está mirando el rostro pacífi-
He is looking down at her peaceful, co y rígido de madre que se desvanece
20 rigid face fading into the dusk as en el crepúsculo como si la oscuridad
though darkness were a precursor of fuera precursora de la tierra primordial,
the ultimate earth, until at last the face hasta que por fin el rostro parece flotar
seems to float detached upon it, desprendido por encima de ella, leve
lightly as the reflection of a dead leaf. como el reflejo de una hoja seca—. Que-
25 “There is Christians enough to help dan suficientes cristianos que te ayuden
you,” pa says. Cash is not listening. —dice padre. Cash no escucha. Al cabo
After a while he turns without looking de un rato se vuelve sin mirar a padre y
at pa and leaves the room. Then the sale del cuarto. Luego la sierra empieza
saw begins to snore again. “They will a roncar de nuevo—. Nos ayudarán en
30 help us in our sorrow,” pa says. nuestra desgracia —dice padre.
“Git up, now, and put supper on,” —Venga, vete a preparar la cena —
pa says. “We got to keep our strength dice padre—. Tenemos que recobrar fuer-
up. I reckon Doctor Peabody’s right zas. Para mí que el doctor Peabody tiene
50 hungry, coming all this way. And hambre, después de la caminata. Y Cash
Cash’ll need to eat quick and get back tiene [86] que comer rápido para volver
to work so he can finish it in time.” al trabajo y terminarlo a tiempo.
Dewey Dell stoops and slides the Dewey Dell se agacha y le quita la
quilt from beneath them and draws it colcha de debajo de las manos y estira
70 up over them to the chin, smoothing aquélla sobre éstas, hasta la barbilla,
it down, drawing it smooth. Then alisándola, estirándola con suvaidad.
without looking at pa she goes around Luego, sin mirar a padre, rodea la
the bed and leaves the room. cama y sale del cuarto.
24
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
20 Pa stands over the bed, Padre está de pie junto a la cama, los
dangle-armed, humped, motionless. brazos caídos, encorvado, inmóvil. Se
He raises his hand to his head, lleva la mano a la cabeza, rascándose el
scouring his hair, listening to the saw. pelo, escuchando la sierra. Se acerca
He comes nearer and rubs his hand, más y se restriega la mano, palma y dor-
25 palco and back, on his thigh and lays so, en el muslo y la deja descansar en la
it on her face and then on the hump cara de madre y luego en el bulto de la
of quilt where her hands are. He colcha donde están sus manos. To c a
touches the quilt as he saw Dewey l a c o l c h a c o m o v i o q u e h a c í a
Dell do, trying to smoothe it up to the D e w e y D e l l , t r a t a n d o d e a l i s a r l a
30 chip, but disarranging it instead. He hasta la barbilla, pero la desarre-
tries to smoothe it again, clumsily, g l a . I n t e n t a a l i s a r l a d e n u e v o ,
h i s h and a w k w a r d a s a c l aw, d e s m a ñ a d a m e n t e , c o n m a n o torpe
smoothing at the wrinkles which he como una garra, alisando las arrugas
mude and which continue to emerge q u e h i z o é l y q u e c o n t i n ú a n
perverse 1 perverso, malvado, depravado 35 beneath his hand with perverse X emergiendo bajo su mano con perversa
2 obstinado, terco, caprichoso,
contumaz, adverso, contrario ubiquity, so that at last he desists, his ubicuidad, conque al final desiste, deja
hand falling to his side and stroking caer la mano a un lado y se la restrie-
itself again, palm and back, on his ga otra vez, palma y dorso, en el mus-
thigh. The sound of the saw snores lo. [87] El sonido de la sierra ronca
40 steadily into the room. Pa breathes constante dentro del cuarto. Padre res-
with a quiet, rasping sound, pira con un sonido tranquilo, rasposo,
mouthing the snuff against his gums. mascando el tabaco entre las encías.
“God’s will be done,” he says. “Now —Que sea lo que Dios quiera —dice—
I can get them teeth.” . Ahora podré conseguir la dentadura.
45
Jewel’s hat droops limp about A Jewel le cuelga el sombrero flácci-
his neck, channelling water on do hasta el cuello, canalizando el agua
t o t h e s o a k e d t o w- s a c k t i e d hacia el empapado saco de arpillera ata-
about his shoulders as, do en torno a sus hombros mientras, con
50 ankle-deep in the running ditch, el agua que corre por la cuneta hasta los
he pries with a slipping tobillos, hace palanca en el eje con un
t w o - b y - f o u r, w i t h a p i e c e o f rebaladizo tronco, usando un trozo de
fulcro punto de apoyo de la palanca. rotting log for f u l c r u m, at the madero podrido como punto de apoyo.
axle. Jewel, I say, she is dead, Jewel, digo yo, madre ha muerto, Jewel.
55 Jewel. A d d i e B u n d re n i s d e a d . Addie Bundren está muerta
13
VARDAMAN (1) VARDAMAN
60 THEN I begin to run. I run ENTONCES empiezo a correr. Corro Vardaman (1)
toward the back and come to the hacia la parte de atrás y llego al borde
edge of the porch and stop. Then I del porche y me paro. Entonces me pon- This section consists of the
unspoken thoughts of the
begin to cry. I can feel where the go a llorar. Noto dónde estuvo el pez, en
youngest of Addie’s children as
fish was in the dust. It is cut up into el polvo. Ahora está cortado en pedazos he strives to come to grips with
65 pieces of not-fish now, not-blood y ya no es pez, y no tengo sangre en las the idea that she is dead. He runs
on my hands and overalls. Then it manos ni en el mono. Entonces no era from the house and sees the spot
wasn’t so. It hadn’t happened then. así. Eso entonces no había pasado. Y aho- where Vernon Tull saw him drop
And now she is getting so far ahead ra madre me ha tomado tanta delantera the dead fish. He thinks that the
fish, which he has cut up, is now
ruffle I cannot catch her. que no la puedo alcanzar.
— v. arrugar, agitar, rizar, despeinar encrespar, eri- ‘not-fish’, a childish way of
zar, descomponer, perturbar, ofender, alisar 70 describing death.
1tr. disturb the smoothness or tranquillity of.
2tr. upset the calmness of (a person). The trees look like chickens when Los árboles parecen pollos cuando
3tr. gather (lace etc.) into a ruffle. they ruffle out into the cool dust on se revuelcan en el polvo fresco los días
4tr. (often foll. by up) (of a bird) erect (its feathers) in
anger, display, etc. the hot days. If I jump off the porch I de calor. Si saltara del porche estaría
5intr. undergo ruffling. COMMENTARY: Vardaman
6intr. lose smoothness or calmness. will be where the fish was, and it all donde estuvo el pez que ahora está cor-
— n. arruga, volante fruncido, rizo has not so far contributed to the
1 an ornamental gathered or goffered frill of lace etc. 75 cut up into not-fish now. I can hear tado en pedazos y ya no es pez. Distin-
worn at the opening of a garment esp. round the
book but has been glimpsed in
wrist, breast, or neck. ruffled skirt=falda de
the bed and her face and them and I go el sonido, el de la cama, y veo su other sections as ‘a poor little
volantes;(o pechera o manga de volantes) can feel the floor shake when he cara y las de ellos y noto que el suelo tyke’. Here, Faulkner brilliantly
2 perturbation, bustle.
3 a rippling effect on water. walks on it that came and did it. That hace ruido cuando él entró y lo hizo. portrays the unreasoning violence
4 the ruff of a bird etc. (see ruff 1 2). of the child who is suffering a
5Mil. a vibrating drum-beat.
25
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
came and did it when she was all right Que entró y lo hizo cuando ella estaba shock it cannot understand.
but he came and did it. buena. Entró y lo hizo. Vardaman runs about, finding life
in Jewel’s horse, remembering
death in relation to the fish and
“The fat son of a bitch.” —Ese hijo de la gran puta. striking out at the world in gene-
5 ral, especially Peabody. The
I jump from the porch, running. Salto de porche y corro. La parte difficulties Vardaman will have in
The top of the barn comes swooping de arriba del granero cae como un ave getting the idea of death into
up out of the twilight. If I jump I can surgiendo del crepúsculo. Si doy un perspective are underlined when
we realise that he is still not quite
go through it like the pink lady in the salto puedo atravesarlo como la seño-
sure of his own status in the
10 circus, into the warm smelling, ra de rosa del circo y llegar al olor world; he feels that the sound of
without having to wait. My hands cálido sin tener que esperar. Me aga- crying is separate from himself,
grab at the bushes; beneath my feet rro al matorral; bajo mis pies, piedras ‘the crying makes a lot of noise’,
the rocks and dirt go rubbling down. y barro se desprenden hacia abajo. and wonders what gives the horse
an existence separate from his
own, ‘an is different from my is’.
15 Then I can breathe again, in the Luego puedo volver a respirar en el
It is part of Faulkner’s strategy
warm smelling. I enter the stall, trying olor caliente. Entro [88] en la cuadra, tra- that the family, being isolated and
to touch him, and then I can cry then to de tocarle, y luego ya puedo llorar; of necessity close-knit, should
I vomit the crying. As soon as he gets luego vomito los lloros. Puedo en cuan- share certain personality
through kicking I can and then I can to deja de soltar coces, y luego puedo llo- characteristics among its
20 cry, the crying can. rar, puedo soltar los lloros. members. For example, Darl and
Vardaman share the same
kilt: (Am. col.) killed uneasiness about their own
“He kilt her. He kilt her.” —La mató él. La mató él. existences and both tend to record
experiences as though they, as
The life in him runs under the skin, La vida le corre debajo de la recorders, were no part of those
25 under my hand, running through the piel bajo mi mano, le corre por experiences.
splotches, smelling up into my nose l a s manchas; me echa olor a la na-
where the sickness is beginning to riz donde el mareo está empezando
cry, vomiting the crying, and then I a llorar, a vomitar los lloros, y lue-
can breathe, vomiting it. It makes a go puedo respirar, vomitarlos. Hace
30 lot of noise. I can smell the life mucho ruido. Huelo la vida corrién-
running up from under my hands, up dome debajo de las manos, por las
my arms, and then I can leave the manos arriba, y luego ya puedo irme
stall. de la cuadra.
I run in the dust. I cannot see, Corro por el polvo. No veo al co-
75 running in the sucking dust where the X rrer por el polvo que se levanta hasta
buggy vanishes tilted on two wheels. donde la calesa desaparece basculan-
I strike, the stick hitting into the do sobre dos ruedas. Pego, el palo pega
ground, bouncing, striking into the al suelo, rebota, pegando en el polvo
26
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
dust and then into the air again and y luego de nuevo al aire y el polvo que
the dust sucking on down the road se levanta se va camino abajo más de
faster than if a car was in it. And then prisa que si fuera un carro. Y [89] en-
I can cry, looking at the stick. It is tonces lloro mirando al palo. Está roto
5 broken down to my hand, not longer poco más abajo de mi mano y no es
than stove wood that was a long stick. más largo que una astilla lo que fue
I throw it away and I can cry. It does un palo largo. Lo tiro por ahí y lloro.
not make so much noise now. Ahora ya no hace tanto ruido.
10 The cow is standing in the barn La vaca está asomada a la puerta del
door, chewing. When she sees me granero, rumia. Cuando me ve llegar
come into the lot she lows, her mouth por el descampado muge con la boca
full of flopping green, her tongue llena de baba verdosa y la lengua
flopping. babeando.
15
I ain’t a-goin’ to: (Am. col.) I am
not going to “I ain’t a-goin’ to milk you. I ain’t —No te voy a ordeñar. No voy a ha-
a-goin’ to do nothing for them.” cer nada por ellos.
I hear her turn when I pass. When La oigo volverse cuando paso. Cuan-
20 I turn she is just behind me with her do me vuelvo está justo detrás de mí con
sweet, hot, hard breath. X su dulce, caliente, acre ____.
25 She nudges me, snuffing. She moans Me empuja, olfateando. Se queja muy
deep inside, her mouth closed. I jerk adentro, con la boca cerrada. Muevo la
my hand, cursing her like Jewel does. mano, amenazándola como hace Jewel.
It is dark in the barn, warm, Está oscuro dentro del establo, calien-
maloliente smelling, silent. I can cry quietly, te, oloroso, callado. Lloro tranquilamente
watching the top of the hill. mirando a lo más alto del cerro.
40
Cash comes to the hill, limping Cash llega al cerro, cojea por
where he fell off of the church. He donde se hizo daño al caer de la
looks down at the spring, then up the iglesia. Mira abajo, al manantial,
road and back toward the barn. He luego arriba, al camino, y atrás, ha-
45 comes down the path stiffly and looks cia el granero. Baja el sendero muy
at the broken hitchrein and at the dust tieso y mira las riendas rotas y el
in the road and then up the road, polvo del camino y luego el camino
where the dust is gone. por donde se marchó el polvo.
50 “I hope they’ve got clean past —Espero que ya habrán dejado bien
Tull’s by now. I so hope hit.” atrás casa de Tull. Eso espero.
Cash turns and limps up the path. Cash se vuelve y cojea sendero arriba.
27
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
hide and strong bones within which, huesos poderosos dentro de la cual, dis-
detached and secret and familiar, an perso y secreto y familiar, hay un ser di-
is different from my is. I see him ferente de mi ser. Le veo disolverse—las
dissolve—legs, a rolling eye, a patas, un ojo muy abierto, manchas ale-
5 gaudy splotching like cold flames— gres como llamas frías— y flotar en la
and float upon the dark in fading oscuridad en solución que se desvanece;
solution; all one yet neither; all either todo uno y sin embargo ninguno; todos
yet none. I can see hearing coil los dos pero ninguno. Veo con el oído que
toward him, caressing, shaping his se enrosca hacia él, le acaricia, le da su
10 hard shape—fetlock, hip, shoulder forma definitiva: cernejas, lomo,
and head; smell and sound. I am not brazuelo y cabeza; olor y sonido. No es-
afraid. toy asustado.
“Cooked and et. Cooked and et.” —Guisado y comido. Guisado y comido.
15
14
DEWEY DELL (2) DEWEY DELL
HE could do so much for me if PODRÍA hacer tanto por mí sólo con Dewey Dell (2)
he just would. He could do
20 quererlo. Sí, podría hacer cualquier cosa
Here we find Dewey Dell’s
everything for me. It’s like por mí. Es como si para mí todo lo que
unspoken thoughts as she
tub full of guts: an unpleasant everything in the world for me is hay en el mundo estuviera metido en un longingly watches Peabody,
metaphor for a human being, a inside a tub full of guts, so that tonel lleno de tripas, de modo que uno wishing that he knew she needs
body containing organs you wonder how there can be any se maravillaría de que en él hubiera sitio an abortion. Her reflections about
25 room in it for anything else very para cualquier otra cosa, por muy impor- the gulf between herself and the
important. He is a big tub of guts tante que fuera. Sí, el mundo es un tonel Doctor make her aware of the
separateness of their existences,
and I am a little tub of guts and de tripas grande y yo soy un tonel de tri-
and this leads to a more general
if there is not any room for pas pequeño y si en un tonel de tripas consideration of the distance
anything else important in a big grande no hay sitio para ninguna otra between herself and other people.
30 tub of guts, how can it be room cosa importante, ¿cómo puede haber si-
in a little tub of guts. But I know tio en un tonel de tripas muy pequeño?
it is there because God gave Pero yo sé que lo hay porque Dios les
women a sign when something dio a las mujeres una señal para cuando
has happened bad. ocurre algo malo.
35 COMMENTARY: It is
It’s because I am alone. If I could Bueno, pues estoy sola. Si al me- apparent that the outwardly placid
just feel it, it would be different, nos lo notara, sería distinto, porque Dewey Dell has been affected by
because I would not be alone. But if I no estaría sola. Pero si no estuviera her mother’s death as deeply as
Vardaman. Like her brother, she
were not alone, everybody would sola, todos lo sabrían. Y él podría
evinces an awareness of the
40 know it. And he could do so much hacer tanto por mí, y entonces yo no separateness of other people, ‘It’s
for me, and then I would not be alone. estaría sola. Entonces incluso esta- because I am alone . . . alright
Then I could be all right alone. ría bien aunque estuviera sola. alone’, but it is less acute than
Vardaman’s and hinges on her
I would let him come in between Le dejaría ponerse entre mí y sense of isolation. The ‘he’ to
whom she refers in these lines is
45 me and Lafe, like Darl came in Lafe, como Darl se puso entre mí
Peabody, who seems to her to
between me and Lafe, and so Lafe is y Lafe, y por tanto Lafe también have her salvation in his hands but
alone too. He is Lafe and I am Dewey e s t á s o l o . E l es Lafe y yo Dewey who is oblivious to her needs. In
Dell, and when mother died I had to Dell, y cuando murió madre tuve que the third paragraph, Dewey Dell
go beyond and outside of me and Lafe salir más allá y fuera, de mí y de Lafe y repeats the same ideas in a
50 and Darl to grieve because he could de Darl para sufrir [91]porque él podría different way, ‘he is Lafe and 1
am Dewey Dell, and when mother
do so much for me and he don’t know hacer tanto por mí y no se da cuenta.
died I had to go beyond and
it. He don’t even know it. Ni siquiera se da cuenta. outside of me’. The idea of ‘going
beyond’ herself in order to grieve
From the back porch I cannot see Desde el porche de atrás no alcanzo a implies that Dewey Dell sees
55 the barn. Then the sound of Cash’s ver el granero. Luego el sonido de Cash herself as consisting of a complex
sawing comes in from that way. It is serrando llega de esa dirección. Es como of feelings centred on her own
predicament; to feel anything
like a dog outside the house, going un perro que, fuera de la casa, va de un
beyond that predicament involves
back and forth around the house to sitio a otro alrededor de la casa, hacia going beyond the circle that is
whatever door you come to, waiting cualquier puerta a la que uno se dirija, herself. It is clear from all this that
60 to come in. He said I worry more than esperando entrar. Dijo él: Me preocupa her mother’s death has made
you do and I said You don’t know más que a ti y yo dije: No sabes lo que es Dewey Dell feel very isolated,
what worry is so I can’t worry. I try preocuparse, así que no puedo preocupar- surrounded by men who do not
know and can never hope to
to but I can’t think long enough to me. Lo intento pero no puedo concentrar-
understand her situation.
worry. me lo bastante como para preocuparme. Dewey Dell is left, at the end
65 of the section, to face the
I light the kitchen lamp. The Enciendo la lámpara de la cocina. El problems which she cannot really
jagged adj. 1 with an unevenly cut or torn edge.
2 deeply indented; with sharp points. fish, cut into jagged pieces, pescado, cortado en trozos irregulares, formulate. The cow seems to act
Lacerated irregularly. Dentado, mellado, raí-
bleeds quietly in the pan. I put it sangra tranquilamente en la sartén. Lo as a reminder of her own
do, rasgado, irregular,
femininity, both because of its ac-
into the cupboard quick, listening meto rápidamente en la alacena, prestan-
tual sex and because its breath
70 into the hall, hearing. It took her do oído al zaguán, escuchando. Le llevó make Dewey Dell aware of her
ten days to die; maybe she don’t diez días morir; puede que todavía no own shape, ‘the cow breathes
know it is yet. Maybe she won’t sepa que ya le ha llegado la hora. Puede upon my hips and back, her breath
g o u n t i l C a s h. O r m a y b e u n t i l que no quiera irse hasta que venga Cash. warm, sweet, stertorous,
Jewel. I take the dish of greens O puede que hasta que venga Jewel. Saco moaning’. The world around her
is threatening with the coming
75 f r o m t h e c u p b o a r d a n d t h e el plato de verdura de la alacena y la ban-
storm, but it is also as a result of
bread-pan from the cold stove, deja del pan del horno apagado, y me Addie’s death, ‘dead earth, dead
and I stop, watching the door. paro, mirando la puerta. darkness, dead air’. Inside herself,
Dewey Dell feels utterly lost,
unable to sense whether or not she
28
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Where’s Vardaman?” Cash says. —¿Dónde está Vardaman? —dice is worrying, unable to know
In the lamp his sawdusted arms look Cash. A la luz de lámpara sus brazos cu- whether or not she can cry. Her
sneak: final words are ‘I feel like
like sand. biertos de serrín parecen de arena.
a wet seed wild in the hot blind
earth’, an image which evokes her
5 “I don’t know. I ain’t seen him.” —Y yo qué sé. No lo he visto. fecundity, her sadness (she lees
herself as wet) and the fact that
“Peabody’s team run away. See if —El tiro de Peabody se ha escapado. the world seems to be
you can find Vardaman. The horse A ver si encuentras a Vardaman. El ca- uncomfortable and oblivious to
her troubles, ‘the hot blind earth’.
will let him catch him.” ballo se dejará coger por él.
10
“Well. Tell them to come to supper.” —Bueno. Diles que vengan a cenar.
I cannot see the barn. I said, I don’t No alcanzo a ver el granero. Dije:
know how to worry. I don’t know how No sé cómo preocuparme. No sé cómo
15 to cry. I tried, but I can’t. After a while llorar. Lo intenté, pero no puedo. Al
the sound of the saw comes around, cabo de un rato llega el ruido de l a
coming dark along the ground in the sierra, llega a ras del suelo entre
dustdark. Then I can see him, going l a oscuridad polvorienta. Entonces le veo,
up and down above the plank. arriba y abajo sobre el tablón.
20
“You come in to supper,” I say. —Entra a cenar —digo—. Avísale —
“Tell him.” He could do everything lo podría hacer todo por mí. Y no se da
for me. And he don’t know it. He is cuenta. El es sus tripas y yo soy las mías.
his guts and I am my guts. And I am Y yo soy las tripas de Lafe. Eso es. No
25 Lafe’s guts. That’s it. I don’t see consigo entender por qué no se ha que-
why he didn’t stay in town. We are dado en la ciudad. Somos gente del cam-
country people not as good as town po, no tan buenos como la gente de la
people. I don’t see why he didn’t. ciudad. No consigo entender por qué no
Then I can see the top of the barn. se quedó. Luego alcanzo a ver la parte
30 The cow stands at the foot of the de arriba del granero. La vaca está al pie
path, lowing. When I turn back, del sendero, mugiendo. Cuando me vuel-
Cash is gone. vo, Cash se ha ido.
I carry the buttermilk in. Pa and Les llevo la cuajada. Padre y Cash y
35 Cash and he are at the table. él están a la mesa. [92]
“Where’s that big fish Bud caught, —¿Dónde está ese pez tan grande que
sister?” he says. pescó Bud, hermana? —dice.
turnip greens: the leaves of a root “Plain turnip greens is mighty —Sólo nabos verdes es una comida
vegetable used as food; grelos spindling eating for a man my size,” demasiado escasa para un hombre de mi
spindling: (Am. English) long and thin, 45 he says. Cash is eating. About his tamaño —dice. Cash come. Alrededor de
like a spindle (huso)
head the print of his hat is sweated la cabeza el sombrero le ha dejado una
into his hair. His shirt is blotched señal sudorosa en el pelo. Tiene la cami-
with sweat. He has not washed his sa manchada de sudor. No se ha lavado
hands and arms. las manos ni los brazos.
50
“You ought to took time,” pa says. —Debería haberte dado tiempo —
“Where’s Vardaman?” dice padre—. ¿Dónde anda Vardaman?
29
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
Then I pass the stall. I have almost Luego paso junto al establo. Casi lo
passed it. I listen to it saying for a long he pasado. Escuchó largo rato lo que dice
time before it can say the word and antes de que diga nada y la parte que es-
35 the listening part is afraid that there cucha tiene miedo de que no tenga tiem-
may not be time to say it. I feel my po de decirlo. Noto que mi cuerpo, hue-
body, my bones and flesh beginning sos y piel, empiezan a separarse y a abrir-
to part and open upon the alone, and se a la soledad, y el proceso de interrum-
the process of coming unalone is pir la soledad es terrible. Lafe. Lafe.
40 terrible. Lafe. Lafe. “Lafe” Lafe. Lafe. —Lafe —Lafe. Lafe.
I lean a little forward, one foot Me inclino un poco hacía delante, avan-
advanced with dead walking. I feel zando un pie con paso muerto. Noto que la
the darkness rushing past my breast, oscuridad me pasa rápida por delante del
past the cow; I begin to rush upon pecho, de la vaca; me pongo a correr ha-
45 the darkness but the cow stops me cia la oscuridad pero la vaca me para
and the darkness rushes on upon the y la oscuridad me trae la dulce bo-
sweet blast of her moaning breath, canada de su aliento quejumbroso,
filled with wood and with silence. lleno de bosque y de silencio.
sneak: (Am. English) a person who He comes out of the stall. “You Sale del pesebre.
reveals another’s secrets durn little sneak! You durn little sneak!” —¡Maldito soplón! ¡Maldito soplón!
durn: (Am. col.) darned (mild cur- “You durn little sneak!” My hands —¡Maldito soplón!
se) 60 shake him, hand. Maybe I couldn’t Mis manos le dan meneos. Puede que
stop them. I didn’t know they could no consiga pararlas. No sabía que podían
shake so hard. They shake both of us, dar unos meneos tan fuertes. Nos dan
shaking. meneos a los dos al darle meneos.
65 “I never done it,” he says. “I never —Yo no lo hice —dice él—. Nunca
touched them.” los he tocado.
My hands stop shaking him, but I Mis manos dejan de darle meneos,
still hold him. “What are you doing pero todavía lo tengo agarrado.
70 here? Why didn’t you answer when I —¿Qué hacías aquí? ¿Por qué no res-
called you?” pondiste cuando te llamaba?
75 “You go on to the house and get your supper.” —Vete a casa y ponte a cenar.
30
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
quit now. You leave me be.” —Estate quieta. Déjame en paz. [94]
“What were you doing down here? You —¿Qué estabas haciendo aquí?
didn’t come down here to sneak after me?” ¿Has venido a espiarme?
5
“I never. I never. You quit, now. I —No. No. Estate quieta. Ni si-
didn’t even know you was down here. quiera sabía que estabas aquí.
You leave me be.” Déjame en paz.
10 I hold him, leaning down to see his Le tengo agarrado; al agacharme a verle la
face, feel it with my eyes. He is about cara, lo noto con los ojos. Está a punto de llorar.
to cry. “Go on, now. I done put supper —Anda, vete. Te he puesto la cena y
on and I’ll be there soon as I milk. volveré en cuanto ordeñe. Será mejor que
You better go on before he eats vayas antes de que él se lo coma todo.
team: a pair of horses for pulling a
15 everything up. I hope that team runs Espero que el tiro ya haya llegado hasta
wagon or cart
clean back to Jefferson.” el mismo Jefferson.
“She never hurt him and he come —Ella nunca le hizo daño y él va y la
and kilt her.” mata.
25
“Hush.” He struggles. I hold him. —A callar —se resiste. Le sujeto—.
“Hush.” A callar.
“He kilt her.” The cow comes up —La mató él —la vaca se nos acerca
30 behind us, moaning. I shake him por detrás quejándose. Vuelvo a darle un
again. meneo.
31
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
15 15
VARDAMAN (2) VARDAMAN
WHEN they get it finished CUANDO la tengan terminada, irán Vardaman (2)
5 they are going to put her in it y la meterán dentro, y luego, durante
and then for a long time I coudn’t mucho tiempo, no podré decirlo. He vis- This section consists of
say it. I saw the dark stand up and to a la oscuridad que se levantaba y se Vardaman’s unspoken and
g o w h i r l i n g a w a y a n d I said marchaba haciendo remolinos y dije: unverbalised thoughts as he
watches his mother’s body being
“Are you going to nail her up in —¿La vas a clavar dentro, Cash?
put into the coffin.
10 it, Cash? Cash? Cash?” I got shut ¿Cash? ¿Cash? —me quedé encerra-
up in the crib the new door it was do en el pesebre. La nueva puerta era COMMENTARY: The
too heavy for me it went shut I demasiado pesada para mí y se cerró confusion in this section indicates
couldn’t breathe because the rat y no podía respirar porque la rata res- the enormous difficulties
was breathing up all the air. I said piraba todo el aire. Dije—: ¿Vas a cla- Vardaman is having in trying to
find some shape in his world now
15 “Are you going to nail it shut, varla y cerrarla, Cash? ¿La vas a cla-
that it no longer contains his
Cash? Nail it? Nail it?” var? ¿La vas a clavar? mother. The disorganisation of his
thoughts is reflected in the
Pa walks around. His shadow walks Padre anda por ahí. Su sombra anda breakdown of grammar and
around, over Cash going up and down por ahí, por encima de Cash que sube y sense, ‘Because I am a country
20 above the saw, at the bleeding plank. baja la sierra sobre la tabla que sangra. boy because boys in town.
Bicycles. Why do flour and lugar
and coffee cost so much when he
Dewey Dell said we will get some Dewey Dell dijo que tomaremos pláta- is a country boy’. The thoughts
bananas. The train is behind the nos. El tren está detrás del cristal, rojo en- which crowd in upon him do
glass, red on the track. When it runs cima de la vía. Cuando corre, la vía brilla contain some sort of perverted
25 the track shines on and off. Pa said aquí y allá. Padre dijo que la harina y el logic. In a separate grouping, we
flour and sugar and coffee costs so azúcar y el café cuestan mucho. Porque yo find thoughts of confinement, of
his own inability to breathe when
much. Because I am a country boy soy un chico del campo por culpa de los
enclosed in a small space and of
because boys in town. Bicycles. Why chicos de la ciudad. Bicicletas. ¿Por qué the problems his mother will
do flour and sugar and coffee cost so cuestan tanto la harina y el azúcar y el café experience in breathing in the
30 much when he is a country boy. cuando uno es un chico del campo? coffin.
ruther: (Am. col.) would rather “ Wouldn’t you ruther have some —¿No preferirías plátanos en lugar de From this, he goes on to think
bananas instead?” Bananas are gone, eso? —los plátanos se han ido, comidos. that the object in the bed is not
his mother, ‘she went away when
eaten. Gone. When it runs on the track Idos. Cuando corre, la vía brilla otra vez.
the other one laid down in her bed
shines again. “Why ain’t I a town boy, —¿Por qué no soy un chico de la and drew the quilt up’, and begins
35 ‘ pa?” I said God made me. I did not ciudad, padre? —dije. Me hizo Dios. to wonder where his real mother
said to God to made me in the No le dije a Dios que me hiciera chico has gone, whether she has gone
country. If He can make the train, why del campo. Si puede hacer el tren, ¿por farther than the town. In the final
can’t He make them all in the town qué no hace que todos sean chicos de paragraph, Vardaman links up the
dead fish with his dead mother,
because flour and sugar and coffee. ciudad con harina y azúcar y café?
‘then it wasn’t and she was, and
40 “Wouldn’t you ruther have bananas?” —¿No preferirías los plátanos? now it is and she wasn’t’, trying
all the time to find where she is
He walks around. His shadow Anda por ahí. Su sombra and what death means. He seems
walks around. anda por ahí. to believe that the death of his
mother and the fish are closely
linked and that Vernon Tull, who
45 It was not her. I was there, looking. Eso no era ella. Yo estaba allí, mira-
saw the dead fish, will be able to
I saw. I thought it was her, but it was ba. Lo vi. Creí que eso era ella, pero no confirm this.
not. It was not my mother. She went era. Eso no era mi madre. Ella se marchó
away when the other one laid down in [96] cuando la otra se echó en la cama y
her bed and drew the quilt up. She went estiró la colcha. Se marchó.
50 away. “Did she go as far as town?” —¿Habrá llegado hasta el pueblo?
“She went farther than town.” —Se fue más lejos todavía.
“D i d a l l t h o s e r a b b i t s a n d —¿Y t o d o s e s o s c o n e j o s y
possums: (Am. English) opossums, p o s s u m s g o f a r t h e r t h a n zarigüeyas se van tan lejos?
small animals town?” God made the rabbits Dios hizo a los conejos y a las
55 a n d p o s s u m s . He made the train. zarigüeyas. Hizo el tren. ¿Para qué va a
Why must He make a different place for hacer un sitio diferente para que vayan
them to go if she is just like the rabbit. si ella es igual que los conejos?
Pa walks around. His shadow Padre anda por ahí. Lo mismo su som-
60 does. The saw sounds like it is bra. La sierra suena como si estuviera
asleep. durmiendo.
And so if Cash nails the box up, Y entonces Cash clava la caja por arri-
she is not a rabbit. And so if she is ba y ella no es un conejo. Y si ella no es
65 not a rabbit I couldn’t breathe in the un conejo y yo no podía respirar en el
crib and Cash is going to nail it up. pesebre y Cash se pone a clavarla por
And so if she lets him it is not her. I arriba. Y si ella le deja es que no es ella.
know. I was there. I saw when it did Lo sé. Yo estaba allí. Yo vi cuando eso
not be her. I saw. They think it is and ya no era ella. Lo vi. Ellos creen que sí
70 Cash is going to nail it up. es y Cash va a clavar la tapa.
It was not her because it was laying Eso no era ella porque eso estaba
right yonder in the dirt. And now it’s tirado por ahí, entre la porquería. Y
all chopped up. I chopped it up. It’s ahora todo está cortado en pedazos. Lo
75 l a y i n g i n t h e k i t c h e n i n t h e corté yo. Está en la cocina, sangrando
bleeding pan, waiting to be cooked en la sartén, esperando a que lo coci-
and et. Then it wasn’t and she was, nen y se lo coman. Entonces eso no
and now it is and she wasn’t. And estaba aquí y ella sí estaba, y ahora
32
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
10 16
TULL (2) TULL
IT was nigh to midnight and it had ERA cerca de la medianoche y ya Tull (2)
set in to rain when he woke us. It had estaba lloviendo cuando nos despertó.
misdoubtful: (Am. col.) disturbing This section consists of Vernon
15 been a misdoubtful night, with the Había sido una noche inquietante,
Tull’s unspoken thoughts on the
storm making; a night when a fellow amenazando tormenta; una noche en evening of Addie’s death. After
looks for most anything to happen que uno espera que pase algo antes de midnight, Vernon hears a noise
before he can get the stock fed and poder recoger el ganado y llegar a casa and finds Vardaman standing
himself to the house an supper et and y cenar y meterse en cama, con la llu- outside, soaking wet and talking
20 in bed with the rain starting, and via empezando a caer, así que cuando unintelligibly about a fish. Cora
and Vernon take him back to his
when Peabody’s team come up, llega el tiro de Peabody, cubierto de
home where Vernon is put to work
lathered: covered in sweat lathered, with the broke harness espuma, con los arneses rotos arras- nailing Addie into her coffin.
dragging and the neck-yoke betwixt trando y con el yugo entre las patas del Vardaman tries to make it easier
critter’s: (Am. col.) creature’s the off critter’s legs, C o r a s a y s animal de la derecha, Cora dice: [97] for her to ‘breathe’ by boring
25 “It’s Addie Bundren. She’s gone at —Es Addie Bundren. Por fin se ha holes in the coffin lid. After dawn,
last.” ido. Vernon gets home, still upset by
Vardaman’s odd behaviour, but
mought: (Am. col.) might trying to accept Cora’s insistence
“Peabody mought have been to ere —Peabody podría estar en cualquie- that Vardaman’s behaviour is the
a one of a dozen houses hereabouts,” ra de la docena de casas de los alrededo- judgement of God on Anse
30 I says. “Besides, how do you know res —digo yo—. Además, ¿cómo sabes Bundren but that they, the Tulls,
it’s Peabody’s team?” que es el tiro de Peabody? are so good that no such
judgement will ever be passed on
them.
“Well, ain’t it?” she says. “You —Pero ¿es que no lo es? —dice ella—
hitch up, now.” . Anda, ve enganchando.
35
“What for?” I says. “If she is gone, —¿Para qué? —digo yo—. Si Addie
we can’t do nothing till morning. And se ha ido, hasta mañana no podemos ha-
it fixing to storm too. cer nada. Amenaza tormenta, además. COMMENTARY: The
impression that Vernon Tull is a
sympathetic man is continued in
40 “It’s my duty,” she says. “You put —Es mi obligación —dice ella—. this section. Vardaman’s distress
the team in. Trae la yunta. upsets him deeply, making him
think about ‘the sorrows and
But I wouldn’t do it. “It Pero yo no quería. afflictions in this world’. Tull’s
stands to reason they’d send for —Es más sensato que manden por attempts at thought, however,
serve only to reveal how limited
45 u s i f t h e y n e e d e d u s . Yo u d o n ’t nosotros si nos necesitan. Todavía no
he is in his potential for thought.
e v e n k n o w s h e ’s g o n e y e t . ” sabes si se ha ido. He relies heavily on the words of
his wife and generally believes
“Why, don’t you know that’s —¿No sabes que es el tiro de that ‘the Lord aimed for him
Peabody’s team? Do you claim it Peabody? ¿Atrévete a decir que no lo es? (man) to do and not to spend too
50 ain’t? Well, then.” But I wouldn’t go. Por lo tanto... —pero yo no quería ir. much time thinking’.
Apart from giving an insight
When folks wants a fellow, it’s best Cuando la gente necesita a un vecino, es
into Tull’s character, this section
to wait till they sends for him, I’ve mejor, según mi experiencia, esperar has- shows the reader the outward
found. “It’s my Christian duty,” Cora ta que manden por él—. Es un deber de efects of the inner turmoil which
says. “Will you stand between me and cristiana —dice Cora—. ¿Te vas a meter we saw in Vardaman (2). Having
55 my Christian duty?” entre mis deberes de cristiana y yo? seen what is going on in
Vardaman’s mind, we now see the
little boy set against the back-
“You can stay there all day —Mañana, si quieres, puedes pasarte
ground of other people, people
to-morrow, if you want,” I says. allí el día entero —digo yo. who fail to understand what he
feels.
60 So when Cora waked me it had Conque cuando Cora me despertó
set in to rain. Even while I was go- había empezado a llover. Ni cuando
ing to the door with the lamp and it iba a la puerta con la lámpara y ésta
shining on the glass so he could see brillaba en el cristal para que pudiera
I am coming, it kept on knocking. ver que me acercaba dejó de llamar.
65 Not loud, but steady, like he might No fuerte, pero sin parar, como si se hu-
sleep thumping: banging whilst have gone to sleep thumping, but I biera quedado dormido mientras llamaba,
walking in sleep never noticed how low down on the pero no me di cuenta de lo abajo que
door the knocking was till I opened llamaban de la puerta hasta que abrí
it and never seen nothing. I held the y no vi nada. Levanté la lámpara y
70 lamp up, with the rain sparkling across la lluvia relucía delante de ella y de
it and Cora back in the hall saying Cora que, detrás, en el zaguán, decía:
“ Wh o i s i t , Ve r n o n ? ” b u t I —¿Quién es, Vernon?
couldn’t see nobody a-tall Pero al principio no conseguí ver a
at first until I looked down nadie en absoluto; no hasta que me aga-
75 a n d a r o u n d t h e d o o r , l o w e r - ché y miré la parte de abajo de la puerta,
ing the lamp. bajando la lámpara.
33
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
in them overalls, without no hat, mono, sin gorro, salpicado hasta las ro-
splashed up to his knees where he had dillas pues había tenido que andar seis
walked them four miles in the mud. kilómetros por el barro.
“Well, I’ll be durned,” I says. —Bueno, que me maten... —digo yo.
5
“Who is it, Vernon?” Cora says. —¿Quién es, Vernon? —dice Cora.
He looked at me, his eyes round Me miraba con sus ojos redondos y
and black in the middle like when negros como cuando se lanza un rayo de
10 you throw a light in a owl’s face. luz a la cara de una lechuza. [98]
“You mind that ere fish,” he says. —Tenga cuidado con el pez —dice.
“Come in the house,” I says. “What —Entra a casa —digo yo—. ¿Qué
is it? Is your maw——” pasa? Es que tu madre...
15
“Vernon,” Cora says. —Vernon —dice Cora.
25 Then Cora come to the door. “You Entonces Cora sale a la puerta.
come right in outen the rain,” she —Ven ahora mismo y quítate de la
says, pulling him in and him watching lluvia —le dice, tirando de él que me
me. He looked just like a drowned miraba. Parecía un perrillo ahogado—
puppy. “I told you,” Cora says. “I told .Ya te lo había dicho —dice Cora—. Te
30 you it was a-happening. You go and había dicho lo que estaba pasando. Vete
hitch.” a aparejar.
34
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
not to spend too much time think- mos y no perdamos demasiado tiem-
ing, because his brain it’s like a po pensando, porque nuestro cerebro
piece of machinery: it won’t stand es como una pieza [99] de relojería:
racking: stretching
a whole lot of racking. It’s best no necesita estar siempre en marcha.
5 when it all runs along the same, Es mejor cuando funciona siempre
doing the day’s work and not no igual, cuando hace su tarea diaria y
one part used no more than needful. no usa ninguna de sus partes más de
I have said and I say again, that’s lo necesario. Lo he dicho y lo vuel-
ever living thing the matter with vo a decir, que eso es lo que le pasa
10 Darl: he just thinks by himself too a Darl: piensa demasiado. Cora tie-
much. Cora’s right when she says ne razón cuando dice que lo único
all he needs is a wife to straighten que necesita es una mujer que lo en-
him out. And when I think about derece. Y cuando pienso en eso,
that, I think that if nothing but pienso que si sólo el matrimonio pue-
15 being married will help a man, he’s de ayudar a un hombre, este hombre
durn nigh hopeless. But I reckon está casi perdido. Pero para mí que
Cora’s right when she says the Cora tiene razón cuando dice que la
reason the Lord had to create razón por la que el Señor creó a la
women is because man don’t know mujer es porque el hombre no sabe
20 his own good when he sees it. lo que le conviene aunque lo vea.
“The rain never come up till after —No empezó a llover hasta después
I left,” he says. “I had done left. I was de irme —dice él—. Ya me había mar-
on the way. And so it was there in the chado. Estaba de camino. Y eso estaba
40 dust. You seen it. Cash is fixing to allí, en el polvo. Usted lo vio. Cash se
nail her, but you seen it.” prepara a clavarla, pero usted lo vio.
When we got there it was raining Cuando llegamos llovía con fuerza,
hard, and him sitting on the seat y él iba en el asiento entre nosotros, en-
45 between us, wrapped up in Cora’s vuelto en el chal de Cora. No había di-
shawl. He hadn’t said nothing else, cho nada más, limitándose a sentarse
just sitting there with Cora holding allí con Cora tapándole con el paraguas.
the umbrella over him. Now and then De cuando en cuando Cora dejaba de
Cora would stop singing long enough canturrear lo suficiente para decir: «Es
50 to say “It’s a judgment on Anse un castigo de Dios a Anse Bundren.
Bundren. May it show him the path Puede que esto le enseñe que no se debe
of sin he is a-trodding.” Then she seguir el camino del pecado.» Luego
would sing again, and him sitting volvía a canturrear, y él sentado entre
there between us, leaning forward a nosotros, un poco inclinado hacia de-
55 little like the mules couldn’t go fast lante como si las mulas no fueran lo
enough to suit him. bastante deprisa para su gusto.
“It was laying right yonder,” he —Eso estaba por allí tirado —
says, “but the rain come up after I dice—, pero la lluvia no empezó has-
60 taken and left. So I can go and open ta que cogí y me fui. Conque puedo
the windows, because Cash ain’t ir y abrir las ventanas, porque Cash
nailed her yet.” todavía no la ha clavado.
It was long a-past midnight when Hacía tiempo que había pasado la
65 we drove the last nail, and almost medianoche cuando pusimos el último
dust-dawn when I got back home clavo, y casi amanecía cuando volví
and taken the team out and got back casa y desuncí el tiro y volví a acostar-
in bed, with Cora’s nightcap laying me; el gorro de dormir de Cora descan-
on the other pillow. And be durned saba en la otra almohada. Y que me
70 if even then it wasn’t like I could condene si incluso entonces no parecía
still hear Cora singing and feel that que seguía oyendo canturrear a Cora y
boy leaning forward between us notando al niño echado hacia adelante,
like he was ahead of the mules, and entre nosotros como si fuera delante de
still see Cash going up and down las mulas, y todavía veía a Cash dale
75 with that saw, and Anse standing que dale a la sierra, y a Anse allí de pie
there like a scarecrow, like he was como un espantapájaros, como un
a steer standing knee-deep in a buey que se hubiera hundido hasta el
pond and somebody come by and corvejón en un charco y se le acercara
35
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
set the pond up on edge and he ain’t al guien y lo sacara al borde y él si-
missed it yet. guiera sin reaccionar.
It was nigh toward daybreak when Casi iba a romper el día cuando pu-
we drove the last nail and toted it into
5 simos el último clave y llevamos la caja
the house, where she was laying on dentro de la casa, donde ella estaba
the bed with the window open and the tumbada en la cama con la ventana
rain blowing on her again. Twice he abierta y la lluvia cayéndo le encima.
did it, and him so dead for sleep that Dos veces la abrió y estaba tan muerto
10 Cora says his face looked like one of de sueño que Cora dice que su cara pa-
these here Christmas masks that had recía una careta de Navidad que han
done been buried a while and then dug tenido enterrada y luego la sacaron,
up, until at last they put her into it hasta que por fin la metieron dentro y
and nailed it down so he couldn’t la clavaron de modo que él no pudiera
15 open the window on her no more. And volver a dejarla a la intemperie. Y a la
the next morning they found him in mañana siguiente lo encontraron tum-
felled steer: (Am. English) a dead his shirt-tail laying asleep on the floor bado en el suelo en camisa dormido
cow like a felled steer, and the top of the como un buey muerto, y la t a p a d e
box bored clean full of holes and la caja llena de agujeros y el
auger: an instrument for making 20 Cash’s new auger broke off in the berbiquí nuevo de Cash roto en el úl-
holes in wood
last one. When they taken the lid timo de ellos. Cuando levantaro n l a
off they found that two of them tapa descubrieron que dos de los
had bored on into her face. taladros le habían agujereado la cara.
50 I reckon she’s right. I reckon if Para mí que ella tiene sazón. Para
there’s ere a man or woman anywhere mí que si hay un hombre o una mujer
that He could turn it all over to and en que É1 pueda descansar y confiar,
go away with His mind at rest, it no puede ser nadie más que Cora. Y
would be Cora. And I reckon she para mí que ella haría unos cuantos
55 would make a few changes, no matter cambios sin importarle cómo había
how He was running it. And I reckon dispuesto É1 las cosas. Y para mí que
they would be for man’s good. redundarían en bien de los hombres.
Leastways, we would have to like Al menos, nos tendrían que gustar. Al
them. Leastways, we might as well menos podríamos comportarnos así y
60 go on and make like we did. hacer como si nos gustaran.
17
D A R L (6) DARL
a stump: the remains of a tree trunk 65 THE lantern sits on a stump. EL farol está encima de un tocón. Darl (6)
Rusted, grease-fouled, bits cracked Oxidado, sucio de grasa, con el
chimney smeared on one side with a tubo roto y manchado de barro, y This section consists of Darl’s
soaring smudge of soot, it sheds a uno de los lados tiznado de hollín, unspoken and unverbalised
thoughts as he reconstructs in
feeble and sultry glare upon the arroja una luz débil y cálida sobre
great detail the scene which takes
70 trestles and the boards and the los caballetes y las tablas y la tierra place after the Tulls have returned
adjacent earth. Upon the dark ground adyacente. Encima del oscuro suelo las with Vardaman to the farm. At the
the chips look like random smears virutas parecen borrones de color páli- end of the section, he returns to
of soft pale paint on a black canvas. do suave pintados al azar en un lienzo the present and wonders about the
The boards look like long smooth negro. Las tablas parecen largos y pu- status of the words ‘is’ and ‘was’
in relation to people.
75 tatters torn from the flat darkness lidos andrajos desgarrados de la chata
and turned backside out. oscuridad y puestos al revés.
Cash labours about the trestles, Cash se afana junto a los caballetes,
36
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
moving back and forth, lifting and placing va y viene, levanta y coloca las tablas que COMMENTARY: Instead of
clatter estrépito n. a rattling noise (often produced the planks with long clattering producen largas reverberaciones restallantes allowing the reader to see these
by rapid movement); “the shutters clattered against events directly, Faulkner chooses
the house”; “the clatter of iron wheels on reverberations in the dead air as en el aire muerto igual que si estuvie-
cobblestones” to present them through the eyes
v. clatter hacer ruido estrepitoso, clack, brattle though he were lifting and dropping ra levantándolas y luego dejándolas of the absent Darl. This serves a
make a rattling sound; “clattering dishes” 5 them at the bottom of an invisible caer al fondo de un pozo invisible,
1 : to make a rattling sound <the dishes clattered dual purpose; it further
on the shelf> 2 : to talk noisily or rapidly 3 : to well, the sounds ceasing without donde cesan los sonidos sin desapare- strengthens our idea of how
move or go with a clatter <clattered down the
stairs> pound, thump departing, as if any movement might cer del todo, como si algún movimiento obsessed Darl is with his home
dislodge [stone, obstruction] sacar, extraer dislodge them from the immediate los desalojara del aire inmediato con and his mother and it gives the
[party, ruler] desbancar = cause to fall) hacer caer reader a description of the events
to remove from or leave a lodging place, hiding pla- air in reverberant repetition. He saws reverberaciones repetidas. Vuelve a se-
ce, or previously fixed position in the words of the best observer
10 again, his elbow flashing slowly, a rrar, su codo relampaguea lentamente, in the book. Absent though he is,
thin thread of fire running along una fina hebra de fuego recorre los Darl’s imaginings are as
t h e e d g e o f t h e s a w, l o s t a n d dientes de la sierra, se pierde y se re- meticulous as his actual
recovered at the top and bottom of cupera en cada uno de los extremos con observations. In Darl’s
each stroke in unbroken elongation, cada golpe en continua prolongación, reconstruction, the scene takes on
surrealistic undertones, grotesque
15 so that the saw appears to be six de modo que la sierra parece que mide
shadows throwing things out of
f e e t l o n g , i n t o a n d o u t o f p a ’s dos metros de largo, al entrar y salir de proportion, the image lit by the
s ha b b y a n d a i m l e s s s i l h o u t t e . la silueta miserable e inútil de padre. lurid (fantasmagórica) light of the
“Give me t h a t P l a n k , ” C a s h —Deme e s a t a b l a — d i c e lightning and the rain sweeping
says. “No; the other one.” Cash—. No; la otra. the figures along in a way which
20 He puts the saw down and comes and Deja la sierra y va y coge la ta- anticipates the scene in the river.
Of all the characters in the book,
picks up the plank he wants, sweeping b la que quiere, borrando a padre con
only Darl could credibly be given
pea away with the long swinging el alargado resplandor oscilante the unverbalised response to the
gleam of the balanced board. de la tabla equilibrada. events which brings out all the
macabre and surreal elements in
25 The air smells like sulphur. Upon E1 aire huele como a azufre. Encima them.
impalpable: incapable of being the impalpable plane of it their de su impalpable superficie las sombras The last paragraph contains
touched or felt Darl’s personal attempt to resolve
shadows form as upon a wall, as se disponen como encima de una pared,
the problem of his own existence,
though like sound they had not gone como si, al igual que los sonidos, no fue- a problem brought to mind not
ruffle very far away in falling but had ran a caer muy lejos, sino que meramen- only by the impending death of
— v. arrugar, agitar, rizar, despeinar encrespar, eri-
zar, descomponer, perturbar, ofender, alisar 30 merely congealed for a moment, te se cuajaran durante un momento, in- his mother but also by his own
1tr. disturb the smoothness or tranquillity of. situation. Settling down to sleep
2tr. upset the calmness of (a person). immediate and musing. Cash works mediato y contemplativo. Cash trabaja
3tr. gather (lace etc.) into a ruffle. on, half turned into the feble light, one medio vuelto hacia la débil luz, un mus- in a strange place, Darl wonders
4tr. (often foll. by up) (of a bird) erect (its feathers) in about the difference between the
anger, display, etc. thigh and one pole-thin arm braced, lo y un brazo delgado como un palo en
5intr. undergo ruffling. sleeping state and the state of not-
6intr. lose smoothness or calmness. his face sloped into the light with a tensión, la cara hundida en la luz con being, that is, death. ‘And when
— n. arruga, volante fruncido, rizo
1 an ornamental gathered or goffered frill of lace etc. 35 rapt, dynamic immobility above his arrobada y dinámica inmovilidad enci- you are filled for sleep . . . And
worn at the opening of a garment esp. round the tireless elbow. Below the sky ma de su codo infatigable. Bajo el cielo then I must be . . .’, these lines
wrist, breast, or neck. ruffled skirt=falda de
volantes;(o pechera o manga de volantes) sheet-lightning slumbers lightly; los relámpagos se adormecen levemen- contain an odd, apparently
2 perturbation, bustle. unintelligible reflection on the
3 a rippling effect on water. against it the trees, motionless, are te; contra éste los árboles, inmóviles,
4 the ruff of a bird etc. (see ruff 1 2). meaning of existence. They hinge
5Mil. a vibrating drum-beat. ruffled out to the last twig, swollen, agitan hasta su última rama, hinchados,
on the words ‘is’ and ‘was’ and
quick with young: pregnant 40 increased as though quick with desarrollados como una súbita juven- on the confirmation of the
young. tud existence of anything or anyone
by some agency beyond that thing
It begins to rain. The first Se pone a llover. Las primeras gotas, or person. Thus the wagon sitting
harsh, sparse, swift drops rush desaparecidas, dispersas, repentinas, re- outside in the rain ‘is’ in Darl’s
terminology because the falling
45 through the leaves and across the corren rápidamente las hojas y caer al
rain takes on the shape of the
ground in a long sigh, as though suelo con un largo suspiro, como libera- wagon. When he sets out to go to
of relief from intolerable sus- das de una incertidumbre insoportable. sleep, he abandons his ‘shape’,
buckshot: the pellets used in a gun pense. They are big as buckshot, Son como grandes perdigones, calientes ceases to have his existence
warm as though fired from a gun; igual que si las hubiera disparado una confirmed by any outside agency.
50 they sweep across the lantern in a escopeta; se deslizan por el farol con un In the end, Darl uses a variation
vicious 1 bad-tempered, spiteful (a vicious dog; vicious of the ‘I think therefore I am’
vicious hissing. Pa lifts his face, siseo maligno. Padre levanta la cara, bo-
remarks). 2 violent, severe (a vicious attack). 3 of the notion to confirm his own
nature of or addicted to vice. 4 (of language or slackmouthed, the wet black rim of quiabierto, el cerco negro y húmedo del existence, ‘I must be, or I could
reasoning etc.) faulty or unsound.
Malicioso, horroroso, feroz, despiadado snuff plastered close along the base rapé emplastado a lo largo de la base de not empty myself for sleep’. This
vicious feroz, salvaje, fiero, despiadado, sangui-
nario, virulento, atroz, malicioso, malintencio- of his gums; from behind his sus encías; desde detrás de su boca abier- meditation on the nature of
nado, nefasto, fatal, abominable, depravado 55 slackfaced astonishment he muses as ta por el asombro suelta palabras existence takes place at an
though from beyond time, upon the entrecortadas, como si llegaran desde unspoken but not an unverbalised
level, for the terms are simple
ultimate outrage. C a s h l o o k s o n c e más allá del tiempo, acerca de esta afren-
although the ideas are complex.
a t t h e s k y, t h e n a t t h e l a n t e r n . ta definitiva. Cash mira al cielo, luego al When we come to Addie’s
The saw has not faltered, the running farol. La sierra no ha callado, el resplan- section, we see that Darl’s doubts
pistoning: (neologism) going back 60 gleam of its pistoning edge unbroken. dor móvil de sus dientes no se ha roto. about his own existence have a
and forwards like a piston “G e t s o m e t h i n g t o c o v e r t h e — Tr a i g a a l g o p a r a t a p a r e l great deal to do with the tension
lantern,” he says. farol —dice. between words and deeds,
between terms and ideas. This
sections gives us an early
Pa goes to the house. The rain Padre va a casa. La lluvia aumenta indication of the nature of his
rushes suddenly down, without
65 de repente, sin truenos, sin aviso de nin- problem and also, in passing,
thunder, without warning of any sort; gún tipo; la lluvia lo barre contra el bor- reveals the lonely inner depths of
he is swept on to the porch upon the de del porche, y en un instante Cash his character.
edge of it and in an instant Cash is wet queda calado hasta los huesos. Con todo,
to the skin. Yet the motion of the saw no ha cesado el movimiento de la sie-
70 has not faltered, as though it and the rra, como si ésta y el brazo funciona-
arm functioned in a tranquil conviction sen con la tranquila convicción de que
that rain was an illusion of the mind. la lluvia era una ilusión mental. Lue-
Then he puts down the saw and goes go deja la sierra y va y se agacha en-
and crouches above the lantern, cima del farol, potegiéndolo con el
75 shielding it with his body, his back cuerpo; su espalda apa rece flaca y
scrawny bony, lean, scraggy ( 1 thin and bony, des- shaped lean and scrawny by his wet esquelética bajo la camisa empapada
carnado adj. 2 Enjuto, flaco y descolorido 3 being
lean and long) shirt as though he had been abruptly como si se le hubiese vuelto bruscamente
turned wrong-side out, shirt and all. del revés, con camisa y todo. [103]
37
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Why don’t you go on in the house, —¿Por qué no se mete en casa al abri-
caricaturist: one who makes
grotesque representations of people out of the rain?” Cash says. Pa looks go de la lluvia? —dice Cash. Padre le
or things by exaggerating certain 35 at him, his face streaming slowly. It mira, su cara chorrea lentamente. Es
features of them is as though upon a face carved by a como si sobre una cara tallada por un
burlesque: imitation for the purpose savage caricaturist a monstrous caricaturista brutal fluyera una
of deriding or amusing burlesque of all bereavement burla monstruosa de la aflicción.
bereave deprive of a relation, friend, etc., esp. by
death. Luto, duelo, desgracia, aflicción flowed. “You go on in,” Cash says. —Métase dentro —dice Cash—. Yo
40 “Me and Vernon can finish it.” y Vernon la podemos terminar.
Pa looks at them. The sleeves Padre les mira. Las mangas del im-
of Jewel’s coat are too short for permeable de Jewel le quedan dema-
h i m . U p o n h i s f a c e t h e r a i n siado cortas. Sobre la cara le chorrea
45 stream, slow as cold glycerine. “I la lluvia, lenta como glicerina fría.
don’t begrudge her the wetting,” he says. —No voy a regatearle la mojadura —dice.
He mover again and falls to shifting Vuelve a moverse y se agacha a
the planks, picking them up, laying remover los tableros, los levanta y
them down again carefully, as though luego los deja de nuevo cuidadosamen-
50 they are glass. He goes to the lantern te como si fueran de cristal. Va hasta el fa-
and pulls at the propped raincoat X rol y estira el __________ impermeable
until he knocks it down and Cash h a s t a q u e l o t i r a y C a s h v a y l o
comes and fixes it back. v u e l v e a p o n e r c o m o estaba.
“You ought to done that at first,” he says. —Deberías haberlo hecho al princi-
“You knowed it was fixing to rain.” pio —dice—. Sabía que iba a llover.
“Ay,” Vernon says. “He’d a come, —Sí —dice Vernon—. De todos mo-
anyway.” dos hubiera venido.
70
Cash squints at the board. On Cash enfila la tabla con la vista.
fluctuant: falling and rising the long flank of it the rain crashes En su largo costado 1a lluvia choca
irregularly s t e a d i l y, m y r i a d , f l u c t u a n t . firme, espesa, agitada.
bevel: make sloping
bisel. Corte oblicuo en el borde o en la extremidad “I’m going to bevel it,” he says. —La voy a contar a bisel —dice.
de una lámina o plancha, como en el filo de una 75
herramienta, en el contorno de un cristal labrado,
etc. “It’ll take more time,” Vernon says. —Eso te llevará más tiempo —dice Vernon.
Cash sets the plank on edge; a Cash coloca la tabla de canto,
moment longer Vernon watches him, Vernon le mira durante un momento,
38
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
Vernon holds the board steady Vernon sostiene la tabla con fuerza
while Cash bevels the edge of it with mientras Cash bisela el canto con el
5 the tedious and minute care of a cuidado aburrido y minucioso de un
jeweller. Mrs. Tull comes to the joyero. Mrs. Tull sale al borde del
edge of the porch and calls Vernon. porche y llama a Vernon.
“How near are you done?” she says. —¿Os falta mucho? —dice.
“If we get in a tight, we could take —Si nos vemos en un aprieto, podemos
come of them planks,” Vernon says. coger alguno de esos tableros —dice
30 “I’ll help you put them back.” Vernon—. Yo te ayudaría a reponerlos.
Cash ceases the plane and squints Cash deja de cepillar y enfila la tabla con
along the plank, wiping it with his palm. la vista, secándola con la palma de la mano.
“Give me the next one,” he says. —Deme el siguiente —dice.
35
Some time toward dawn the rain Casi al amanecer deja de llover.
ceases. But it is not yet day when Pero todavía no es de día cuando Cash
Cash drives the last nail and stands clava el último clavo y se estira entu-
stiffly up and looks down at the mecido y baja la vista hacia el ataúd
40 f i n i s h e d c o ff i n , t h e o t h e r s ya terminado, mientras los otros le
watching him. In the lanternlight observan. A la luz del farol tiene la
his face is calm, musing; slowly he cara tranquila, pensativa; se restriega
strokes his hands on his raincoated lentamente las manos en el impermea-
thighs in a gesture deliberate, final ble, a la altura de las caderas, con un
45 and composed. Then the four of gesto decidido, final y sereno. Luego
them —Cash and pa and Vernon and los cuatro —Cash y padre y Vernon y
Peabody—raise the coffin to their Peabody— cogen el ataúd a hombros
shoulders and turn toward the house. y se dirigen a casa. No pesa mucho,
It is light, yet they move slowly; pero se mueven despacio; está vacío,
50 empty; yet they carry it carefully; pero lo llevan con cuidado; carece de
lifeless, yet they move with hushed vida, pero se mueven diciéndose unos
precautionary words to one another, a otros palabras de advertencia, ha-
speaking of it as though, complete, it blando de él como si, ya terminado,
now slumbered lightly alive, waiting ahora estuviera medio dormido a la
55 to come awake. On the dark floor espera del despertar. Sobre el oscuro
their feet clump awkwardly, as suelo sus pies andan pesados como
though for a long time they have not si llevaran mucho tiempo sin andar
walked on floors. sobre suelos de madera.
39
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
are not. And when you are filled with eres. Y cuando estás lleno de sueño,
sleep, you never were. I don’t know nunca fuiste. No sé lo que soy. No
what I am. I don’t know if I am or sé si soy yo o no lo soy. Jewel sabe
not. Jewel knows he is, because he que es, porque no sabe que él no sabe
5 does not know that he does not know si es o no. No puede vaciarse para
whether he is or not. He cannot empty dormir porque no es lo que es y es lo
himself for sleep because he is not que no es. Más allá de la pared os-
what he is and he is what he is not. cura oigo la lluvia dar forma a la ca-
Beyond the unlamped wall I can hear rreta que es nuestra, a la carga que
10 the rain shaping the wagon that is ya no es de los que la cortaron y se-
ours, the load that is no longer theirs rraron ni siquiera de los que la com-
that felled and sawed it nor yet theirs praron y que tampoco es nuestra,
that bought it and which is not ours aunque yace en nuestra carreta, pues-
either, lie on our wagon though it to que sólo el viento y la lluvia le
15 does, since only the wind and the rain dan forma y sólo para Jewel y para
shape it only to Jewel and me, that mí, que no estamos dormidos. Y como
are not asleep. And since sleep is el sueño es no ser y la lluvia y el vien-
is-not and rain and wind are was, it is to son fue, la carreta no es. Sin em-
not. Yet the wagon is, because when bargo, la carreta es, porque cuando la
20 the wagon is was, Addie Bundren will carreta es fue, Addie Bundren no será. Y
not be. And Jewel is , so Addie Jewel es, conque Addie Bundren tiene que
Bundren must be. And then I must be, ser. Y entonces yo tengo que ser, o no po-
or I could not empty myself for sleep dría vaciarme a mí mismo para dormir e
in a strange room. And so if I am not un cuarto extraño. Y así si yo todavía no
25 emptied yet, I am is. estoy vacío, es que soy.
seep ooze out; percolate slowly, flow, rezuma. 3. The water will have to seep into 3. Él agua tendría que colarse
US a place where petroleum etc. oozes slowly
out of the ground. filtrarse, rezumar, esca- it on a slant. Water moves easiest up oblicuamente. Él agua se desliza más fácil-
parse, penetrar, aflorar, brotar, manar
and down or straight across. mente de arriba abajo u horizontalmente. COMMENTARY: The
appearance of this section gives
45
the impression that Cash is a very
4. In a house people are upright 4. Dentro de una casa la gente está de pie organised, practical and rather
two-thirds of the time. So the seams dos terceras partes del tiempo. De modo que las limited thinker. Closer inspection
and joints are made up-and-down. juntas y h uniones están hechas de arriba abajo. reveals, however, that there is a
Because the stress is up-and-down. Porque la presión viene de arriba abajo. tension between the numbers in
50 the list and what is put alongside
the numbers. For example, we
5. In a bed where people lie down 5. En una casa donde la gente está
find ‘6. Except.’ This suggests
all the time, the joints and seams are tumbada todo el tiempo, las juntas y unio- that Cash tries to think in an
made sideways, because the stress nes se hacen de lado, porque la presión organised, numerical way, but that
is sideways. viene de lado. his thoughts often run contrary to
55 the imposed organisation. He
6. Except. 6. Excepto. thinks in terms of his first love,
carpentry, but within this
framework he is not without
7. A body is not square like a 7. Un cuerpo no es cuadrado como imagination or fancy.
cross-tie. una traviesa.
60
8. Animal magnetism. 8. El magnetismo animal.
10. You can see by an old grave 10. Se ve que en una tumba vieja la
that the earth sinks down on the bevel. tierra se hunde en bisel.
70
11. While in a natural hole it sinks 11. Mientras que en un agujero nor-
by the centre, the stress being mal se hunde por e centro, la presión es
up-and-down. de arriba abajo.
40
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
19 19
VARDAMAN (3) VARDAMAN
Vardaman (3)
MY mother is a fish. Mi madre es un pez. This section consists of one
5 line, showing that Vardaman has
finally consolidated the idea of his
20 20 mother and the idea of the dead
TULL (3) TULL fish and made them into one.
Tull (3)
10 IT was ten o’clock when I got ERAN las diez cuando volví, con el
back, with Peabody’s team hitched on tiro de Peabody atado a la parte de atrás In this section, Tull recalls the
to the back of the wagon. They had de la carreta. Ya habían sacado la calesa funeral service for Addie
already dragged the buckboard back de donde la encontró Quick, volcada, Bundren conducted by the
from where Quick found it upside hundida en la cuneta, a unos dos kilóme- minister, Whitfield.
15 down straddle of the ditch about a mile tros del manantial. La arrastraron fuera
from the spring. It was pulled out of del camino junto al manantial, y ya ha-
the road at the spring, and about a dozen bía como una docena de carretas allí. Fue
wagons was already there. It was Quick Quick el que la encontró. Dijo que el río
found it. He said the river was up and iba crecido y seguía creciendo. Dijo que
20 still rising. He said it had already ya había subido por encima de la señal
COMMENTARY: Here, as
covered the highest water-mark on más alta del pilar del puente, algo que
elsewhere, Faulkner gives the
the bridge-piling he had ever seen. nunca se había visto. reader a sense of time hanging
“That bridge won’t stand a whole —Ese puente no va a resistir tal can- heavily on the hands of people
l o t o f w a t e r, ” I s a i d . “ H a s tidad de agua —dije yo—. ¿Le ha conta- who are sitting waiting for
25 somebody told Anse about it?” do alguien a Anse lo que pasa? something to happen. The men
feel awkward in their best clothes
and their conversation shows that
“I told him,” Quick said. “He says —Se lo conté yo —dijo Quick—. Dice
they all think and react in much
he reckons them boys has heard and que cree que los chicos ya lo habrán oído the same way as Tull. When the
unloaded and are on the way back by y que habrán descargado y que deben de service starts, they move as one
30 now. He says they can load up and estar de camino. Dice que pueden cargar towards the front steps but not
get across.” y cruzar. into the house. There is a sense
of community evoked by this
section but the Bundrens are not
“He better go on and bury her at —Mejor sería que fuera y la enterra-
really a part of that community.
New Hope,” Armstid said. “That bridge ra en New Hope —dijo Armstid—. Ese
monkey 1 tr. mimic or mock. 2 intr. (often foll. 35 is old. I wouldn’t monkey with it.” puente es viejo. Yo no jugaría con él.
by with) tamper or play mischievous tricks. 3
intr. (foll. by around, about) fool around.
“His mind is set on taking her to —Está decidido a llevarla a Jefferson
Jefferson,” Quick said. —dijo Quick.
Anse meets us at the door. He has Anse nos recibe a la puerta. Se ha afei-
45 shaved, but not good. There is a long tado, pero no bien. Hay un gran corte en
cut on his jaw, and he is wearing his su mandíbula y lleva los pantalones de
Sunday pants and a white shirt with los domingos y una camisa blanca con la
the neckband buttoned. It is drawn tira del cuello abrochada. Está suavemen-
smooth over his hump, making it te tirante sobre su joroba, haciendo que
50 look bigger than ever, like a white ésta parezca mayor que nunca, por lo
shirt will, and his face is different blanco de la camisa; y su cara también
too. He looks folks in the eye now, está distinta. Ahora mira a la gente a los
dignified, his face tragic and ojos, digno, con cara trágica y serena, y
composed, shaking us by the hand nos estrecha la mano según vamos llegan-
55 as we walk up on to the porch and do al porche y nos restregamos los zapa-
scrape our shoes, a little stiff in our tos, un tanto envarados con nuestra ropa
Sunday clothes, our Sunday clothes de los domingos, una ropa de los domingos
rustling: crackling, susurrante, rumoroso, making rustling, not looking full at him que cruje, sin mirarle directamente cuan-
a sound as dry leaves blown in the wind, susu-
rrar, crujir as he meets us. do nos acercamos a él.
60
“The Lord giveth,” we say. —El Señor nos lo dio —decimos.
“All right,” I tell him. “I give them —Está bien —le contestó—.Les di de
a bait this morning. Your buggy comer esta mañana. Y su calesa también
75 seems all right too. It ain’t hurt.” parece que está bien. No ha sufrido daño.
41
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
where that boy was when that team saber dónde estaba ese chico cuando se
broke away.” escapó el tiro.
“If it’s broke anywhere, I’ll fix it,” —Si se ha roto algo, yo se lo arreglaré
5 I say. —digo.
The women folks go on into the Las mujeres entran en la casa. Las
house. We can hear them, talking and oímos hablar y abanicarse. Los aba-
fanning. The fans go whish, whish, nicos hacen fis, fis, fis, y ellas hablan
10 whish and them talking, the talking y su charla suena a algo así como el
sounding kind of like bees murmuring murmullo de las abejas dentro de un
in a waterbucket. The men stop on the cubo de agua. Los hombres, parados
porch, talking some, not looking at en el porche, hablan sin mirarse unos
one another. a otros.
15
“Howdy, Vernon,” they say. —¿Qué tal, Vernon? —dicen—. ¿Qué
“Howdy, Tull.” tal, Tull?
“Yes, sir. It will rain some more.” —Sí, señor. Va a volver a llover.
“And going away slow. It don’t fail.” —Y tardará en parar. Nunca falla.
“It’s about,” I say. “He’s ready —Ya casi está —digo yo. Está listo
55 to nail.” para clavarla.
While they are getting up Anse Mientras se ponen de pie, Anse sale
comes to the door and looks at us a la puerta y nos mira y volvemos al
and we return to the porch. We porche. Otra vez nos restregamos los
60 scrape our shoes again, careful, zapatos cuidadosamente, esperando que
waiting for one another to go in first, sea otro el que entre el primero mien-
mill intransitive verb 1 : to hit out with the fists 2 : tomilling a little at the door. Anse tras nos apiñamos a la puerta. Anse
move in a circle or in an eddying mass; move in
an aimless manner, esp. in a confused mass; also stands inside the door, dignified, sigue en el umbral, digno,
: WANDER 3 : to undergo milling
verb transitive verb 1 : to subject to an operation composed. H e w a v e s u s i n a n d sereno. Con la mano hace señas de que entremos
or process in a mill: as a : to grind into flour, meal,
or powder b : to shape or dress by means of a 65 leads the way into the room. y nos precede hasta el cuarto.
rotary cutter c : to mix and condition (as rubber)
by passing between rotating rolls 2 : to give a
raised rim or a ridged or corrugated edge to (a They had laid her in it reversed. La habían metido en la caja al revés.
coin) 3 : to cut grooves in the metal surface of (as
a knob) Cash m a d e i t c l o c k - s h a p e , like Cash la ha hecho en forma de reloj de pa-
mill around arremolinarse
mill grind with a mill; «mill grain» this with every joint red, así con todas sus
mill move about in a confused manner ; movérse 70 and seam bevelled and scrubbed with juntas y uniones en bisel y bien cepilla-
por todas partes
the plane, tight as a drum and neat as das, estanca como un tambor y pulcra como
a sewing basket, and they had laid her un costurero, y la han acostado dentro, con
in it head to foot so it wouldn’t crush la cabeza a los pies para que el vestido no se
her dress. It was her wedding dress arrugue. Era su vestido de novia y tenía
75 and it had a flare-out bottom, and they mucho vuelo en la falda y la habían acosta-
had laid , her head to foot in it so the do con la cabeza a los pies de la caja para
dress could spread out, and they had poder extender el vestido, y habían hecho
made her a veil out of a mosquito bar un velo con un trozo de mosquitero para
42
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
auger n. 1 a tool resembling a large corkscrew, for so the auger* holes in her face que no se le vieran los agujeros del taladro en
boring holes in wood. 2 a similar larger tool for boring
holes in the ground.
wouldn’t show. la cara.
20 “It’s been there a long time, that —Ya estaba durando demasiado, ese
ere bridge,” Quick says. puente —dice Quick.
“The Lord has kept it there, you —Querrás decir que el Señor lo
mean,” Uncle Billy says. “I don’t conservaba —dice el tío Billy—. No
25 know ere a man that’s touched sé de nadie que le haya hecho la menor
hammer to it in twenty-five years.” reparación en veinticinco años.
“How long has it been there, Uncle —¿Y cuánto llevaba allí, tío Billy? —
Billy?” Quick says. dice Quick.
30
“It was built in . . . let me see . . . It —Lo construyeron... vamos a ver...
was in the year 1888,” Uncle Billy Fue el año 1888 [110] —dice el tío
says. “I mind it because the first man Billy—. Me acuerdo porque el primer
to cross it was Peabody coming to my hombre que lo cruzó fue Peabody que
35 house when Jody was born.” venía a mi casa cuando nació Jody.
“If I’d a crossed it every time —Si lo hubiera cruzado todas las ve-
your wife littered since, it’d a been ces que parió tu mujer desde entonces,
wore out long before this, Billy,” se habría venido abajo mucho antes, Billy
40 Peabody says. —dice Peabody.
We laugh, suddenly loud, then Nos reímos, primero muy alto; luego
suddenly quiet again. We look a little de repente bajito. Nos miramos unos a
aside at one another. otros de reojo.
45
“Lots of folks has crossed it that —Muchas personas de las que lo cru-
won’t cross no more bridges,” zaron ya no cruzarán más puentes —dice
Houston says. Houston.
50 “It’s a fact,” Littlejohn says. “It’s so.” —Cierto —dice Littlejohn—. Así es.
“One more ain’t, no ways,” —Y sin duda, hay una más que no
Armstid says. “It’d taken them lo cruzará —dice Armstid—. Les cos-
two-three days to got her to town in tará de dos a tres días llevarla al pue-
55 the wagon. They’d be gone a week, blo en la carreta. Y toda una semana
getting her to Jefferson and back.” llevarla a Jefferson y volver.
“What’s Anse so itching to take her to —¿Por qué insiste tanto Anse en lle-
Jefferson for, anyway?” Houston says. varla a Jefferson? —dice Houston.
60
“He promised her,” I say. “She —Se lo prometió —digo yo—. Era lo
wanted it. She come from there. Her que quería ella. Procedía de allí. Estaba
mind was set on it.” empeñada en ello.
65 “And Anse is set on it, too,” Quick —Y Anse está empeñado también —
says. dice Quick.
“Ay,” Uncle Billy says. “It’s like —Sí —dice el tío Billy—. Es como si
a man that’s let everything slide all un hombre que nunca en toda su vida se
70 his life to get set on something that ha preocupado de nada, se empeñara en
will make the most trouble for hacer algo que sólo trae problemas a to-
everybody he knows.” dos los que le conocen.
“Well, it’ll take the Lord to get her —Bueno, ahora a ver si el Señor les
75 over that river now,” Peabody says. ayuda a cruzar ese río —dice Peabody—.
“Anse can’t do it.” Anse solo no va a poder.
43
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
says. “He’s took care of Anse a long Quick—. Lleva tiempo protegiendo a
time, now.” Anse.
Cash comes out. He has put on a Cash sale. Se ha puesto una camisa
15 clean shirt; his hair, wet, is combed limpia; su pelo, mojado, está peinado
smooth down on his brow, smooth suavemente sobre su frente, suave y ne-
and black as if he had painted it on to gro como si se lo hubiese pintado en la
his head. He squats stiffly among us, cabeza. Se acuclilla tenso entre nosotros
we watching him. que le miramos.
20
“You feeling this weather, ain’t —¿No te molesta con este tiempo? —
you?” Armstid says. dice Armstid.
30 “Lucky Cash, got off with just a —Por suerte Cash sólo se rom-
broke leg,” Armstid says. “He might pió una pierna —dice Armstid—.
have hurt himself bedrid. How far’d Podría haberse quedado inútil. ¿Te
you fall, Cash?” caíste de muy alto, Cash?
35 “Twenty-eight foot, four and a half —Desde unos nueve metros y cin-
inches, about,” Cash says. I move cuenta y cinco centímetros, más o me-
over beside him. nos —dice Cash. Me acerco a él.
“It’s too bad,” I say. “But you —Es una pena —digo yo—. Pero no
couldn’t a holp it!” lo pudiste evitar.
45 “It’s them durn women,” he says. —Es por esas condenadas mujeres —
“I made it to balance with her. I made dice él—. Lo hice para quedar en paz con
it to her measure and weight.” ella. Lo hice a su peso y medida.
If it takes wet boards for folks to Si basta con un tablero mojado para que
50 fall, it’s fixing to be lots of falling la gente caiga, seguro que van a caerse
before this spell is done. muchos antes de que cambie el tiempo.
“You couldn’t have holp it,” I say. —No lo pudiste evitar —digo yo.
55 I don’t mind the folks falling. It’s No me importa que se caiga la gente. Lo
the cotton and corn I mind. que me importa es el algodón y el maíz.
Neither does Peabody mind the Tampoco a Peabody le importa que la gen-
folks falling. How ’bout it, Doc? te se caiga. ¿Qué me dice a eso, doctor?
60
It’s a fact. Washed clean outen the Cierto. El campo quedará total-
ground it will be. Seems like something m e n t e a r r a s a d o . P a re c e c o m o s i
is always happening to it. siempre le pasara algo.
65 ’Course it does. That’s why it’s Claro que parece. Por eso vale lo
worth anything. If nothing didn’t que vale. Si no pasara nada y todos
happen and everybody mude a big tuvieran una gran cosecha, ¿pa r a
crop, do you reckon it would be worth usted que merecería la pena culti-
the raising? var la tierra?
70
We l l , I b e d u r n i f I l i k e Bueno, que me condene si a mí me
to see my work washed gusta ver mi trabajo arrasado por la ria-
o u t e n t h e g ro u n d , w o r k I da, un trabajo que tantos sudores me ha
swat — v.tr.1 crush (a fly etc.) with a sharp blow. 2 s w a t o v e r. costado.
hit hard and abruptly. — n. a swatting blow.
75
It’s a fact. A fellow wouldn’t mind Cierto. A nadie le importaría
seeing it washed up if he could just verlo anegado si pudiera él
turn on the rain himself. controlar la lluvia.
44
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
Who is that man can do that? ¿Qué hombre puede hacer eso? ¿De
Where is the color of his eyes? qué color tiene los ojos?
5 Ay. The Lord made it to grow. It’s Hisn Sí. El Señor hace que crea. Y Él inun-
to wash up if He sees it fitten so. da los campos cuando le parece.
“You couldn’t have holp it,” I say. —No pudiste evitarlo —digo yo.
10 “It’s them durn women,” he says. —Es por esas condenadas mujeres —dice él.
In the house the women begin to En la casa las mujeres empiezan a can-
sing. We hear the first li ne tar. Oímos el comienzo de la primera lí-
commence, beginning to swell as nea y se ponen a cantar más alto según
15 they take hold, and we rise and move se animan, y nos levantamos y nos diri-
toward the door, taking off our hats gimos a la puerta, quitándonos los som-
and throwing our chews away. We breros y escupiendo nuestro tabaco de
do not go in. We stop at the steps, mascar. No entramos. Nos detenemos en
clump 1 (foll. by of) a cluster of plants, esp. trees clumped, holding our hats between X los escalones, vacilando, con los som-
or shrubs. 2 an agglutinated mass of blood-
cells etc. 3 a thick extra sole on a boot or 20 our lax hands in front or behind, breros en nuestras indecisa manos, pues-
shoe.
1a intr. form a clump. b tr. heap or plant standing with one foot advanced and tas delante o detrás, parados con un pie
together. 2 intr. (also clomp) walk with heavy
tread. 3 tr. colloq. hit. our heads lowered, looking aside, adelantado y la cabeza gacha, mirando
down at our hats in our hands and at de reojo, bien a los sombreros de nues-
the earth or now and then at the sky tras manos o al suelo o de vez en cuando
25 a n d a t o n e a n o t h e r ’s g r a v e , al cielo y a las caras de los demás, gra-
composed face. ves, tranquilas.
The song ends; the voices quaver Termina el cántico; las voces tiem-
away with a rich and dying fall. blan en un final poderoso y moribun-
30 Whitfield begins. His voice is bigger do. Empieza Whitfield. Su voz es más
than him. It’s like they are not the grande que él. Es como si no fuese
same. It’s like he is one, and his voice suya. Es como si él y su voz fueran co-
is one, swimming on two horses side sas diferentes que cruzaran el vado
by side across the ford and coming uno a lado de la otra, en caballos dis-
35 into the house, the mud-splashed one tintos, y llegaran a la casa, uno cubier-
and the one that never even got wet, to de barro y la otra ni tan siquiera
triumphant and sad. Somebody in the mojada triunfante y triste. En la casa
house begins to cry. It sounds like her alguien empieza a llorar. Suena como
eyes and her voice were turned back si sus ojos y su voz se le hubieran
40 inside her, listening; we move, metido en el cuerpo, escuchando; nos
shifting to the other leg, meeting one movemos, apoyándonos en 1a otra
another’s eye and making like they pierna, cruzando nuestras miradas y
hadn’t touched. haciendo como si no nos viéramos.
45 Whitfield stops at last. The women Por fin Whitfield se calla. Las muje-
sing again. In the thick air it’s like res vuelven a cantar En la espesa atmós-
their voices come out of the air, fera es como si sus voces salieran de aire,
flowing together and on in the sad, fluyendo juntas y siguieran en tristes cán-
comforting tunes. When they cease ticos de consuelo. Cuando cesan es como
50 it’s like they hadn’t gone away. It’s si no hubieran desaparecido. Es como si
like they had just disappeared into the acabasen de desaparecer en el aire y
air and when we moved we would cuando nos moviésemos pudiéramos vol-
loose them again out of the air around ver a oírlas en el aire que nos rodea, tris-
us, sad and comforting. Then they tes y reconfortantes. Han terminado y nos
55 finish and we put on our hats, our ponemos el sombrero con movimientos
movements stiff, like we hadn’t never tensos, como si anteriormente nunca hu-
wore hats before. biéramos llevado sombrero.
On the way home Cora is still singing. Camino de casa, Cora todavía canta.
60 “I am bounding toward my God and —Voy hacia mi Dios y espero Su
my reward,” she sings, sitting on the recompensa —canta sentada en la
wagon, the shawl around her shoulders carreta, con el chal sobre los hom-
and the umbrella open over her, though bros y el paraguas abierto aunque
it is not raining. no llueve.
65
“She has hern,” I say. “Wherever —Ella se ha ganado la suya —digo
she went, she has her reward in being yo—. Esté donde esté, se ha ganado su
free of Anse Bundren.” She laid there recompensa al verse libre de Anse
three days in that box, waiting for Bundren. Tres días tumbada en esa caja,
70 Darl and Jewel to come clean back esperando a que Darl y Jewel vuelvan
home and get a new wheel and go por fin a casa y traigan una rueda nueva
back to where the wagon was in the y vuelvan a la cuneta donde estaba la ca-
ditch. Take my team, Anse, I said. rreta. Llévate mi tiro, Anse, dije yo.
75 We’ll wait for ourn , he said. Esperaremos el nuestro, dijo él. Ella
She’ll want it so. She was ever a así lo hubiera querido. Siempre fue una
particular woman. mujer especial.
45
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
On the third day they got back and Al tercer día volvieron y la cargaron
they loaded her into the wagon and en la carreta y se pusieron en marcha
started and it already too late. You’ll [113] y ya era demasiado tarde. Tendréis
have to go all the way round by que dar un rodeo por el puente de junto a
5 Samson’s bridge. It’ll take you a day casa de Samson. Os llevará un día llegar
to get there. Then you’ll be forty miles hasta allí. Luego serán setenta kilómetros
from Jefferson. Take my team, Anse. harta Jefferson. Coge mi tiro, Anse.
It was about a mile from the house A un par de kilómetros más o me-
we saw him, sitting on the edge of nos de nuestra casa le vimos, sentado a
slough: n 1 cenagal 2 n abismo (tristeza) 3 (skin)
vt mudar la piel slough off v mudar the slough. It hadn’t had a fish in it la orilla de la charca. Nunca hubo ni
slough n. 1 any outer covering that can be shed or
cast off (such as the cast-off skin of a snake) 2 a 15 never that I knowed. He looked un pez en ella, que yo sepa. Nos miró
stagnant swamp (especially as part of a bayou) 3 around at us, his eyes round and calm, con ojos redondos y tranquilos, la cara
a hollow filled with mud 4 gangrene, sphacelus
necrotic tissue; a mortified or gangrenous part or his face dirty, the pole across his sucia, la caña entre las rodillas. Cora
mass
v. 1 shed, molt, exuviate, moult, cast off hair, skin, knees. Cora was still singing. todavía cantaba.
horn, or feathers; «out dog sheds every Spring»
slouch 1. andar o sentarse encorvado 2. nombre 20 “This ain’t no good day to fish,” I said. —No es un buen día para pescar —
with a slouch, con los hombros caídos, encorva-
do, she’s no slouch, no es manca “You come on home with us and me and dije yo—. Vente a casa con nosotros, y
slouch hat a hat with a wide flexible brim.
you’ll go down to the river first thing in yo y tú bajaremos al río a primera hora
the morning and catch some fish.” de la mañana y pescaremos algún pez.
25 “It’s one in here,” he said. “Dewey —Hay uno aquí —dijo él—. Lo vio
Dell seen it. Dewey Dell.
“You come on with us. The river’s —Ven con nosotros. El río es el sitio
the best place.” mejor.
30
“It’s in here,” he said. “Dewey Dell —Hay uno qui dentro —dijo—. Lo
seen it.” vio Dewey Dell.
“I’m bounding toward my God and —Voy hacia mi Dios y espero su re-
35 my reward,” Cora sung. compensa —cantaba Cora.
21 21
DARL (7) DARL
40 Darl (7)
“I T ’ S n o t y o u r h o r s e —No es tu caballo el que se ha muer-
t h a t ’ s d e a d , J e w e l , ” I say. to, Jewel —digo. This section contains Darl’s
He sits erect on the seat, leaning a Va erguido en el asiento, echado un poco spoken words and unspoken
little forward, wooden-backed. The hacia delante, con la espalda envarada. El thoughts as he and Jewel
approach the house. The most
45 brim of his hat has soaked free of the ala de su sombrero está empapada y se
significant line of this section,
crown in two places, drooping across ha soltado de la copa por dos sitios, col- which ends with Darl cursing
his wooden face so that, head gándole delante de su cara de palo de Jewel, is his remark ‘I cannot love
lowered, he looks through it like modo que, agachada la cabeza, mira a my mother because I have no
through the visor of a helmet, través de ella como por el visor de un mother. Jewel’s mother is a
50 looking long across the valley to casco al mirar el valle hasta donde el gra- horse’.
where the barn leans against the nero se apoya contra los riscos, evocan-
bluff, shaping the invisible horse. do al invisible caballo.
“See then?” I s a y. H i g h —¿Los ves? —digo.
a b o v e t h e house, against the En lo alto de la casa, contra el cie-
55 q u i c k t h i c k s k y, t h e y h a n g i n lo cambiante y espeso, se ciernen en
narrowing circles. From here they círculos cada vez más estrechos. Des-
are no more than specks, de aquí no son más que motas, impla-
COMMENTARY: The remark
portentous adj. 1 grandiloquent, overblown, implacable, patient, p o r t e n t o u s . cables, pacientes, amenazadoras. ‘Jewel’s mother is a horse’ might
pompous, pontifical, portentous puffed up with
vanity; «a grandiloquent and boastful manner»; “B u t i t ’ s n o t y o u r h o r s e —Pero si no es tu caballo el que se seem to indicate that Darl is
«overblown oratory»; «a pompous speech»; 60 t h a t ’ s d e a d .” ha muerto. suffering from a confusion of
«pseudo-scientific gobbledygook and pontifical
hooey»- Newsweek 2 fateful, foreboding(a), ideas similar to the one which led
portentous of ominous significance 3 Vardaman to say ‘my mother is a
portentous, prodigious of momentous or ominous “Goddamn you,” he says. —Maldito seas —dice él—.
significance; «such a portentous...monster raised fish’, but when the remark is
all my curiosity»- Herman Melville; «a prodigious “Goddamn you.” Maldito seas.
vision»
taken in the context of the
portentous : boding evil, threatening, siniestro, de preceding words, ‘I cannot love
mal agüero, ominoso, 65 I cannot love my mother because I No puedo querer a mi madre porque my mother because I have no
portentoso maravilloso, prodigioso have no mother. Jewel’s mother is a no tengo madre. La madre de Jewel es mother’, it becomes apparent that
horse. un caballo. Darl is using the word ‘mother’
to refer to an object which allows
the individual to focus complex
Motionless, the tall buzzards hang Inmóviles, los enormes buitres se cier-
soaring encumbrándose, remontándose, creciente 70
feelings of love. Jewel has his
in soaring circles, the clouds giving nen en círculos que se elevan; las nubes horse as a substitute for Addie.
them an illusion of retrograde. les prestan una ilusión de retroceso. Darl, as we later discover, has
never had the love of Addie
Motionless, wooden-backed, Inmóvil, con la espalda encorvada, herself and, now that she is dead,
wooden-faced, he shapes the horse in con cara de palo, él evoca al caballo, en lacks even her physical being as
an object of love.
75 a rigid stoop like a hawk, un rígido arco como un halcón, con alas
hook-winged. They are waiting for en forma de gancho. Nos esperan a no-
us, ready for the moving of it, waiting sotros, listos para moverlo; l e e s p e -
for him. He enters the still and waits ran a él. Entra en el establo y espe-
46
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
until it kicks at him so that he can slip ra a que le tire una coz para poder co-
past and mount on to the trough and larse por detrás y subir al pesebre y
pause, peering out across the esper a , m i r a n d o p o r en c i m a d e l o s
intervening stall-tops toward the demás pesebres hacia el sende-
5 empty path, before he reaches into the ro desierto, antes de subir al
loft. p a j a r.
10 22
CASH (2) CASH
23
DARL (8) DARL
30
HE stoops among us above it, two SE inclina entre nosotros encima de la Darl (8)
of the eight hands. In his face the caja, dos de las ocho manos. La sangre le
This section consists of Darl’s
blood goes in waves. In between them sube a la cara en oleadas. En los intervalos
observations of the same scene as
his flesh is greenish looking, about su carne tiene aspecto verdoso, como ese the one which was dealt with in
35 that smooth, thick, pale green of verde, pálido y uniforme del bocado que Cash (2). Darl’s observations are
cow’s cud: the material chewed by cow’s cud; his face suffocated, rumia una vaca; su cara sofocada, furio- much more detailed than those of
a cow furious, his lip lifted upon his teeth. sa, con el labio levantado sobre dientes. Cash.
“Pick up!” he says. “Pick up, —¡Agarra! —dice—. ¡Agarra,
goddamn your thick-nosed soul!” maldito condenado!
40
He heaves, lifting one whole side Tira hacia arriba, alzando uno de los
so suddenly that we all spring into lados tan repentinamente que todos los
the lift to catch and balance it before demás saltamos para levantarla y equili-
he hurls it completely over. For an brarla antes de que la vuelque del todo.
45 i n s t a n t i t r e s i s ts , a s t h o u g h Durante un instante la caja se resiste,
volitional: having a will of its own
volitional, as though within it her como si tuviera voluntad, como si dentro
pole-thin body clings furiously, de ella su cuerpo delgado como un palo COMMENTARY: As usual,
even though dead, to a sort of mantuviera con furia, incluso muerta, una Darl is much concerned with
modesty, as she would have tried to especie de pudor; como si tratara de ocul- Jewel’s reactions and here,
50 conceal a soiled garment that she tar un vestido sucio que no había podido amongst his fanciful and
unverbalised ideas that the coffin
could not prevent her body soiling. evitar que le manchara el cuerpo. Luego
seems to be impelled by the
emaciation: wasting away Then it breaks free, rising suddenly se alza libre, subiendo repentinamente modesty of Addie who is inside
as though the emaciation of her como si la extenuación de su cuerpo hu- it, the reader is given a vision of
body had added buoyancy to the biese añadido ligereza a las tablas o como Jewel acting with a violence
55 planks or as though, seeing that the si, al ver que estaban a punto de arran- which covers his very deep
garment was about to be torn from carle el vestido, ella se precipitara repen- emotions, ‘the furious tide of
Jewel’s despair’.
her, she rushes suddenly after it in tinamente detrás de la caja en un vuelco
a passionate reversal that flouts its apasionado que menospreciase su propio
own desire and need. Jewel’s face deseo y necesidad. La cara de Jewel se
60 goes completely green and I can pone completamente verde y oigo el roce
hear teeth in his breath. de su respiración en los dientes.
We carry it down the hall, our feet harsh Sacamos la caja por el zaguán, pi-
and clumsy on the floor, moving with sando firme y torpemente el suelo, y
65 shuffling steps, and through the door. arrastramos los pies al cruzar la puerta.
47
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
closed. We go down the path, toward nariz cerrada. Bajamos el sendero ha-
the slope. cia la ladera.
“We better wait,” Cash says. “I tell —Será mejor que esperemos —dice
5 you it ain’t balanced now. We’ll need Cash—. Te digo que así no se equilibra.
another hand on that hill.” Necesitaremos otra mano en ese cerro.
turn loose: (Am. English) let go “Then turn loose,” Jewel says. —Entonces suéltala —dice Jewel.
hobble 1 intr. a walk lamely; limp. b proceed He will not stop. Cash begins to fall No se quiere parar. Cash empieza a
haltingly in action or speech (hobbled lamely to
his conclusion). 2 tr. a tie together the legs of (a 10b e h i n d , h o b b l i n g t o k e e p u p , X quedarse atrás; se esfuerza por seguir-
horse etc.) to prevent it from straying. b tie (a
horse’s etc. legs). 3 tr. cause (a person etc.) to breathing harshly; then he is dis- nos y respira con dificultad; luego se dis-
limp.
1 an uneven or infirm gait. 2 a rope, clog, etc. used tanced and Jewel carries the en- tancia y Jewel aguanta toda la parte de-
for hobbling a horse etc. tire front end alone, so that, tilt- lantera él solo, de modo que, inclinán-
Renquear,
ing as the path begins to slant, it dose a medida que el sendero empieza a
15 begins to rush away from me and bajar, la caja empieza a escapárseme y
slip down the air like a sled upon se desliza por el aire como un trineo so-
invisible snow, smoothly evacuat- bre nieve invisible, retirándose suave-
ing atmosphere in which the sense mente de la atmósfera en la que todavía
of it is still shaped. se nota la huella de su forma.
20
“Wait, Jewel,” I say. But he will —Espera, Jewel —digo.
not wait. He is almost running now Pero él no quiere esperar, Casi ha
and Cash is left behind. It seems to echado a correr y Cash se queda detrás.
me that the end which I now carry Me parece que la parte que ahora aguan-
25 alone has no weight, as though it to yo solo no tiene peso, como si la caja
coasts like a rushing straw upon the navegara igual que una paja lanzada a la
furious tide of Jewel’s despair. I am furiosa marea de la desesperación de
not even touching it when, turning, Jewel. Ni siquiera la toco cuando, do-
he lets it overshoot him, swinging, blándose, deja que pase por encima de
sloughs: casts (it) off 30 and stops it and sloughs it into the X él, oscilando, y la para y la deja caer den-
wagon-bed in the same mot i o n tro de la carreta con el mismo movimien-
a n d l o o k s b a c k a t m e , h i s f a c e to, y se vuelve a mirarme con la cara
suffuse 1 (of colour, moisture, etc.) spread from suffused with fury and despair. arrebatada de furia y desesperación.
within to colour or moisten (a blush suffused
her cheeks). 2 cover with colour etc. Impreg-
nar, saturar, bañar, inundar, empañar 35 “Goddamn you. Goddamn you.” —Maldito seas. Maldito seas.
suffuse 1 (of colour, moisture, etc.) spread from
within to colour or moisten (a blush suffused
her cheeks). 2 cover with colour etc.
suffuse [light] bañar [colour, flush] teñir 24
[delight, relief] inundar suffused with light
bañado de luz VARDAMAN (4) VARDAMAN
40 WE are going to town. Dewey Dell VAMOS a la ciudad. Dewey Dell Vardaman (4)
says it won’t be sold because it dice que no lo quieren vender porque
belongs to Santa Claus and he has pertenece a Santa Claus que se lo ha This section consists of
taken it back with him until next quedado hasta las Navidades que vie- Vardaman’s unspoken thoughts
Christmas. Then it will be behind the nen. Entonces volverá a estar detrás and his spoken words as the
family prepare to leave for town.
45 glass again, shining with waiting. del cristal, brillando y esperando.
Pa and Cash are coming down the Padre y Cash van cerro abajo, pero
hill, but Jewel is going to the barn. Jewel se dirige al granero.
“Jewel,” pa says. Jewel does not stop. J e w e l — d i c e p a d r e . ______ ___
50 “Where you going?” pa says. But X _______ ____ _________ _____ ___. Pero
Jewel does not stop. “You leave that Jewel no se para—. Deja ese caballo
COMMENTARY: Darl’s
horse here,” pa says. Jewel stops and aquí —dice padre. Jewel se para y mira remark that ‘Jewel’s mother is a
looks at pa. Jewel’s eyes look like a padre. Los ojos de Jewel parecen ca- horse’ leads Vardaman to
marbles. “You leave that horse here,” nicas—. Deja ese caballo aquí —dice question Darl,’ Then mine will
55 pa says. “We’ll all go in the wagon padre—. Iremos todos en la carreta con have to be a horse, too’, reasoning
with ma, like she wanted.” madre, como ella quería. that he and Jewel must have the
same mother because they are
brothers. Exploring the matter
But my mother is a fish. Vernon Pero mi madre es un pez. Vernon lo further, Vardaman elicits from
seen it. He was there. vio. Estaba allí. Darl the remark that he, Darl,
60 does not have a mother. Although
“Jewel’s mother is a horse,” Darl —La madre de Jewel es un caballo — Vardaman appears to agree to this
said. dijo Darl. and to the proposition that Darl
himself does not exist, he
contradicts this with ‘But you
“Then mine can be a fish, can’t it, —Entonces la mía puede ser un pez, are,’ and gets the response, ‘ «I
65 Darl?” I said. ¿verdad Darl? —dije yo. know it,» Darl said. «That’s why
1 am not is. Are is too many for
Jewel is my brother. Jewel es hermano mío. one woman to foal.» ‘ Although
neither brother can fully
understand what the other is
“Then mine will have to be a horse, —Entonces la mía también tiene que
saying, the reader, who has been
70 too,” I said. ser un caballo —dije yo. ‘inside’ both their minds, can
appreciate the roots of
“Why?” Darl said. “If pa is your —¿Por qué? —dijo Darl—. Si padre es Vardaman’s confusion between
pa, why does your ma have to be a tu padre, ¿por qué tu madre va a tener que ser his mother and a fish and sees
horse just because Jewel’s is?” un caballo sólo porque lo sea la de Jewel? here that Darl suffers from the
being excluded from his mother’s
75
affections. In this section, he
“Why does it?” I said. “Why does —¿Por qué lo es? —dije yo—. ¿Por attributes this withholding of
it, Darl?” qué lo es, Darl? affection to the fact that Addie
had too many children to love.
The role played by Addie in
48
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“But you are, Darl,” I said. —Pero nosotros somos, Darl —dije yo.
20
“I know it,” Darl said. “That’s why —Ya lo sé —dijo Darl—. Por eso no
I am not is. Are is too many for one soy es. Somos es demasiados para
woman to foal.” parirlos una sola mujer.
35 “Do you want him to come all —¿Quieres que vuelva hasta aquí y
the way back here and carry them que luego lleve a pie las herramientas
u p t o Tu l l ’s a f o o t ? ” D a rl says. hasta casa de Tull? —dice Darl.
Pa looks at Darl, his mouth chewing. Padre mira a Darl, mascando tabaco.
Pa shaves every day now because Ahora padre se afeita todos los días por-
40 my mother is a fish. que mi madre es un pez.
Dewey Dell has the package in her Dewey Dell tiene el envoltorio en la
45 hand. She has the basket with our mano. También tiene la cesta con nues-
dinner too. tra comida.
50 “Mrs. Tull’s cakes,” Dewey Dell —Los bollos de Mrs. Tull —dice
says, getting into the wagon. “I’m Dewey Dell, subiendo a la carreta—. Se
taking them to town for her.” los llevo a la ciudad.
“It ain’t right,” pa says. “It’s a —Eso no está bien —dice padre—. Es
55 flouting of the dead.” insultar a la muerta.
It’ll be there. It’ll be there come Estará allí. Estará allí hasta que lle-
Christmas, she says, shining on the gue Navidad, dice ella, brillando en la
track. She says he won’t sell it to no vía. Dice que no se lo venderán a ningún
60 town boys. chico de la ciudad.
25
DARL (9) DARL
65 HE goes on toward the barn, VA hacia el granero, entra con l a Darl (9)
entering the lot, wooden-backed. espalda envarada.
In this section, we find Darl’s
Dewey Dell carries the basket on Dewey Dell lleva la cesta en un bra- unspoken and unverbalised
thoughts as he observes the same
one arm, in the other hand something zo, en la otra mano algo cuadrado en-
scene as in Vardaman (4).
70 wrapped square in a newspaper. Her vuelto en papel de periódico. Tiene la
face is calm and sullen, her eyes cara tranquila y sombría, los ojos pen-
brooding and alert; within them I can sativos y al acecho; dentro de ellos veo
see Peabody’s back like two round la espalda de Peabody como dos gui-
peas in two thimbles perhaps in santes redondos en dos dedales: pue-
COMMENTARY: Darl is, as
75 Peabody’s back two of those worms de que en la espalda de Peabody haya
usual, concerned with Jewel’s
which work surreptitious and steady dos de esos gusanos que, subrepticia actions, but in this section he
through you and out the other side and y constantemente, se abren camino focuses on Dewey Dell. His
you waking suddenly from sleep or dentro de uno y salen por el otro lado unverbalised thoughts as Dewey
Dell climbs into the wagon stress
49
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
from waking, with on your face an y tú te despiertas de pronto del sueño her sexuality, ‘her leg . . . that
expression sudden, intent, and o la vigilia con una expresión repenti- lever which moves the world; one
of that caliper which measures
concerned. She sets the basket into na, resuelta e inquieta, en la cara. Co-
the length and breadth of life’.
the wagon and climbs in, her leg loca la cesta en la carreta y salta den- Obviously Darl, who is much
5 coming long from beneath her tro: la pierna le aparece por debajo del concerned with the nature of
tightening dress: that lever which vestido ajustado como una palanca que existence, is fascinated by the
moves the world; one of that caliper mueve el mundo; uno de esos compa- source of life which, now that
which measures the length and ses que miden la vida a lo largo y a lo Addie is dead, lies at the juncture
of Dewey Dell’s legs. He
breadth of life. She sits on the seat ancho. Ocupa el asiento de al lado de
attributes to women a role which
10 beside Vardaman and sets the parcel Vardaman y se coloca el paquete en el is absolutely central in dictating
on her lap. regazo. the dimensions of existence, and
this once again indicates that he
Then he enters the barn. He has not Luego él entra en el granero. No se believes his problems stem from
looked back. ha vuelto a mirar. his mother, the source of his life
who denied him the affection he
15
needed in order to take on a solid
“It ain’t right,” pa says. “It’s little —Eso no está bien —dice padre—. No le shape.
enough for him to do for her.” hubiera costado demasiado hacerlo por ella.
“Go on,” Cash says. “Leave him —Venga —dice Cash—. Déjale que-
20 stay if he wants. He’ll be all right here. darse si quiere. Estará bien aquí. Puede
Maybe he’ll go up to Tull’s and stay.” que vaya a casa de Tull y se quede allí.
“He’ll catch us,” I say. “He’ll cut —Nos alcanzará —digo yo—. Cogerá
across and meet us at Tull’s lane.” el atajo y se nos unirá en la senda de Tull.
25
“He would have rid that horse, —Se hubiera venido montado en ese
too,” pa says, “if I hadn’t a stopped caballo —dice padre—, si no se lo hu-
him. A durn spotted critter wilder biese impedido. Un maldito pinto,, más
than a cattymount. A deliberate salvaje que un gato montés. Un insulto
30 flouting of her and of me.” deliberado contra ella y contra mí.
The wagon moves; the mules’ ears La carreta arranca; las orejas de las mulas
begin to bob. Behind us, above the empiezan a moverse. Detrás de nosotros, por
house, motionless in tall and soaring encima de la casa, inmóviles en grandes círcu-
35 circles, they diminish and disappear. los que se elevan, disminuyen y desaparecen.
26
ANSE (2) ANSE
40 I TOLD him not to bring that horse LE dije que no trajera ese caballo por Anse (2)
out of respect for his dead ma, respeto a su difunta madre, pues no pare-
because it wouldn’t look right, him cería nada bien que anduviera haciendo This section contains Anse’s
prancing along on a durn circus corvetas por ahí montado en ese maldito spoken words and unspoken
animal and her wanting us all to be in animal de circo cuando ella quería que to- thoughts as the wagon sets off up
the lane from the farm.
45 the wagon with her that sprung from dos estuviéramos en la carreta con ella, que
her flesh and blood, but we hadn’t no los trajo al mundo; pero no habíamos he-
more than passed Tull’s lane when cho más que llegar a la senda de Tull cuan-
Darl begun to laugh. Setting back do Darl empezó a reírse. Ahí está, sentado
there on the plank seat with Cash, en el banco al lado de Cash, con su difunta
50 with his dead ma lying in her coffin madre tumbada en el ataúd a sus pies, rién- COMMENTARY: Anse’s
responses are, as usual, muted.
at his feet, laughing. How many times dose. Ya ni sé cuántas veces le he dicho
Although he is concerned that the
I told him it’s doing such things as que esas cosas son las que hacen que la family will present an odd or
that that makes folks talk about him, gente hable de él. Digo: Me importa lo offensive spectacle to the rest of
I don’t know. I says I got some regard que dice la gente de los que llevan mi the community, he does nothing
55 for what folks says about my flesh and sangre aunque eso a ti no te importe, to prevent this happening.
blood even if you haven’t, even if I aunque sea yo el que haya criado a ese It appears that Darl is prone to
passel: (Am. col.) a crowd, a parcel fits of uncontrolled and inexpli-
have raised such a durn passel of condenado grupo de chicos, y cuan-
cable laughter, for Anse says,
fixes it so: (Am. col.) arranges it so boys, and when you fixes it so folks do haces cosas p o r l a s q u e l a g e n t e ‘how many times I told him it’s
that can say such about you, it’s a habla de ti, eso recae en tu madre, doing such things as that makes
60 reflection on your ma, I says, not me: digo, no en mí: yo soy un hombre folks talk about him’, but as ever,
I am a man and I can stand it; it’s on y lo puedo soportar; es en las mu- Anse can exercise no authority
your womenfolks, your ma and sister jeres de la casa, en tu madre y tu over his family and contents
himself with selfcongratulation
that you should care for, and I turned hermana, en quien deberías pensar;
for his own efforts, ‘1 done my
and looked back at him setting there, y me vuelco a mirarle y ahí está, best’.
65 laughing. riéndose.
50
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“I done my best,” I says. “I tried —Hice lo que pude —digo yo—. Tra-
to do as she would wish it. The Lord té de hacer lo que a ella le hubiera gusta-
will pardon me and excuse the do. El Señor me perdonará y disculpará
conduct of them He sent me.” And la conducta de los que Él me dio.
5 Darl setting on the plank seat right Y Darl, sentado en el banco, justo
above her where she was laying, encima de donde ella está tumbada,
laughing. ríe.
27
10 DARL (10) DARL
“You might tell Jewel that,” I say. —Deberías decírselo a Jewel —digo yo.
65
He is motionless now, sitting the Ahora está inmóvil, montado en
horse at the junction, upright, el caballo, en el cruce, tieso, mi-
watching us, no less still than the rándonos, no menos quieto que el
signboard that lifts its fading cartel que levanta sus descoloridas
70 capitulation opposite him. letras frente a él.
“It ain’t balanced right for no long —No está bien equilibrada para un
ride,” Cash says. viaje largo —dice Cash.
A mile farther along he passes us, Un par de kilómetros después nos ade-
51
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
the horse, arch-necked, reined back lanta; el caballo, con el cuello en arco,
to a swift single-foot. He sits lightly, va frenado para que mantenga un paso
poised, upright, wooden-faced in the ligero. Jewel va sentado en la silla, ágil,
saddle, the broken hat raked at a derecho, tieso, con cara de palo, y el som-
5 swaggering angle. He passes us brero roto inclinado en un ángulo desa-
swiftly, without looking at us, the fiante. Nos adelanta rápido, sin mirarnos,
horse driving, its hooves hissing in el caballo tirando, sus cascos silbando en
the mud. A gout of mud, back-flung, el barro. Una salpicadura de barro sale
plops on to the box. Cash leans despedida y cae a plomo sobre la caja.
10 forward and takes a tool from his box Cash se echa hacia delante y saca una
and removes it carefully. When the herramienta de su caja y quita el barro
road crosses Whiteleaf, the willows cuidadosamente. Cuando el camino cru-
leaning near enough, he breaks off a za Whiteleaf, los sauces lo bastante cer-
branch and scours at the stain with ca, arranca una rama y limpia la mancha
15 the wet leaves. con las hojas húmedas.
28
ANSE (3) ANSE
20 IT’S a hard country on man; it’s Es una comarca dura para el hombre,
Anse (3)
hard. Eight miles of the sweat of his es dura. Trece kilómetros del sudor de
body washed up outen the Lord’s su cuerpo barrido de la tierra del Señor, This section is an unspoken
earth, where the Lord Himself told donde el propio Señor le dijo que lo de- lament by Anse in which he
him to put it. Nowhere in this sinful jase caer**9. Un hombre honrado y tra- blames the world for his
25 world can a honest, hard-working bajador no puede sacar nada de prove- misfortunes, thinks of the
man profit. It takes them that runs the cho en este mundo pecador. Lo sacan esos salvation which awaits him in
heaven for enduring his troubles
stores in the towns, doing no que tienen las tiendas de la ciudad, que
and of the set of false teeth which
sweating, living off of them that no sudan, que viven de los que sudan. No will offer him more immediate
sweats. It ain’t the hard-working man, el que trabaja de firme, el campesino. A comfort.
30 the farmer. Sometimes I wonder why veces me pregunto por qué seguimos en
enduring duradero, definitivo, perdurable, sub-
we keep at it. It’s because there is a ello. Es porque para nosotros hay una sistente, imperecedero, lasting, resistente
endure v. 1 tr. undergo (a difficulty, hardship,
reward for us above, where they can’t recompensa en lo alto, donde ellos no etc.). Aguantar 2 tr. a tolerate, soportar (a
person) (cannot endure him). b (esp. with
take their motors and such. Every man pueden llevar sus autos y lo demás. Allí neg.; foll. by to + infin.) bear. 3 intr. remain in
will be equal there and it will be taken todos los hombres serán iguales y el Se- existence; last, perdurar 4 tr. submit to.
35 from them that have and give to them ñor les quitará a los que tienen y se lo COMMENTARY: Anse is
that have not by the Lord. dará a los que no tienen**10. [122] clearly convinced that he is hard-
working. He is tempted to
But it’s a long wait, seems like. It’s Pero es una larga espera, o eso parece. No upbraid [reproach] God for his
hard lot, but decides instead that
bad that a fellow must earn the reward está bien que uno tenga que ganarse la recom-
all his suffering must mean that
40 of his right-doing by flouting hisself pensa de su bien obrar despreciándose a sí mis- he is precious to God, ‘I am the
and his dead. We drove all the rest of mo y a sus muertos. Viajamos lo que quedaba chosen of the Lord, for who He
the day and got to Samson’s at de día y llegamos a casa de Samson al oscure- loveth, so doeth He chastiseth’.
dust-dark and then that bridge was cer y entonces ese puente también se lo habían These archiac expressions show
gone, too. They hadn’t never seen the llevadolasaguas.Nunca habían visto el río tan how the language of religion and
the ideas it propounds serve to
45 river so high, and it’s not done raining crecido y eso que todavía no ha dejado de
reconcile the impoverished and
yet. There was old men that hadn’t llover. Los más viejos del lugar nunca unthinking Anse to his lot in life.
never seen nor heard of it being so in han visto ni oído hablar, en lo que re- They form a species of
the memory of man. I am the chosen cuerdan, de algo semejante. Soy un ele- comforting litany, so that even the
of the Lord, for who He loveth, so gido del Señor, pues Este corrige a aquel fact that the bridge he hoped to
50 doeth He chastiseth. But I be durn if a quien ama**11. ________________ cross has been washed away can
be accepted as significant.
He don’t take some curious ways to _______________________________
X
show it, seems like. ________________
But now I can get them teeth. That Pero ahora tendré los dientes. Será un
55 will be a comfort. It will. gran alivio. Lo será.
29
SAMSON (1) SAMSON
52
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
finally contrived to give them all habíais decidido desprenderos de groups, the Bundrens on their
away.” ellos. wagon and the men on the steps
of the country store, are used to
underline the fact that the country
“Try and get that one,” Quick says. —Trata de hacerte con ése —dice has an identity which is stamped
5 The wagon went on. Quick. La carreta seguía. on its inhabitants. Both groups
share a curiosity about events in
“I bet old man Lon never gave it —Para mí que no se lo ha dado el vie- their little world and both are slow
to him,” I says. jo Lon —digo. [123] to act.
From Samson’s point of view,
the Bundrens present a blackly
10 “No,” Quick says. “He bought it —No —dice Quick—. Se lo com- comic spectacle, spending the
from pappy.” The wagon went on. pró a mi padre —la carreta seguía— night squatting round Addie’s
“They must not a heard about the . No deben de saber lo del puente coffin in the barn, attracting a
bridge,” he says. —dice. crowd of buzzards with the smell
of death which they carry with
them, led by the lazy yet
15 “What’re they doing up here, —De todos modos, ¿qué hacen por
determined Anse and embarked
anyway?” MacCallum says. aquí? —dice MacCallum. on a ludicrous enterprise.
25 “They’ll have to fly, then,” I says. —Entonces tendrán que cruzar vo-
“I don’t reckon there’s ere a bridge lando —digo yo—. Para mí que no hay
between here and Mouth of otro puente entre aquí y Mouth of
Ishatawa.” Ishatawa.
I notice how it takes a lazy man, a Me doy cuenta de que hace falta un hom-
man that hates moving, to get set on bre perezoso, un hombre que odie moverse,
moving once he does get started off, para seguir adelante una vez que se pone en
75 the same as he was set on staying marcha; y la misma persona que siempre
still, like it ain’t the moving he hates quiere estarse quieta, parece que odia más
so much as the starting and the ponerse en marcha y pararse que seguir en
stopping. And like he would be kind movimiento. Y es como si se sintiera
53
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Can’t no man say I don’t aim to —No hay hombre capaz de decir que no
keep my word,” Bundren says. “My mantengo mi palabra —dice Bundren—.
heart is open to ere a man.” Tengo el corazón abierto a cualquiera.
50
“I don’t care what your heart is,” —No me importa cómo está su cora-
she says. She was whispering, kind zón —dice ella. Susurraba, o algo así,
of, talking fast. “You promised her. hablando muy deprisa—. Se lo prome-
You’ve got to. You——” Then she tió. Tiene que hacerlo. Usted... —luego
55 leen me and quit, standing there. If me vio allí parado y se calló. Si sus
they’d been pistols, I wouldn’t be ojos hubieran sido pistolas ahora no
talking now. So when I talked to him lo contaría. Conque cuando le hablé
about it, he says, de eso, dice: [125]
“It’s Addie I give the promise to,” —Es a Addie a quien se lo prometí —
he says. “Her mind is set on it.” dice él—. Estaba empeñada en ello.
70 So I told them to drive it into the Conque les dije que la metieran en el
barn because it was threatening rain granero, porque otra vez amenazaba llu-
again, and that supper was about ready. via y la cena casi estaba lista. Lo que pasa
Only they didn’t want to come in. es que no querían entrar en la casa.
54
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Well,” I says, “since you are so —Muy bien —digo yo—, si ustedes
particular about your womenfolks, son tan especiales con las mujeres de su
I am too. And when folks stops casa, yo también lo soy con la mía. Y
5 with us at meal-time and won’t cuando alguien llega a la hora de comer
come to the table, my wife takes it y no quiere sentarse a nuestra mesa, mi
as a insult.” mujer lo considera un insulto.
So the girl went on to the kitchen De modo que la chica fue a la cocina
10 to help Rachel. And then Jewel - a ayudar a Rachel. Y luego Jewel se me
come to me. acerca.
20 “What for?” I says. “I wouldn’t —¿Y por qué? —digo yo—. A nadie
begrudge no man a bait for his horse.” le escatimo el pienso de un caballo.
a bait: a bale of hay
“Extra feed,” he says. “I feed him —Come mucho —dice él—. Le doy
30 a little extra and I don’t want him de comer mucho y no quiero que tenga
beholden to no man.” que agradecérselo a nadie.
“You can’t buy no feed from me, —Yo no te voy a vender comida, chico
boy,” I says. “And if he can eat that —digo yo—. Y si come tanto que puede
35 loft clean, I’ll help you load the barn vaciar el pajar, por la mañana te ayudaré a
on to the wagon in the morning.” cargar el granero entero en la carreta.
When Rachel put supper on, her Cuando Rachel terminó de servir la
and the girl went and fixed some beds. cena, ella y la chica fueron a preparar unas
50 But wouldn’t any of them come in. camas. Pero ninguno de ellos quería entrar.
“She’s been dead long enough to get —Lleva muerta lo suficiente para
over that sort of foolishness,” I says. dejarse de tonterías —digo. Porque los
Because I got just as much respect for muertos me imponen respeto como al
the dead as ere a man, but you’ve got que más, pero también hay que ser res-
55 to respect the dead themselves, and a petuoso con los muertos, y a una mu-
woman that’s been dead in a box four jer que lleva muerta cuatro días den-
days, the best way to respect her is to tro de una caja, el mejor modo de res-
get her into the ground as quick as petarla es darle tierra lo más pronto
you can. But they wouldn’t do it. posible. Pero ellos no querían.
60
“It wouldn’t be right,” Bundren —No estaría bien —dice Bundren—.
says. “Course, if the boys wants to Claro que si los chicos quieren acostar-
go to bed, I reckon I can set up with se, da igual, puedo quedarme yo solo con
her. I don’t begrudge her it.” ella. No le regatearé eso.
65
So when I went back down there Conque cuando volví abajo es-
they were squatting on the ground taban en cuclillas en el suelo al-
around the wagon, all of them. rededor del carro, todos ellos.
“Let that chap come to the house and —Por lo menos dejen que ese chico
70 get some sleep, anyway,” I says. “And entre en casa y duerma un poco —digo
you better come too,” I says to the yo—. Y tú, mejor entras también —le
girl. I wasn’t aiming to interfere with digo a la chica. No trataba de meterme
sholy: (Am. col.) surely them. And I sholy hadn’t done en sus asuntos. Y que yo supiera nunca
nothing to her that I knowed. le había hecho nada a ella.
75
“He’s done already asleep,” —Ya s e h a d o r m i d o — d i c e
Bundren says. They had done put him Bundren. Le habían acostado en uno
to bed in the trough in a empty stall. de los pesebres vacíos de la cuadra.
55
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Well, you come on, then,” I says —Muy bien, entonces entra tú —le
to her. But still she never said nothing. digo a la chica. Pero ella seguía sin decir
They just squatted there. You couldn’t nada. Se limitaban a estar allí en cuclillas.
5 hardly see them. “How about you Casi ni se los podía ver—. ¿Y vosotros,
boys?” I. says. “You got a full day chicos? —digo—. Mañana tendréis un día
to-morrow.” After a while Cash says, difícil —al cabo de un rato, Cash dice:
15 So I left them squatting there. I Conque los dejé allí en cuclillas. Para
reckon after four days they was mí que después de cuatro días se habían
used to it. But Rachel wasn’t. acostumbrado. Pero Rachel se negó.
“What could he ‘a’ done?” I says. —¿Y qué podría hacer él? —digo
“He give her his promised word.” yo—. Se lo ha prometido.
25 “Who’s talking about him?” she —¿Y quién habla de él? —dice
says. “Who cares about him?” she ella—. ¿A quién le preocupa él? —
says, crying. “I just wish that you dice ella, llorando—. Sólo quiero que
and him and all the men in the tú y él y todos los hombres de este
world that torture us alive and mundo que nos atormentáis vivas y nos
30 flout us dead, dragging us up and insultáis muertas, arrastrándonos por
down the country——” el campo arriba y abajo...
“Now, now,” I says. “You’re —Oye, oye —le digo—. Te has en-
upset.” fadado. [127]
35
“Don’t you touch me!” she says. —¡No me toques! —dice ella—.
“Don’t you touch me!” ¡No me toques!
A man can’t tell nothing about Un hombre nunca puede decir qué van
40 them. I lived with the same one a hacer. Llevo viviendo con la misma
fifteen years and I be durn if I quince años y que me condene si lo sé. Y
can. And I imagined a lot of si imaginé un montón de cosas que nos
things coming up between us, but pueden separar, que me condene si pen-
I be durn if I ever thought it sé alguna vez en que pudiera hacerlo un
45 would be a body four days dead cuerpo que lleva cuatro días muerto, y
and that a woman. But they make encima el de una mujer. Pero se hacen
life hard on them not taking it as difícil la vida al no tomarla como viene,
it comes up, like a man does. que es lo que hacen los hombres.
56
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
But it was still like I could smell Pero todavía era como si lo estuvie-
it. And so I decided then that it wasn’t ra oliendo. Y por eso decidí entonces
5 smelling it, but it was just knowing it mismo que no lo olía, sino que sólo
was there, like you will get fooled sabía que había estado allí, pues de vez
now and then. But when I went to the en cuando uno se engaña. Pero cuan-
barn I knew different. When I walked do entré en el granero pensé otra cosa.
into the hallway I saw something. It Cuando me encontraba en el zaguán vi
10 kind of hunkered up when I come in algo. Algo que estaba en cuclillas
and I thought at first it was one of cuando entré, y al principio pensé que
them got left, then I saw what it was. era uno de ellos; luego vi lo que era.
It was a buzzard. It looked around and Era un buitre. Miró alrededor y me vio
saw me and went on down the hall, y se dirigió al zaguán, con las patas
15 spraddle-legged, with its wings kind separadas, las alas como arrastrando,
of hunkered out, watching me first mirándome primero por encima de un
over one shoulder and then over the hombro y luego por encima del otro,
other, like a old bald-headed man. como un viejo calvo. Cuando llegó
When it got outdoors it begun to fly. fuera se echó a volar. Tuvo que ale-
20 It had to fly a long time before it ever tear bastante tiempo antes de remon-
got up into the air, with it thick and tarse en el aire, de lo espeso y pesado
heavy and full of rain like it was. y lleno de lluvia que estaba.
40 30
DEWEY DELL (3) DEWEY DELL
57
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
gone: I sit naked on the seat do sin vestido: estoy sentada desnuda en bones, the hard girdle in which
above the unhurrying mules, el banco, encima de las mulas cansinas, lie the outraged entrails of
events’. At an unverbalised level,
above the travail. Suppose I tell encima de todas las fatigas. Supón que
Dewey Dell is sensing the
him to turn. He will do what I say. le digo que se dé la vuelta. Hará lo que difference between the ‘bones’,
5 Don’t you know he will do what I yo le diga. ¿No sabes que hará lo que le which endure, and the ‘entrails’,
say? [Once I waked with a black diga [129] yo? Una vez me desperté con which decay.
void rushing under me. I could not un oscuro vacío que se hundía a mis pies. As usual, the musing character
see.] I saw Vardaman rise and go No podía ver. Vi a Vardaman levantarse moves between the depths of
inner thoughts and the actuality
to the window and strike the knife e ir a la ventana y hundir el cuchillo en
around them. Dewey Dell returns
10 into the fish, the blood gushing, el pez que chorreaba sangre que siseaba from the contemplation of ‘the
hissing like steam but I could not como el vapor aunque yo no podía ver. womb of time’ to look at her
see. He’ll do as I say. He always Hará lo que yo le diga. Siempre lo brothers, focusing on Darl and
does. I can persuade him to hace. Puedo convencerle de lo que sea. seeing that he has the ability,
anything. You know I can. Suppose Sé que puedo. Supón que le digo: Vuél- metaphorically, to strip her bare,
‘I sit naked . . . above the travail’.
15 I say turn here. That was when I vete aquí. Eso fue aquella vez en que
Worried by this exposure, she
died that time. Suppose I do. We’ll morí. Supón que lo hago. Iríamos a New recalls a dream in which she
go to New Hope. We won’t have to Hope. No tendríamos que ir a la ciudad. killed Darl. This memory leads on
go to town. I rose and took the Me levanté y saqué y saqué el cuchillo to the memory of another dream
knife from the streaming fish still del chorreante pez que todavía siseaba y in which she did not know what
20 hissing and I killed Darl. maté a Darl. she was, ‘I couldn’t think of my
name I couldn’t even think I am a
girl I couldn’t even think I . . .’.
When I used to sleep with Cuando acostumbraba a dormir Her sense of reality was restored
Vardaman I had a nightmare once I con Vardaman una vez tuve una pesadi- by feeling the wind blowing on
thought I was awake but I couldn’t lla y creí que estaba despierta, pero no her legs, a confirmation by an
25 see and couldn’t feel I couldn’t feel podía ver ni notar ni notar la cama de- outside agency which recalls
the bed under me and I couldn’t bajo de mí y no podía pensar qué era yo Darl’s idea that the wagon’s
existence is confirmed by the rain.
think what I was I couldn’t think of no podía pensar en cómo me llamo ni si-
my name I couldn’t even think I am quiera podía pensar que soy una chica
a girl I couldn’t even think I nor ni tampoco podía tan siquiera pensar, ni
30 even think I want to wake up nor tampoco podio pensar que quería des-
remember what was opposite to pertar ni tampoco recordar qué era lo
awake so I could do that I knew that opuesto a despertar de modo que pudie-
something was passing but I se hacerlo yo sabía que algo se desliza-
couldn’t even think of time then all ba, pero ni siquiera podía pensar en el
35 of a sudden I knew that something tiempo y entonces de repente me di cuen-
was it was wind blowing over me it ta de que había algo que era como vien-
was like the wind came and blew me to que soplaba sobre mí y era como si el
back from where it was I was not viento viniera y me impulsara hacia atrás
blowing the room and Vardaman desde donde estaba y yo no soplaba el
40 asleep and all of them back under cuarto y Vardaman dormía y todos de-
me again and going on like a piece bajo de mí otra vez como un trozo de seda
of cool silk dragging across my fría que se arrastraba entre mis piernas
naked legs. desnudas
45 It blows cool out of the pines, De los pinos sale un soplo fresco, un
a sad steady sound. New Hope. triste y constante sonido. New Hope.
Was 3 mi. Was 3 mi. I believe in Estaba a 5 kms. Estaba a 5 kms. Creo en
God I believe in God. Dios, creo en Dios.
58
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
31
TULL (4) TULL
AFTER they passed I taken the DESPUÉS de que pasaran saqué la Tull (4)
5 mule out and up the trace chains and mula y le enrollé las cadenas del tiro
followed. They were setting in the y los seguí. Estaban instalados e n This section consists of Tull’s
wagon at the end of the levee. Anse la carreta, al final del malecón. Anse unspoken thoughts and his
was setting there, looking at the estaba allí mirando al puente por spoken words as he sees the
Bundrens pass his farm going
bridge where it was swagged down donde se lo había llevado el río con
towards the river. He follows
10 into the river with just the two ends sólo dos pilares a la vista. Lo miraba them on his mule.
in sight. He was looking at it like he como si todo el tiempo hubiera creído
had believed all the time that folks que la gente le mentía sobre que se lo
had been lying to him about it being había llevado la riada y siempre hu-
gone, but like he was hoping all the biera esperado que siguiera allí. Pare-
15 time it really was. Kind of pleased cía como agradablemente sorprendido,
COMMENTARY: In this
astonishment he looked, setting on the allí, sentado en la carreta con sus pan- section, Tull is made to feel the
wagon in his Sunday pants, mumbling talones de los domingos, murmurando collective hostility of the Bundren
his mouth. Looking like a uncurried algo. Era como un caballo sin cepillar vestido family. Each member looks at him
horse dressed up: I don’t know. con sus mejores galas, o algo por el estilo. in turn, Dewey Dell ‘like I had
20 made to touch her’, Darl ‘like he
had got inside you, someway’ and
The boy was watching the bridge El chico miraba el puente por don-
Cash ‘with that look in his eyes
where it was midsunk and logs and de estaba medio hundido y a los tron- like when he was figuring out
such drifted up over it and it swagging cos y demás cosas amontonadas enci- whether the planks would fit her
and shivering like the whole thing ma que se agitaban y temblaban como that night.’ Only Anse pays no
25 would go any minute, big-eyed he si en cualquier momento todo fuera a particular attention to Tull, gazing
was watching it, like he was to a desaparecer con los ojos muy abiertos instead at the river with a kind of
‘pleased astonishment’. The
circus. And the gal, too. When I come igual que si estuviera en el circo. Y la
violence of the river is echoed by
up she looked around at me, her eyes chica lo mismo. Cuando llegué me the violent undercurrents now
kind of blaring up and going hard like miró con ojos brillantes y duros como evident in the family itself.
undercurrent 1 subdued
30 I had made to touch her Then she si la hubiera intentado tocar. Luego emotional quality underlying an
looked at Anse again and then back volvió a mirar a Anse y luego volvió a utterance; implicit meaning,
sobreentendido, tendencia
at the water again. mirar al agua. oculta 2 a current below the
surface of a fluid, corriente
submarina, contracorriente
1 contracorriente 2 fig (de
It was nigh [near] up to the levee Esta casi cubría el malecón en los descontento, etc) trasfondo.
35 on both sides, the earth hid except for dos lados, la tierra estaba cubierta por 3 (en el mar) corriente subma-
rina
the tongue of it we was on going out el agua excepto en la lengua por la que
to the bridge and then down into the nos dirigíamos al puente y luego se
water, and except for knowing how hundía, y a no ser porque sabíamos
the road and the bridge used to look, dónde solían estar el camino y el puen-
40 a fellow couldn’t tell where was the te, nadie podría decir dónde estaba el
river and where the land. It was just río y dónde la tierra. Era una mezco-
a tangle of yellow and the levee not lanza amarilla y la lengua de tierra no
less wider than a knife-back kind of, más ancha que el revés de un cuchillo
with us setting in the wagon and on con todos nosotros instalados en la ca-
45 the horse and the mule. rreta y en el caballo y la mula.
Darl was looking at me, and then Darl me miraba, y luego Cash se
Cash turned and looked at me with volvió a mirarme con aquella expre-
that look in his eyes like when he was sión en los ojos que era como cuan-
50 figuring on whether the planks would do aquella noche pensaba si las ta-
fit her that night, like he was blas se acoplarían a ella, igual que
measuring them inside of him and not si las midiera interiormente y no te
asking you to say what you thought preguntase lo que pensabas y ni si-
and not even letting on he was quiera se dignase a escuchar si le
55 listening if you did say it, but listening dabas tu opinión, aunque de hecho es-
all right. Jewel hadn’t moved. He sat cuchase. Jewel no se había movido. Es-
there on the horse, leaning a little taba allí, montado a caballo, echado un
forward, with that same look on his poco hacia delante, con la misma expre-
face when him and Darl passed the sión en la cara de cuando él y Darl pasa-
60 house yesterday, coming back to get ron ayer por delante de casa camino de
her. recogerla.
“If it was just up, we could drive —Si se hubiera mantenido podríamos
across,” Anse says. “We could drive cruzar —dice Anse—. Podríamos cruzar
65 right on across it.” en un momento.
59
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Mr. Whitfield crossed it,” she says. —Mr. Whitfield lo cruzó —dice.
5
“He was a horse-back,” I say. —Iba a caballo —digo yo—. Y fue
“And three days ago. It’s riz five hace tres días. Desde entonces ha subido
foot since.” metro y medio.
10 “If the bridge was just up,” Anse —Si el puente siguiera en pie... —dice
says. Anse.
The log bobs up and goes on again. El tronco reaparece y sigue adelante.
There is a lot of trash and foam, and Hay muchos desechos y espuma, y se
15 you can hear the water. pueden ir al agua.
tote: (Am. English) carry “But you couldn’t tote —Pero no se podría llevar ninguna
25 nothing,” I say. “Likely time you carga —digo yo—. Probablemente si po-
set foot on that mess, it’ll all go, nes el pie en ese revoltijo se hundiría tam-
too. What you think, Darl?” . bién. ¿Qué opinas, Darl?
But still he does not start the Pero sigue sin hacer andar a las mu-
mules. We set there above the water. las. Estamos allí, al borde del agua.
the jam: the obstructing clump of Another log bobs up over the jam and Otro tronco asoma sobre el atasco y
logs 50 goes on; we watch it check up and sigue; lo vemos detenerse y oscilar
swing slow for a minute where the lentamente durante un minuto donde
ford used to be. Then it goes on. solía estar el vado. Luego se aleja.
“It might start falling to-night,” I —Puede que empiece a bajar esta no-
55 say. “You could lay over one more che —digo yo—. Podrían quedarse un día
day.” más.
“Shut up, Jewel,” Cash says. Jewel —Cállate, Jewel —dice Cash. Jewel
70 looks back at the water, his face vuelve a mirar el agua, su cara es una
grit — n. 1 particles of stone or sand, esp. as gritted, going red and green and then mueca y se pone roja y verde y luego
causing discomfort, clogging machinery, etc.
2 coarse sandstone. 3 colloq. pluck, red. “Well,” Cash says after a while, roja—. Bueno —dice Cash al cabo de un
endurance; strength of character.
— v. (gritted, gritting) 1 tr. spread grit on (icy “what you want to do?” rato—, ¿qué quiere que hagamos?
roads etc.). 2 tr. clench (the teeth). 3 intr. make
or move with a grating sound.
grit 1 arena gravilla 2 coraje, agallas 3 clench the 75 Anse don’t say nothing. He sets Anse no dice nada. Sigue sentado,
teeth, apretar los dientes, rechinar los dientes,
decir apretando los dientes. humped up, mumbling his mouth. encorvado, murmurando entre dientes.
“If it was just up, we could drive —Si solo se hubiera mantenido po-
across it,” he says. dríamos cruzarlo —dice.
60
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Come on,” Jewel says, moving —Venga, vamos —dice Jewel, hacien-
the horse. do andar al caballo.
“Vernon can help them,” Jewel —Vernon les puede ayudar —dice
says. “And we can hitch his mule Jewel—. Y nosotros podemos engarchar
ahead of ourn.” su mula delante de las nuestras.
15
“You ain’t going to take my mule —No vais a meter mi mula en esa
into that water,” I say. corriente —digo yo.
Jewel looks at me. His eyes Jewel me mira. Sus ojos parecen tro-
20 look like pieces of a broken plate. zos de un plato roto.
“I’ll pay for your damn mule. I’ll buy —Le pagaré su condenada mula. Se
it from you right now.” la compro ahora mismo.
“My mule ain’t going into that —Mi mula no se meterá en esa co-
35 water,” I say. rriente —digo yo.
glare A 1. mirada feroz o llena de odio 2. luz des-
lumbrante, resplandor. B verbo intransitivo 1
mirar enfurecido [at, a] staring angrily and fiercely,
(fulminándole con la mirada) 3. deslumbrar 1.
To stare fixedly and angrily. See synonyms at 32
gaze. 2. To shine intensely and blindingly: A hot
sun glared down on the desert. 3. To be DARL (11) DARL
conspicuous; stand out obtrusively: The headline
glared from the page. To express by staring 40
angrily: He glared his disapproval. HE sits the horse, glaring at MONTA su caballo, mirando a
suffuse 1 (of colour, moisture, etc.) spread from Vernon, his lean face suffused up to Vernon, con su flaco rostro empañado por
within to colour or moisten (a blush suffused Darl (11)
her cheeks). 2 cover with colour etc. Impreg- and beyond the pale rigidity of his eyes. la pálida rigidez de sus ojos. El vera-
nar, saturar, bañar, inundar,
The summer when he was fifteen, he no en que tenía quince años, le dio As the family sit gazing at the
swollen river, Darl is thinking of
45 took a spell of sleeping. One morn- un ataque de sueño. Una mañana
Jewel. He remembers, at an
ing when I went to feed the mules cuando yo iba a dar de comer a las unspoken and unverbalised level,
the cows were still in the tie-up and mulas, las vacas todavía estaban ama- the time when Jewel used to
then I heard pa go back to the house rradas y entonces oí a padre que vol- disappear mysteriously at night
and call him. When we came on back vía a casa y le llamaba. Cuando vol- and return exhausted.
50 to the house for breakfast he passed vimos a casa para desayunar pasó jun-
us, carrying the milk buckets, stum- to a nosotros llevando los cubos para
bling along like he was drunk, and la leche y tambaleándose como si es-
he was milking when we put the tuviera borracho, y estaba ordeñando
mules in and went on to the field cuando arreglamos las mulas y sali- COMMENTARY: This section
55 without him. We had been there an mos al campo sin él. Llevábamos una begins with Darl thinking, as
hour and still he never showed up. hora allí y seguía sin aparecer. Cuan- usual, of Jewel. The reason for
such thoughts is not simply his
When Dewey Dell came with our do Dewey Dell vino con el almuerzo,
obsession with his brother but the
lunch, pa sent her back to find Jewel. padre la mandó a buscar a Jewel. Lo fact that, in Tull (4), Darl was part
They found him in the tie-up, sitting encontraron en el establo, sentado en of the family in its hostility
60 on the stool, asleep. el taburete, dormido. against Tull. Here he recalls
another moment at which the
After that, every morning pa Después de eso, padre tenía que ir to- family were united, a time when
Jewel began to behave in a
would go in and wake him. He das las mañanas a despertarle. Se dor-
mysterious fashion. ‘That was the
would go to sleep at the suppertable mía en la mesa durante la cena y, en first time ma . . . has happened to
65 and soon as supper was finished he cuanto terminábamos de cenar, se metía him’, these lines create an image
would go to bed, and when I came en la cama, y cuando me acostaba yo, of the whole family acting as a
in to bed he would be lying there allí me lo encontraba tumbado como un unit to protect their mother from
like a dead man. Yet still pa would muerto. Sin embargo, padre también te- the knowledge that her favourite
son is behaving oddly. The image
have to wake him in the morning. nía que despertarle por la mañana. Se
implies that the family are bound
70 He would get up, but he wouldn’t levantaba, pero casi no se enteraba de to one another by their concern
hardly have half sense: he would lo que estaba pasando: se quedaba allí for Addie. Now that Addie is no
s t a n d f o r p a ’s j a w i n g a n d quieto sin decir ni palabra mientras pa- longer alive, they sit helplessly by
complaining without a word and dre le reñía y se quejaba, y luego cogía the side of the river, each finding
take the milk buckets and go to the los cubos de la leche e iba al establo, y it difficult to feel his or her own
identity, yet all acting with a kind
75 barn, and once I found him asleep una vez me lo encontré dormido junto a
of tacit strength against the
at the cow, the bucket in place and la vaca con el cubo en su sitio y a medio outside world.
half-full and his hands up to the llenar y las manos metidas en la leche At the end of the section, we
wrists in the milk and his head hasta las muñecas y la cabeza apoyada discover that Darl himself had had
a personal flash of insight as a
61
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
against the cow’s flank. en el costado de la vaca. result of Jewel’s action. He had
found his mother beside Jewel’s
sleeping body, crying quietly. It
After that Dewey Dell had Después de eso tenía que ordeñar
was at this moment that Darl
to do the milking. He still got Dewey Dell. El seguía levantándose realised that Jewel was not Anse’s
5 up when pa waked him, going cuando lo despertaba padre y se iba a son, that he is the product of
about what we told him to do hacer lo que le decíamos como en un tran- deceit, ‘I knew that as plain on
i n t h a t d a z e d w a y. I t w a s l i k e ce. Era como si estuviera intentando ha- that day as I knew about Dewey
he was trying hard to do them; cer las cosas lo mejor posible. Como si Dell on that day’.
that he was as puzzled as se sintiera tan confundido como todos los
10 a n y o n e e l s e . demás. [134]
“Are you sick?” ma said. “Don’t —¿Estás malo? —le decía madre—.
you feel all right?” ¿No te encuentras bien?
“You take off and stay in the house —Hoy quédate en casa sin hacer nada
to-day,” ma said. —decía madre.
30 “With that whole bottom piece to —¿Con todo ese terreno que hay
be busted out?” pa said. “If you ain’t que arar? —decía padre—. Si no
sick, what’s the matter with you?” estás malo, ¿qué te pasa?
“Nothing,” Jewel said. “I’m all —Nada —decía Jewel—. Estoy per-
35 right.” fectamente.
50 “You’ll just have to do the best you —Arréglatelas como puedas con Cash
can with Cash and Darl,” ma said. “I y Darl —decía madre—. Hoy quiero que
want him to stay in to-day.” se quede.
It was ma that got Dewey Dell Madre tuvo que mandar a Dewey
to do his milking, paid her Dell que ordeñara en lugar de él, y de
62
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
somehow, and the other jobs around algún modo se lo pagaba, y las demás
the house that J e w e l h a d b e e n faenas de la casa que Jewel hacía hasta
d o i n g b e f o r e supper she found ahora antes de la hora de cenar, encon-
some way for Dewey Dell and tró modo de que las hicieran Dewey Dell
5 Vardaman to do them. And doing y [135] Vardaman. O las hacía ella mis-
them herself when pa wasn’t there. ma cuando padre no estaba delante. Le
She would fix him special things to preparaba cosas de comer especiales a
eat and hide them for him. And that escondidas de los otros. Y puede que
may have been when I first found it haya sido entonces cuando descu-
10 out, that Addie Bundren should be brí que Addie Bundren, que siem-
hiding anything she did, who had tried pre nos había enseñado que el en-
to teach us that deceit was such that, gaño era lo peor de este mundo, in-
in a world where it was, nothing else cluida la pobreza, nos ocultaba
could be very bad or very important, algo. Y a veces cuando entraba para
15 not even poverty. And at times when I i r m e a d o r m i r, m e l a e n c o n t r a b a
went in to go to bed she would be sentada a oscuras junto al sitio don-
sitting in the dark by Jewel where he de dormía, Jewel. Y comprendí que
was asleep. And I knew that she was se odiaba a sí misma por tener que
hating herself for that deceit and hating engañarnos, y que odiaba a Jewel
20 Jewel because she had to love him so porque le quería tanto que tenía que
that she had to act the deceit. engañarnos.
One night she was taken sick and Una noche se puso mala y cuando
when I went to the barn to put the fui al establo a preparar el tiro para ir
25 team in and drive to Tull’s, I couldn’t a casa de Tull, no conseguí encontrar
find the lantern. I remembered el farol. Recordaba haberlo visto col-
noticing it on the nail the night before, gado del clavo la noche anterior, pero
but it wasn’t there now at midnight. ahora, a medianoche, no estaba allí.
So I hitched in the dark and went on Conque enganché a oscuras y salí y
30 and came back with Mrs. Tull just volví con Mr. Tull justo después de
after daylight. And there the lantern amanecer. Y allí estaba el farol, col-
was, hanging on the nail where I gando del clavo donde yo lo recorda-
remembered it and couldn’t find it ba y antes no había conseguido encon-
before. And then one morning while trarlo. Y luego, una mañana, mientras
35 Dewey Dell was milking just before Dewey ordeñaba justo antes de salir
sun-up, Jewel came into the barn from el sol, Jewel entró en el establo por la
the back, through the hole in the back parte de atrás, a través de un agujero
wall, with the lantern in his hand. de la pared, con el farol en la mano.
40 I told Cash, and Cash and I looked Se lo conté a Cash, y Cash y yo nos
at one another. miramos.
45 “Yes,” I said. “But why the —Sí —dije yo—. Pero, ¿por
lantern? And every night, too. No qué el farol? Y encima todas las
wonder he’s losing flesh. Are you noches. No me extraña que adel-
going to say anything to him?” g a c e . ¿ Va s a d e c i r l e a l g o ?
50 “Won’t do any good,” Cash said. —No serviría de nada —dijo Cash.
“What he’s doing now won’t do —Tampoco sirve de nada lo que está
any good, either.” haciendo ahora.
55 “I know. But he’ll have to learn —Ya lo sé. Pero tiene que aprenderlo
that himself. Give him time to por sí mismo. Dale tiempo para que se
realize that it’ll save, that there’ll dé cuenta de que eso no se va a agotar,
be just as much more to-morrow, de que mañana lo podría hacer igual, y
and he’ll be all right. I wouldn’t tell se le pasará. Para mí que será mejor no
60 anybody, I reckon.” contárselo a nadie.
“No,” I said. “I told Dewey Dell —No —dije yo—. Le dije a Dewey Dell que
not to. Not ma, anyway.” no lo contara. Por lo menos, no a madre.
After that I thought it was right Después de eso pensé que resultaba
comical: he acting so bewildered hasta cómico: se comportaba como tan
and willing and dead for sleep perplejo y ansioso y estaba tan muerto
70 a n d g a u n t a s a b e a n - p ole , a n d de sueño y tan flaco como una vara en
thinking he was so smart with it. un campo de judías; y creía que nos en-
And I wondered who the girl was. gañaba... Y yo me preguntaba [136] quién
I thought of all I knew that it podría ser la chica. Pensé en todas las que
might be, but I couldn’t say for conocía, pero no estaba seguro de que
75 sure. fuera ninguna.
63
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
any young girl got that much daring aquí cerca. Ninguna chica joven es tan
and staying power. That’s what I atrevida ni resiste tanto. Eso es lo que
don’t like about it.” no me gusta de todo esto.
5 “Why?” I said. “She’ll be safer for —¿Por qué? —dije yo—. Para él es
him than a girl would. More más seguro que una chica. Siempre será
judgment.” más discreta.
15 “You mean, the safe things are not —¿Quieres decir que las cosas segu-
always the best things?” ras no son siempre las mejores?
But when fall came and the Pero cuando llegó el otoño y las no-
nights began to get longer, the only ches empezaron a hacerse más largas, la
55 d i ff e r e n c e w a s t h a t h e w o u l d única diferencia fue que siempre estaba
always be in bed for pa to wake en la cama cuando padre iba a despertar-
him, getting him up at last in that lo y le obligaba a levantarse en ese esta-
first state of semi-idiocy like when do de semiidiotez en que se [137] levan-
it first started, worse than when he taba antes, peor todavía que cuando ha-
60 had stayed out all night. bía pasado toda la noche fuera.
“She’s sure a stayer,” I told Cash. —Esa tiene aguante —le dije a
“I oled to admire her, but I downright Cash—. Antes la admiraba, pero ahora
respect her now.” le tengo respeto.
65
“It ain’t a woman,” he said. —No es una mujer —dijo él.
“You know,” I said. But he was —Lo sabes —dijo yo. Pero me estaba
watching me. “What is it, then?” mirando—. ¿Entonces qué es?
70
“That’s what I aim to find out,” he —Eso es lo que voy a averiguar— dijo
said. él.
“You can trail him through the —Puedes seguirle toda la noche por
75 woods all night if you want to,” I el bosque si quieres —dije yo—. Yo no
said. “I’m not.” lo voy a hacer.
64
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
And so a few nights Iater I heard Total, que unas cuantas noches des-
Jewel get up and climb out the pués oí que Jewel se levantaba y salía
10 window, and then I heard Cash get por la ventana, y luego oí que Cash se
up and follow him. The next morning levantaba y le seguía. A la mañana si-
when I went to the barn, Cash was guiente cuando fui al granero, Cash ya
already there, the mules fed, and he estaba allí, las mulas habían comido, y
was helping Dewey Dell milk. And estaba ayudando a Dewey Dell a orde-
15 when I saw him I knew that he knew ñar. Y en cuanto le vi me di cuenta de
what it was. Now and then I would que sabía lo que pasaba. De vez en cuan-
catch him watching Jewel with a do le sorprendía mirando a Jewel con
queer look, like having found out una mirada rara, como si haber descu-
where Jewel went and what he was bierto adónde iba Jewel y lo que hacía
20 doing had given him something to le proporcionara al fin algo en lo que
really think about at last. But it was pensar. Pero no era una mirada de pre-
not a worried look; it was the kind of ocupación; era el tipo de mirada que le
look I would see on him when I would veía poner cuando le encontraba hacien-
find him doing some of Jewel’s work do algunas de las tareas de casa que de-
25 around the house, work that pa still bía hacer Jewel, unas tareas que padre
thought Jewel was doing and that ma todavía creía que hacía Jewel y que ma-
thought Dewey Dell was doing. So I dre creía que hacía Dewey Dell. Con-
said nothing to him, believing that when que no le dije nada, creyendo que cuan-
he got done digesting it in his mind, he do lo hubiese digerido interiormente, me
30 would tell me. But he never did. lo contaría. Pero no me lo contó.
65
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
shape of its mane and tail and the como si sus crines y su cola y las man-
splotches of its coat had nothing chas de su piel no tuvieran nada que ver
whatever to do with the con el caballo de carne y hueso que ha-
fleshand-bone horse inside them, bía dentro. Se quedó allí, montado en el
5 and he sat there, looking at us. caballo, mirándonos.
“Where did you get that horse?” —¿De dónde has sacado ese caballo?
pa said. —dijo padre.
10 “Bought it,” Jewel said. “From Mr. —Lo compré —dijo Jewel—. A Mr.
Quick.” Quick.
“It’s all right,” Cash said. “He —No pasa nada —dijo Cash—. Se
earned the money. He cleaned up ganó el dinero. Le ha limpiado a Quick
25 that forty acres of new ground Quick las cuarenta fanegas de nueva tierra que
laid out last spring. He did it roturó la primavera pasada. Lo hizo él
single-handed, working at night by solo, trabajando de noche con el farol.
lantern. I saw him. So I don’t reckon Yo le vi hacerlo. Conque para mí que ese
that horse cost anybody anything caballo no le ha costado nada a nadie
30 except Jewel. I don’t reckon we excepto a Jewel. Para mí que no hay de
need worry.” qué preocuparse.
“Not yet,” Jewel said. “I ain’t got —Todavía no —dijo Jewel—. No ten-
time. I got to get me a saddle and go tiempo. Tengo que ganar para la silla
bridle. Mr. Quick says he——” y las riendas. Mr. Quick dice que...
40
“Jewel,” ma said, looking at —J e w e l — d i j o m a d r e , m i r á n -
him. “I’ll give—I’ll give—give— d o l e — . Yo t e d a r é . . . Yo t e d a r é . . .
” Then she began to cry. She cried — l u e g o s e e c h ó a l l o r a r.
hard, not hiding her face, standing Lloraba con fuerza, sin ocultar la
45 there in her faded wrapper, looking cara, allí de pie en su desteñido chal
at him and him on the horse, looking mirándole y él a caballo mirándola a
down at her, his face growing cold ella con una cara que se le iba po-
and a little sick looking until he niendo fría y como enferma, hasta
looked away quick and Cash came que apartó la vista y Cash se acercó
50 and touched her. a madre y la tocó.
66
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
flesh and blood and bought a horse de tu carne y de tu sangre te lo has com-
with it.” prado.
Jewel looked at pa, his eyes paler Jewel miró a padre con unos ojos más
5 than ever. pálidos que nunca.
30 33
TULL (5) TULL
SO they finally got Anse to say CONQUE por fin consiguieron que
Tull (5)
what he wanted to do, and him and Anse dijera lo que quería hacer y él y
35 the gal and the boy got out of the la chica y el pequeño se bajaron de la This section contains Tull’s
wagon. But even when we were on carreta. Pero incluso cuando estábamos unspoken thoughts and spoken
the bridge Anse kept on looking back, en el puente, Anse seguía mirando ha- words as the Bundren family sit
like he thought maybe, once he was cia atrás, como pensando que a lo me- contemplating the river and
finally make an attempt to cross
outen the wagon, the whole thing jor, ahora que se había bajado de la
it.
40 would kind of blow up and he would carreta, todo el problema había desapa-
find himself back yonder in the field recido y él se encontraba otra vez allá
again and her laying up there in the lejos, en el campo, y ella allí acostada
house, waiting to die and it to do all esperando la muerte, como si todo vol-
over again. viera a empezar.
COMMENTARY: Anse is
45
seen in this section in his usual,
“You ought to let them taken your —Debería de haberles dejado la indecisive pose, ‘even when we
mule,” he says, and the bridge mula —me dice, y el puente tembla- were on the bridge Anse kept
shaking and swaying under us, going ba y se tambaleaba bajo nosotros, looking back’, but the
down into the moiling water like it hundiéndose en las turbias aguas observations made by Tull are
50 went clean through to the other side como si se dirigiese directamente al particularly pertinent when they
relate to the river itself and to the
of the earth, and the other and coming otro extremo de la tierra, y el extre-
family’s motives for wanting to
up outen the water like it wasn’t the mo opuesto elevándose por encima de cross it. The river he describes
same bridge a-tall and that them that las aguas como si no fuera el mismo ‘like slush ice. Only it kind of
would walk up outen the water on that puente en absoluto y los que quisie- lived’, expressing the amazement
55 side must come from the bottom of ran cruzarlo vinieran desde el fondo de of a man not used to changes in
the earth. But it was still whole; you la tierra. Pero todavía estaba entero: se his environment and reflecting his
sense of the whole situation as
could tell that by the way when podría decir por el modo en que este
swagged: suspended in a loop being one of impending doom,
between two points this end swagged, it didn’t look extremo temblaba, que el otro extre- ‘the waiting and the threat’.
like the other and swagged at all mo parecía no temblar en absoluto; After he has crossed the river,
60 just like the other trees and the como si los árboles y la orilla del otro Tull looks back and sees
bank yonder mere swinging back lado fueran como el péndulo que osci- everything in a different
and forth slow like on a big laba lentamente de un lado a otro en perspective, underlining the
baptismal elements of the scene,
clock. And them logs scraping un enorme reloj de pared. Y los tron-
‘t looked back at my mule it was
and bumping at the sunk part and cos se arremolinaban y golpeaban con- like he was one of these here spy-
65 tilting end-up and shooting clean tra la parte hundida y asomaban la glasses . . .’ and the Red Sea
outen the water and tumbling on punta y salían disparados del agua y undertones are picked up when he
toward the ford and the waiting, seguían hacia el vado que esperaba con talks of ‘milk’. Moses crossed the
slick 1 a (of a person or action) skilful or efficient; Red Sea to reach the land of milk
dextrous (gave a slick performance). b superficially slick, whirling, and foamy. remolinos y espuma, resbaladizo.
or pretentiously smooth and dextrous. c glib. 2 a and honey. The Bundrens cross
sleek, smooth. b slippery. the swollen Ishatawa to reach the
1 a smooth patch of oil etc., esp. on the sea. 2 Mo- 70 “What good . would that ‘a’ —¿De qué iba a servir? — land of toy trains, false teeth and
tor Racing a smooth tyre. 3 US a glossy magazi-
ne. 4 US sl. a slick person. done?” I says. “If your team can’t digo yo—. Si su tiro no consi- abortions.
1 make sleek or smart. 2 (usu. foll. by down) flatten
(one’s hair etc.). find the ford and haul it across, gue encontrar el vado para At the end of the section, Tull
what good would three mules or cruzar, ¿de qué servirían tres has a species of revelation, when
even ten mules do?” mulas, o incluso diez? he sees that the reason for
crossing the river is not solely to
75
bury Addie, ‘Just going to town.
“I ain’t asking it of you,”’ he —No se lo estoy pidiendo —dice él— Bent on it. They would risk the
says. “I can always do for me and . Siempre me las arreglo con mis cosas y fire and the earth and the water
mine. I ain’t asking you to risk your las de los míos. No le pido que arriesgue and all just to eat a sack of
bananas’. If Faulkner is casting
67
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
mule. It ain’t your dead; I am not su mula. No se trata de su difunto. No se the Bundrens in a mock-biblical
blaming you.” lo reprocho. role, then Tull must surely be
seen as one of the prophets, for
here he foresees that fire will play
“They ought to went back and —Debieran dar marcha atrás a part in the saga and that earth
laid over: (col.) waited laid over until to-morrow,” I says.
5 y esperar hasta manaña —digo yo. will be at the end of it.
The water was cold. It was thick, El agua estaba fría. Estaba espesa,
slush-ice: half-frozen water like slush-ice. Only it kind of lived. como nieve que se funde. Pero parecía
One part of you knowed it was just como Viva. Una parte de uno sabía que
water, the same thing that had been sólo era agua, lo mismo que llevaba co-
10 running under this same bridge for rriendo largo tiempo bajo este mismo
a long time, yet when them logs puente, y sin embargo cuando los tron-
spewing up: (literally) vomiting; would come spewing up outen it, cos salían despedidos de ella, uno no se
rushing up you were not surprised, like they sorprendía de que fuera así, como si for-
was a part of water, of the waiting maran parte del agua, de lo que esperaba
15 and the threat. amenazante.
It was like when we was across, La misma sorpresa tuve cuando, cru-
up out of the water again and the hard zando el puente, de nuevo fuera del agua,
earth under us, that I was surprised. noté tierra firme debajo. Era como si no
20 It was like we hadn’t expected the hubiera esperado que el puente termina-
bridge to end on the other bank, on se en la otra orilla, en algo tranquilo
something tame like the hard earth como la tierra firme que habíamos pisa-
again that we had tromped on before do antes que ésta y conocíamos bien.
this time and knowed well. Like it Como si no debiera haber podido ser yo
25 couldn’t be me here, because I’d have mismo, porque debí haber sido más sen-
had better sense than to done what I sato y no haber hecho lo que acababa de
just done. And when I looked back hacer. Y cuando volví la vista y vi la otra
and saw the other bank and saw my orilla y vi a mi mula allí de pie donde
mule standing there where I used to normalmente estaba yo y comprendí que
30 be and knew that I’d have to get back tenía que encontrar algún modo de vol-
therer some way, I knew it couldn’t ver, comprendí que aquello no podía ser,
be, because I just couldn’t think of porque no conseguía que se me ocurrriese
anything that could make me cross nada que me hiciera volver a cruzar el
that bridge ever even once. Yet here I puente ni siquiera una vez más. Y por
35 was, and the fellow that could make mucho que me encontrara aquí, yo no era
himself cross it twice, couldn’t be me, el tipo que lo iba a cruzar dos veces, ni
not even if Cora told him to. siquiera aunque me lo pidiera Cora.
68
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
and then that children have more en cuando que los niños son más sen-
sense than him. But he don’t like to satos que él. Pero al tipo no le gusta
admit it to them until they have admitirlo hasta que les sale la bar-
beards. After they have a beard, they ba. Después de que les sale la barba
5 are too busy because they don’t know están demasiado ocupados porque no
if they’ll ever quite make it back to saben volver a la época en que tenían
where they were in sense before they sentido común antes de que les sa-
was haired, so you don’t mind liera la barba y entonces a uno no le
admitting then to folks that are importa aceptar que la gente se pre-
10 worrying about the same thing that ocupe de la mismas cosas de las que
ain’t worth the worry that you are no merece la pena que se preocupe
yourself. ni uno mismo.
Then we was over and we stood Luego habíamos cruzado y nos que-
15 there, looking at Cash turning the damos allí quietos, mirando a Cash que
wagon around. We watched them hacía dar la vuelta a la carreta. Les vi-
drive back down the road to where mos cómo retrocedían camino abajo has-
t h e t r a i l t u r n e d o ff i n t o t h e ta donde el sendero se desviaba hacia el
bottom. After a while the wagon cauce. Al cabo de un rato la carreta se
20 was out of sight. había perdido de vista.
“We better get on down to the ford —Será mejor que bajemos al vado y es-
and git ready to help,” I said. temos preparados para ayudarles —dije yo.
35 “It’s the turning back,” he said. “It —Es el retroceder —dije yo—. No da
ain’t no luck in turning back.” buena suerte retroceder. [143]
“I give my promise,” he says. “She —Se lo prometí —dice él—. Ella con-
is counting on it.” fía en mi palabra.
55
34
DARL (12) DARL
BEFORE us the thick dark current ANTE nosotros corre la oscura corrien-
60 runs. It talks up to us in a murmur te espesa. Nos habla con un murmullo que Darl (12)
become ceaseless and myriad, the se hace incesante y múltiple; la amarilla
yellow surface dimpled monstrously superficie monstruosamente abultada en This section consists of Darl’s
unspoken and unverbalised
into fading swirls travelling along the remolinos que se desvanecen y la reco-
thoughts as he sits in the wagon
surface for an instant, silent, rren durante un instante, silenciosos, efí- beside Cash. When they reach the
65 impermanent and profoundly meros y profundamente significativos, river Cash is reluctant to cross
significant, as though just beneath the como si justo debajo de esa superficie algo because the coffin is unbalanced
surface something huge and alive enorme y vivo se despertara durante un by Addie’s reversed body. But he
waked for a moment of lazy alertness momento de vigilia perezosa y volviera a will not let Jewel take over. The
wagon is swept off the ford, with
out of and into light slumber again. caer en un ligero adormecimiento.
Cash clinging to the cofn and
70 telling Darl to jump clear.
inthe middle of
It clucks and murmurs among the Cloquea y murmura entre los radios
spokes and about the mules’ knees, de las ruedas y alrededor de las patas de
yellow, skummed with flotsman and las mulas, amarilla, salpicada de restos
with thick soiled gouts of foam as flotantes y con espesas y sucias gotas
75 though it had sweat, lathering, like a de espuma como si sudara, igual que
COMMENTARY: For Darl, as
driven horse. Through the cubre la espuma a un caballo. Corre en- for Tull, the swollen river is a li-
undergrowth it goes with a plaintive tre la maleza con un sonido de queja, ving thing and a portent; it is
sound, a musing sound; in it the un sonido meditabundo; sobre ella se ‘profoundly significant, as though
just below the surface something
69
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
saplings half-grown trees unwinded cane and saplings lean as inclinan las sueltas cañas y renuevos huge and alive waked for a
before a little gale, swaying without como ante un vendaval, doblándose sin moment of lazy alertness’. Darl
reflects on the scene calmly,
reflections as though suspended on volverse hacia atrás como si estuvieran
watching unconcernedly as Jewel
invisible wires from the branches sujetas por unos cables invisibles a las fights the current and the dead
5 overhead. Above the ceaseless ramas de arriba. Aparecen sobre la in- mules roll round in the water with
surface they stand—trees, cane, vines cesante superficie —árboles, cañas, their legs ‘stiffly extended’. Even
—rootless, severed from the earth, tallos— desarraigados, arrancados de la when he himself gets into the
spectral above a scene of immense yet tierra, espectrales sobre una escena de water, he remains precise and
unruffled [imperturbable], seeing
circumscribed desolation filled with inmensa, aunque limitada, desolación
the water as ‘hills’ and feeling no
10 the voice of the waste and mournful llena de la voz del agua devastadora y compunction about abandoning
water. siniestra. [144] Addie’s corpse.
The section exposes one new
Cash and I sit in the wagon; Jewel Cash y yo vamos sentados en la ca- aspect of family
sits the horse at the off rear-wheel. rreta; Jewel va a caballo junto a la rueda interrelationships. Darl and Cash
appear to be close in a way not
15 The horse is trembling, its eye trasera derecha. El caballo tiembla y su
hinted at before. This closeness
rolling wild and baby-blue in its ojo, azul claro, gira fiero en su larga ca- may be simply the result of the
long pink face, its breathing beza rosada, respirando en estertores, alteration in their joint world
stertorous like groaning. He sits como si gimiera. Jewel va erguido, com- brought about by the death of
poised 1(= self-possessed) sereno; ecuánime
2 to be poised (figurative) (= ready, all erect, poised, looking quietly and puesto, mirando tranquilamente y con Addie. It appears again at the end
set)estar listo 20 steadily and quickly this way and energía y viveza aquí y allá, con el ros- of the book, when Cash seems to
2
poise 1 a : BALANCE; especially : to hold or
understand more than anyone else
carry in equilibrium <carried a water jar that, his face calm, a little pale, alert. tro en calma, un tanto pálido, alerta. La
poised on her head> b : to hold supported what is wrong with Darl.
or suspended without motion in a steady C a s h ’s f a c e i s a l s o g r a v e l y cara de Cash también tiene una expresión
position <poised her fork and gave her
guest a knowing look — Louis Bromfield> composed; he and I look at one grave; él y yo nos miramos uno al otro
2 : to hold or carry (the head) in a particu- compunction 1the pricking of the
lar way 3 : to put into readiness : BRACE
another with long probing looks, con largas miradas inquisitivas, miradas conscience. Reparo, repudio,
intransitive senses 1 : to become drawn 25 looks that plunge unimpeded que se hunden sin disimulo en los ojos 2a slight regret; a scruple (without
up into readiness 2 : HOVER compunction; have no compunction in
through one another’s eyes and into del otro y llegan al interior del último refusing him). Remordimiento
compunción 1. f. Sentimiento o dolor de
the ultimate secret place where for lugar secreto donde durante un instante haber cometido un pecado.
2. Sentimiento que causa el dolor ajeno.
an instant Cash and Darl crouch Cash y Darl se acurrucan abiertamente,
flagrant and unabashed in all the old sin avergonzarse por todos los viejos te-
30 terror and the old foreboding, alert rrores y los viejos presentimientos, aler-
and secret and without shame. When tas y secretos y sin pudor. Cuando ha-
we speak our voices are quiet, blamos, nuestras voces son tranquilas,
detached. desarraigadas.
“Tull taken and cut them two big —Tull cogió y cortó los dos grandes
whiteoaks. I heard tell how at high robles. He oído contar por ahí que en las
40 water in the old days they used to line crecidas, antiguamente, aquellos árboles
up the ford by them trees.” servían para señalar el vado.
“I reckon he did that two years ago —Para mí que los cortó hace dos años
when he was logging down here. I cuando andaba talando por aquí abajo.
45 reckon he rever thought that anybody Para mí que nunca creyó que nadie vol-
would ever use this ford again.” vería a usar este vado.
“I reckon not. Yes, it must have —Para mí que no. Sí, debe de haber
been then. He cut a sight of timber sido entonces. Cortó bastante madera de
50 outen here then. Payed off that por aquí entonces. Terminó de pagar la
mortgage with it, I hear tell.” hipoteca con ella, he oído contar.
“Yes. Yes, I reckon so. I reckon —Sí. Sí, para mí que así es. Para mí
Vernon could have done that.” que Vernon fue capaz de hacer eso.
55
“That’s a fact. Most folks that —Así es. La mayoría de la gente que
logs in this here country, they need tala árboles en esta comarca necesita una
a durn good farm to support the granja bien buena para mantener el ase-
sawmill. Or maybe a store. But I rradero. O puede que un almacén. Pero
60 reckon Vernon could.” para mí que pudo ser Vernon**14. [145]
“I reckon so. He’s a sight.” —Para mí que sí. Es capaz de eso y de más.
70
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
than this above which we now sit, la que ahora vamos, hablando tranquila-
talking quietly of old security and mente de la vieja seguridad y de viejas
old trivial things. Jewel looks at cosas triviales. Jewel le mira a él, lue-
him, then at me, then his face go a mí, luego su cara se concentra en
5 turns in in that quiet, constant, la escena con esa silenciosa interroga-
questing about the scene, the ción constante, mientras su caballo
horse trembling quietly and tiembla tranquila y constantemente
steadily between his knees. entre sus rodillas.
“Yes,” Cash says, not looking at me. —Sí —dice Cash, sin mirarme. Su
His face is in profile as he looks forward rostro está de perfil cuando mira hacia
15 where Jewel has moved on ahead. delante, adonde Jewel avanza.
“He can’t miss the river,” I say. —No puede dejar de ver el río —dije
“He couldn’t miss seeing it fifty yo—. No podrá dejar de verlo cuarenta
yards ahead.” metros por delante de él.
20
Cash does not look at me, his face in profile. Cash no me mira, su cara sigue de perfil.
“I f I ’ d j u s t s u s p i c i o n e d i t , I —Si lo hubiera sospechado, podría
could ‘a’ come down last week haber bajado hasta aquí la semana pasa-
and taken a sight on it.” da a echar una ojeada.
25
“The bridge was up then,” I say. —Entonces todavía estaba el puente
He does not look at me. “Whitfield —digo yo. No me mira—. Whitfield lo
crossed it a-horse-back.” cruzó a caballo.
“Jewel,” Cash says. Jewel does not Jewel —dice Cash. Jewel no vuelve
55 look back. He lifts the horse on. la vista. Sigue hostigando al caballo.
“He can swim,” I say. “If he’ll just —Puede nadar —digo yo—. Si diese
give the horse time, anyhow . . .” ocasión al caballo...
When he was born, he had a bad Cuando nació, Jewel pasó una mala
60 time of it. Ma would sit in the temporada. Madre tenía que sentarse a
lamplight, holding him on a la luz de una lámpara, manteniéndole en
pillow on her lap. We would wake el regazo encima de una almohada. A1
and find her so. There would be despertarnos la encontrábamos así. No
no sound from them. hacían ningún ruido.
65
“That pillow was longer than —Aquella almohada era más larga
him,” Ca s h s a y s . H e i s l e a n i n g a que él —dice Cash. Está un poco
little forward. “I ought to come echado hacia delante—. Debí bajar la
d o w n l a s t w e e k a n d s i g h ted. I semana pasada a echar una ojeada.
70 ought to done it.” Debiera haberlo hecho.
71
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
the traces; the wheels murmur alive entre los arneses; las ruedas murmuran
in the water. He looks back and down vivas en el agua. Se vuelve y baja la vis-
at Addie. “It ain’t on a balance,” he ta hasta Addie—. No está equilibrado —
says. dice.
5
At last the trees open; A1 fin se aclaran los árboles; Jewel
against the open river Jewel sits se enfrenta a la corriente a caballo me-
the horse, half turned, it belly dio vuelto, el agua ya a la altura del vien-
d e e p n ow. Across the river we can tre del animal. A1 otro lado del río dis-
10 see Vernon and pa and Vardaman tinguimos a Vernon y a padre y a
a n d D e w e y D e l l . Ve r n o n i s Vardaman y a Dewey Dell. Vernon nos
waving at us, waving us further hace señas, nos hace señas de que vaya-
downstream. mos un poco más corriente abajo.
15 “We are too high up,” Cash says. —Vamos demasiado arriba —dice
Vernon is shouting too, but we cannot Cash. Vernon también grita, pero no con-
make out what he says for the noise seguimos saber lo que dice a causa del rui-
of the water. It runs steady and deep do del agua que ahora corre intensa y pro-
now, unbroken, without sense of funda, incesante, sin dar la sensación de
20 motion until a log comes along, que se mueva hasta que un tronco llega y
turning slowly. “Watch it,” Cash says. gira lentamente—. Vigílalo —dice Cash.
We watch it and see it falter and hang Lo miramos y vemos que vacila y queda
for a moment, the current building en alto durante un [147] momento. La co-
up behind it in a thick wave, rriente se alza por detrás de él en una ola
25 submerging it for an instant before espesa, hundiéndolo durante un instante
it shoots up and tumbles on. antes de arrastrarlo y llevárselo.
30 “Ay,” Cash says. “It’s there.” We look —Sí —dice Cash—. Allí está —y
at Vernon again. He is now flapping his miramos a Vernon otra vez. Ahora sube
arms up and down. We move on y baja los brazos. Seguimos corriente
downstream, slowly and carefully, abajo lenta y cuidadosamente, mirando
watching Vernon. He drops his hands. a Vernon que deja caer los brazos—. Este
35 “This is the place,” Cash says. es el sitio —dice Cash.
“Well, goddamn it, lets get across, —Bueno, maldita sea, vamos a cru-
then,” Jewel says. He moves the horse zar, entonces —dice Jewel. Hace avan-
on. zar al caballo.
40
“You wait,” Cash says. Jewel stops —Tú espera —dice Cash. Jewe1 se
again. vuelve a parar.
Cash does not pay him any Cash no le presta la menor atención.
55 attention. “It ain’t on a balance,” he —No está equilibrado —dice—. No,
says. “Yes, sir. We got to watch it.” señor. Debemos tener mucho cuidado.
“Watch it, hell,” Jewel says. “You —Tenlo tú, si quieres —dice Jewel—
get out of that wagon and let me . Bajaos de esa carreta y dejadme a mí.
60 have it. By God, if you’re afraid to Por Dios, que si tenéis miedo de cruzar
drive it over . . .” His eyes are pale con ella... —en su cara sus ojos son tan
as two bleached chips in his face. pálidos como dos virutas descoloridas.
Cash is looking at him. Cash le está mirando.
75 “You take the rope and come down —Coge la soga y baja a la ori-
the bank and be ready with it,” Cash lla y tenla preparada —dice
says. “Three can’t do no more than C a s h — . Tr e s n o p u e d e n m á s q u e
two can—— one to drive and one to dos, uno conduciendo y el otro su-
72
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
5 “Let Jewel take the end of the rope —Que Jewel coja un extremo de la
and cross upstream of us and brace it,” soga y cruce aguas arriba y la ate —digo
I say. “Will you do that, Jewel?” yo—. ¿Vas a hacerlo, Jewel?
Jewel watches me, hard. He Jewel me mira con dureza. Mira rápi-
10 looks quick at Cash, then back damente a Cash, luego se vuelve hacia
at me, his eyes alert and hard. “I mí, con ojos alerta y duros.
don’t give a damn. Just so we do —No me importa nada. Mientras ha-
something. Setting here, not gamos algo. No tiene [148] sentido se-
lifting a goddamn hand . . .” guir aquí sin mover ni un maldito dedo...
15
“Let’s do that, Cash,” I say. —Vamos a hacer eso, Cash —digo yo.
“I reckon we’ll have to,” Cash —Para mí que lo tendremos que ha-
says. cer —dice Cash.
20
The river itself is not a hundred El propio río no tiene ni cien me-
yards across, and pa and Vernon and tros de anchura, y padre y Vernon y
Vardaman and Dewey Dell are the Vardaman y Dewey Dell son las únicas
only things in sight not of that single cosas a la vista que no pertenecen a esa
25 monotony of desolation leaning with monotonía desolada que se extiende de
that terrific quality a little from right manera aterradora a derecha e izquier-
to left, as though we had reached the da, como si hubiéramos alcanzado un
place where the motion of the wasted lugar donde el movimiento del desola-
world accelerates just before the final do mundo se acelerara antes de hundir-
30 precipice. Yet they appear dwarfed. se en el precipicio final. Sin embargo
It is as though the space between us aparecen como empequeñecidos. Es
were time: an irrevocable quality. It como si el espacio que hay entre noso-
is as though time, no longer running tros fuera tiempo: una cualidad irrevo-
straight before us in a diminishing cable. Es como si el tiempo ya no co-
35 line, now runs parallel between us rriera derecho por delante de nosotros
like a looping string, the distante en una línea menguante, sino que aho-
being the doubling accretion of the ra corre paralelo a nosotros como una
thread and not the interval between. cuerda que nos envuelve, duplicando la
The mules stand, their forequarters distancia que nos separa. Las mulas
40 already sloped a little, their rumps están quietas con las patas delanteras
high. They too are breathing now un poco hundidas y las grupas en alto
with a deep groaning sound; looking Además, ahora jadean con ronco y pro-
back once, their gaze sweeps across fundo sonido; miran hacia atrás una
us with in their eyes a wild, sad, vez, y su mirada nos roza con unos ojos
45 profound and despairing quality as en los que hay algo salvaje, triste, pro-
though they had already seen in the fundo y desesperado como si ya hubie-
thick water the shape of the disaster sen visto en el agua espesa la imagen
which they could not speak and we de desastre del que no pueden hablar y
could not see. nosotros no podemos ver.
50
Cash turns back into the wagon. Cash vuelve al interior de la carreta.
He lays his hands flat on Addie, Descansa las palmas de la mano encima
rocking her a little. His face is de Addie, meciéndola un poco. Tiene el
calm, down-sloped, calculant, rostro en calma, pero alargado, calcula-
55 concerned. He lifts his box of tools dor, preocupado. Alza la caja de las he-
and wedges it forward under the rramientas y la encaja debajo del asien-
seat; together we shove Addie to; juntos empujamos a Addie hacia
forward, wedging her between the delante, encajándola entre las herra-
tools and the wagon-bed. Then he mientas y el fondo de la carreta. Luego
60 looks at me. me mira.
“No,” I say. “I reckon I’ll stay. —No —digo yo—. Me quedaré. Pue-
Might take both of us.” de que hagamos falta los dos.
73
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“I’m on it now,” Jewel says. “You —Ya estoy —dice Jewel—. Ahora
10 can come ahead now.” podéis avanzar.
Cash takes the reins and lowers the Cash coge las riendas y obliga al tiro
team carefully and skilfully into the a que baje a la corriente, con cuidado y
stream. habilidad.
15
I felt the current take us and I knew Sentí que la corriente nos atrapa-
we were on the ford by that reason. Since ba y por ese motivo me di cuenta de que
it war only, by means of that slipping estábamos en el vado, pues sólo por ese
contact that we could tell that we were contacto resbaladizo podíamos decir que
20 in motion at all. What had once been a nos movíamos de verdad. Lo que una vez
flat surface war now a succession había sido una superficie lisa, ahora era
of troughs a n d h i l l o c k s l i f t i n g una sucesión de altos y bajos que subían
and falling about us, shoving y bajaban a nuestro alrededor, que nos
at us, teasing at us with light empujaban, que nos fastidiaban con su
25 lazy touches in the vain leve contacto perezoso en los escasos
instants of solidity underfoot. instantes en que bajo nuestros pies no-
Cash looked brack at me, and tábamos algo sólido. Cash se volvió a
t h e n I k n e w t h a t w e w e re g o n e . mirarme y entonces comprendí que está-
But I did n o t re a l i se t h e bamos perdidos. Pero no me di cuenta
surge 1 [of sea] oleaje m; oleada [of people,
30 r e a s o n f o r t h e r o p e u ntil I saw de la necesidad de la cuerda hasta que
sympathy] oleada 2 a power surge (electricity) the log. It surged up out of the water vi el tronco. Surgió del agua y se mantu-
una subida de tensión 3 [water of sea] swell,
levantarse; hincharse, encresparse, agitarse 4 and stood for an instant upright upon vo derecho durante un instante sobre
[people, crowd] to surge in/out entrar/salir en tro-
pel 5 the blood surged to her cheeks se le subió that surging and heaving desolation like aquella agitada y jadeante desolación,
la sangre a las mejillas. Christ. Get out and let the currrent take como un Cristo. Salta fuera y deja que
surgir 1. intr. Brotar el agua hacia arriba, surtir. 2.
Dar fondo la nave. 3. fig. Alzarse, manifestarse, 35 you down to the bend, Cash said. You la corriente te lleve hasta el recodo, dijo
brotar, aparecer.
surge 1 : to rise and fall actively : TOSS <a ship can make it all right. No, I said, I’d get Cash. Te será fácil. No, dije yo me moja-
surging in heavy seas> 2 : to rise and move in
waves or billows : SWELL 3 : to slip around a just as wet that way as this. ré lo mismo de un modo que de otro
windlass, capstan, or bitts — used especially of a
rope 4 : to rise suddenly to an excessive or
abnormal value <the stock market surged to a The log appears suddenly between El tronco aparece de repente entre dos
record high> 5 : to move with a surge or in surges
<felt the blood surging into his face — Harry 40 two hills, as if it had rocketed ribazos, como si de repente lo impulsaran
Hervey
suddenly from the bottom of the desde el fondo del río. De su extremo cuel-
river. Upon the end of it a long gout ga una gran gota de espuma como la bar-
of foam hangs like the beard of an ba de un viejo o de un macho cabrío. Cuan-
old man or a goat. When Cash speaks do Cash me habla me doy cuenta de que
45 to me I know that he has been watching lleva observándolo todo el tiempo, obser-
it all the time, watching it and vándolo y mirando a Jewel que va tres
watching Jewel ten feet ahead of us. metros por delante de nosotros.
“Let the rope go,” he says. With his —Suelta la soga —le dice. Con la otra
other hand he reaches down and reeves mano la coge y le da dos vueltas alrede-
50 the two turns from the stanchion. dor del pescante—. Sigue adelante, Jewel
“Ride on, Jewel,” he says; “see if you —dice—; a ver si consigues arrastrarnos
can pull us ahead of the log.” antes de que llegue el tronco.
Jewel shouts at the horse; again he Jewel le grita al caballo; parece que
55 appears to lift it bodily between his otra vez lo levanta a pulso con las rodi-
knees. He is just above the top of the llas. Está casi en lo más alto del vado y el
ford and the horse has a purchase of caballo ha encontrado algún apoyo por-
some sort for it surges forward, que salta hacia delante brillando mojado
shining wetly half out of water, medio fuera del agua en una sucesión de
60 crashing on in a succession of lunges. acometidas. Se mueve increíblemente rá-
It moves unbelievably fast; by that pido; debido a eso Jewel se da cuenta de
token Jewel realizes at last that the que al fin se ha soltado la cuerda, pues
rope is free, for I can see him sawing puedo ver cómo tira de las riendas, con la
back on the reins, his head turned, as cabeza vuelta, mientras el tronco se colo-
65 the log rears in a long sluggish funge ca con una perezosa embestida entre no-
between us, bearing down upon the sotros, cayendo luego sobre el tiro. Las
team. They see it too; for a moment mulas también lo ven; durante un momen-
they also shine black out of water. to también ellas brillan negras fuera del
Then the downstream one vanishes, agua. Luego la que está en la parte de aba-
70 dragging the other with him; the jo de la corriente desaparece, arrastrando
wagon sheers crosswise, poised on a la otra con ella; la carreta se pone de
the crest of the ford as the log strikes través, recostada en el vado mientras la
it, tilting it up and on. Cash is half golpea el tronco que la hace tambalearse.
turned, the reins running taut from his Cash se ha vuelto a medias, las riendas se
75 hand and disappearing into the water, le escapan de la mano y desaparecen en el
the other hand reached back upon agua; echa la otra mano hacia atrás y
Addie, holding her jammed over agarra a Addie manteniéndola apreta-
against the high side of the wagon. da contra el fondo de la carreta.
74
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Back, Jewel,” Cash shouts. “Back, —Atrás, Jewel —grita Cash—. Atrás, Jewel.
Jewel.” For another instant I see him Durante otro instante le veo incli-
leaning to the tilting wagon, his arm nado junto al carro volcado con el
20 braced back against Addie and his brazo sujetando a Addie y a sus he-
tools; I see the bearded head of the rramientas; veo la cabeza barbuda del
rearing log strike up again, and tronco que se empina y golpea de nue-
beyond it Jewel holding the horse vo, y más allá a Jewel que sujeta a su
upreared, its head wrenched around, caballo encabritado y con la cabeza
25 hammering its head with his fist. I torcida a la que golpea con el puño.
jump from the wagon on the Salto de la carreta por el lado en que
downstream side. Between two hills se aleja la corriente. Entre dos ribazos
I see the mules once more. They roll veo una vez más a las mulas. Dan
up out of the water in succession, vueltas fuera del agua una después de
30 turning completely over, their legs otra, girando sobre sí mismas, con las
stiffly extended as when they had lost patas tiesas como si hubieran perdi-
contact with the earth. do contacto con la tierra.
35
35 VARDAMAN (5) VARDAMAN
CASH tried but she fell off and Cash hizo lo que pudo, pero ella
Darl jumped going under he went cayó fuera y Darl saltó al caer y Vardaman (5)
under and Cash hollering to catch her se hundió y Cash gritaba que la co-
This section contains
40 and I hollering running and hollering giera y yo gritaba y corría y grita- Vardaman’s unspoken and
and Dewey Dell hollering at me ba y Dewey Dell me gritaba unverbalised thoughts as he
Vardaman you vardaman you Va r d a m a n v e n v a r d a m a n v e n watches his mother’s coffin slip
vardaman and Vernon passed me v a r d a m a n y Ve r n o n m e a d e l a n t ó into the river. A complete contrast
because he was seeing her come up porque la estaba viendo asomar y to Darl’s unconcerned
observation of the scene,
45 and she jumped into the water again cómo se volvía a hundir y Darl to-
Vardaman’s vision is frantic with
and Darl hadn’t caught her yet davía no la había agarrado worry for he has not as yet
grasped the fact that his mother
He came up to see and I hollering Sacó la cabeza para mirar y yo le gri- is dead. When Darl emerges
catch her Darl catch her and he didn’t taba cógela Darl cógela y él no podía without the coffin, Vardaman’s
50 come back because she was too heavy porque como ella pesaba demasiado él frenzy redoubles for he thinks, on
the basis of the conversation in
he had to go on catching at her and I tenía que hundirse para cogerla y yo le
Vardaman (4), that Darl knows
hollering catch her darl catch her darl gritaba cógela darl cógela darl porque en Addie is a fish and should
because in the water she could go el agua ella podía ir más deprisa que un therefore appreciate that she will
faster than a man and Darl had to hombre y Darl tenía que ir a tientas bus- try to escape into the water.
55 grabble for her so I knew he could cándola y yo sabía que la cogería porque
catch her because he is the best él es muy bueno en eso de andar a tien-
grabbler even with the mules in the tas incluso con las mulas estorbando allí
way again they dived up rolling their hundidas otra vez se hundieron dando
feet stiff rolling down again and their vueltas con las patas tiesas y seguían dan-
60 backs up now and Darl had to again do vueltas y ahora asomaban el lomo y
because in the water she could go Darl tenía que hundirse de nuevo porque
faster than a man or a woman and I en el agua ella podía ir más deprisa que
passed Vernon and he wouldn’t get un hombre o una mujer y adelanté a
in the water and help Darl he would Vernon que no se quería meter en el agua
65 grabble for her with Darl he knew but a ayudar a Darl a cogerla y aunque sabía
he wouldn’t help no le quería ayudar
The mules dived up again diving Las mulas se sumergieron otra vez
their legs stiff their stiff legs rolling sumergiendo sus patas tiesas y sus
70 slow and then Darl again and I patas tiesas daban vueltas despacio
hollering catch her darl catch her head y entonces Darl apareció otra vez y
her into the bank darl and Vernon yo le gritaba cógela darl cógela por
wouldn’t help and then Darl dodged la cabeza a la orilla darl y Vernon no
past the mules where he could he had quería ayudar y entonces Darl esqui-
75 her under the water coming in to the vó las mulas y llegó adonde la podía
bank coming in slow because in the coger y la metió debajo del agua ella
water she fought to stay under the intentaba quedar debajo del agua,
water but Darl is strong and he was pero Darl es fuerte y se acercaba des-
75
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
WHEN I told Cora how Darl CUANDO le conté a Cora cómo saltó
35 jumped out of the wagon and left Darl de la carreta y dejó a Cash allí den- Tull (6)
Cash sitting there trying to save it and tro tratando de salvarla y que la carreta
the wagon turning over, and Jewel volcó, y que Jewel que casi estaba ya en In this section, Tull recalls the
that was almost to the bank la orilla intentaba que el caballo volvie- incident after it has happened and
he has told Cora about it and, at
fighting that horse back where it ra adonde el animal con muy buen senti-
the same time, goes over the event
40 had more sense than to go, she says do no quería ir, ella me dice: in his own mind. He realises that
“And you’re one of the folks that says —Y tú eres de los que dicen que Darl leapt from the wagon to save
Darl is the queer one, the one that Darl es un tipo raro, que no tiene lu- himself and he is troubled when
ain’t bright, and him the only one of ces, cuando él fue el único de todos Cora, who usually puts things into
them that had sense enough to get off ellos lo bastante sensato como para sal- an acceptable perspective, seems
to be inconsistent in her view of
45 that wagon. I notice Anse was too tar de esa carreta. Ya veo que Anse es
this incident, saying that Darl
smart to been on it a-tall.” demasiado listo para subirse a ella. showed sense in abandoning the
wagon yet insisting that Anse
“He couldn’t ‘a’ done no good, if he’d —No habría servido de nada que hu- ought to have been on it. Even in
been there,” I said. “They was going biera estado allí dentro —dije yo—. Lo retrospect, the scene strikes Tull
50 about it right and they would have made estaban haciendo muy bien y lo habrían as one of utter confusion, with
wagon, horse, mules, Cash, Darl
it if it hadn’t a-been for that log.” conseguido de no ser por aquel tronco.
and Jewel all thrashing about in
the water with the coffin and
“Log, fiddlesticks,” Cora said. “It —El tronco, ¡tonterías! —dijo Cora— Vardaman being chased up and
was the hand of God.” . Fue la mano de Dios. down the bank by Dewey Dell.
55 Jewel eventually emerged from
“Then how can you say it was —¿Entonces cómo eres capaz de de- the confusion, holding the wagon
with the rope, and Cash appeared
foolish?” I said. “Nobody can’t guard cir que era una locura? —dije yo—. Na-
grasping the saddle of Jewel’s
against the hand of God. It would be die puede librarse de la mano de Dios. horse, half-drowned and
sacrilege to try to.” Sería sacrilegio intentarlo. unconscious.
60
“Then why dare it?” Cora says. —¿Entonces por qué la desafían? —
“Tell me that.” dice Cora—. Venga, contesta.
76
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
in her face like she had done give up sión cantarina en la cara como si hubiera
folks and all their foolishness and had renunciado a la gente y a todas sus ton-
done went on ahead of them, march- terías y se hubiese adelantado a todos y
ing up the sky, singing. se dirigiera cantando a los cielos.
5
The wagon hung for a long La carretera estuvo en alto durante
time while the current built up largo rato mientras la corriente se ele-
under it, shoving it off the ford, vaba por debajo de ella, arrastrándola
and Cash leaning more and more, fuera del vado, y Cash inclinándose
10 trying to keep the coffin braced más y más trataba de mantener sujeto
so it wouldn’t slip down and el ataúd de modo que no resbalara ha-
f i n i s h t i l t i n g t h e w a g o n o v e r. cia abajo y terminara por volcar la ca-
Soon as the wagon got tilted rreta. En cuanto la carreta se venció por
good, to where the current could completo y quedó a merced de la co-
15 f i n i s h i t , t h e l o g w e n t o n . I t rriente, el tronco siguió su camino.
headed around the wagon and Cabeceó alrededor de la carreta y si-
went on good as a swimming man guió como podría haber hecho un buen
could have done. It was like it nadador. Fue como si lo hubieran man-
had been sent there to do a job dado allí a hacer un trabajo y después
20 and done it and went on. de terminarlo siguiera su camino.
When the mules finally kicked Cuando las mulas se soltaron por fin
loose, it looked for a minute like a fuerza de coces, durante un momento
maybe Cash would get the wagon pareció que Cash conseguiría hacerse con
25 back. It looked like him and the la carreta. Parecía que ni él ni la carreta
wagon wasn’t moving at all, and se movían nada, y que Jewel era el único
just Jewel fighting that horse back que se esforzaba por llevar al caballo de
to the wagon. Then that boy vuelta a la carreta. Entonces el pequeño
passed me, running and hollering me adelantó, corriendo y gritándole a
30 at Darl and the gal trying to catch Darl mientras la chica trataba de agarrar-
him, and then I see the mules lo, y entonces veo que las mulas dan
come rolling slow up out of the vueltas muy despacio por el agua con
water, their legs spraddled stiff las patas tiesas como si se hubieran
balked: refused to move like they had balked upside down, encabritado cabeza abajo y tropezaran
35 and roll on into the water again. con algo para caer otra vez al agua.
Then the wagon tilted over and Entonces la carreta volcó del todo
then it and Jewel and the horse was y luego ésta y Jewel y el caballo se
all mixed up together. Cash went enredaron todos juntos. Cash se per-
40 outen sight, still holding the coffin dió de vista con el ataúd todavía su-
braced, and then I couldn’t tell jeto, y luego no podría decir n ada
anything for the horse lunging and más que el caballo embestía y cha-
splashing. I thought that Cash had poteaba. Creí que Cash ya se había ren-
give up then and was swimming for dido y se había echado al agua y le gri-
45 it and I was yelling at Jewel to come té a Jewel que volviera y entonces de
on back and then all of a sudden him repente él y el caballo también se hun-
and the horse went under too and I dieron y pensé que se iban a ahogar.
thought they was all going. I knew Comprendí que el caballo también ha-
that the horse had got dragged off the bía sido arrastrado fuera del vado, y con
50 ford too, and with that wild drowning ese caballo medio salvaje ahogándose
horse and that wagon and that loose y esa carreta y esa caja suelta, la cosa
box; it was going to be pretty bad, and no iba nada bien y allí estaba yo, meti-
there I was, standing knee deep in the do en el agua hasta las rodillas, gritán-
water, yelling at Anse behind me: dole a Anse que estaba detrás de mí:
55 “See what you done now? See what —¿Ve lo que ha conseguido? ¿Ve lo
you done now?” que ha conseguido?
77
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
So it was Cash holding to the De modo que era Cash el que se aga-
scramble n. 1 scamper, scurry rushing about hastily in
horse when it come splashing and rraba al caballo cuando éste llegó cha-
an undignified way 2 scuffle, make one’s way to, scrambling up the bank, moaning poteando y trepó a la orilla; gemía y gru-
pasar con esfuerzo, como se pueda an
unceremonious and disorganized struggle 3 and groaning like a natural man. ñía como un hombre de verdad. Cuando
scramble to one’s feet ponerse de pie con esfuer-
zo, como se pueda, con dificultad. 4 tr. Revolver 5 When I come to it it was just kicking llegué junto a él estaba soltando coces
mix together indiscriminately. b jumble or muddle. Cash loose from his holt on the para librarse de Cash que se agarraba al
v. 1 make unintelligible; “scramble the message
so that nobody can understand it” 2 beat, stir saddle. His face turned up a second pomo de la silla. Le vi la cara durante un
vigorously; “beat the egg whites”; “beat the cream”
3 jumble, throw together bring into random order when he was sliding back into the segundo mientras volvía a hundirse en el
4 to move hurriedly arreglarse a toda prisa;
“The friend scrambled after them” 5 clamber, shin, water. It was grey, with his eyes agua. Estaba grisácea, con los ojos ce-
shinny, skin, struggle, sputter climb awkwardly, 10 closed and a long swipe of mud rrados y cruzada por una larga línea de
as if by scrambling
scramble I v. tr. 1 mezclar 2 Tele (mensaje) codi- across his face. Then he let go and barro. Luego se dejó ir y volvió a
ficar
II v. intr. 1 ir gateando to scramble across a field, turned over in the water. He looked hundirse en el agua. Parecía igual
cruzar un campo gateando; to scramble up a tree,
trepar a un árbol 2 pelearse [for, por], andar a la just like an old bundle of clothes que un viejo fardo de ropa empujan-
rebatiña [for, por]: fans were scrambling for the kind of washing up and down do por la corriente subiendo y bajan-
concert tickets, los fans se tiraban de los pelos
por una entrada para el concierto 3 Dep hacer 15 against the bank. He looked like he do contra la orilla. Parecía como si
motocross
III n. 1 subida o escalada difícil 2 confusión, was laying there in the water on his estuviera tumbado allí, de cara, en el
rebatiña 3 Dep carrera de motocross
face, rocking up and down a little, agua, meciéndose un poco arriba y
looking at something on the bottom. abajo, y mirara algo del fondo.
37
45 DARL (13) DARL
78
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
65 “He ain’t talked yet,” Jewel says, —Todavía no habla —dice Jewel, me-
entering the water. He looks back at tiéndose en el agua. Me mira otra vez—.
me. “You go back and get him roused Vuelve, y a ver si consigues que hable
up to talk,” he says. —dice.
79
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“He’ll be glad of that,” I say. “It’s —Esto le alegrará —digo yo—. Por-
55 right new. He bought it just last month que es nueva. La compró el mes pasado
out of the catalogue.” por correo.
“If we just knowed for sho what —Si supiéramos con seguridad qué
else,” Vernon says, looking over his otras cosas traía... —dice Vernon, miran-
60 shoulder and then turning to face do por encima del hombro y luego vol-
where Jewel, had disappeared. viendo la cara hacia donde ha desapare-
“Didn’t he go down ‘fore me?” cido Jewel—. ¿No se había sumergido
Vernon says. antes que yo? —Dice Vernon.
65 “I don’t know,” I say. “I think so. —No lo sé —le digo—. Creo que sí.
Yes. Yes, he did.” Sí. Sí, se sumergió antes.
75 “He’s on your end of it,” I say. —Está en la punta de tu lado —digo yo.
80
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Jewel,” Vernon says, not loud, —Jewel —dice Vernon, no muy alto,
but his voice going full and clear pero su voz resbala rotunda y clara por
along the water, peremptory yet encima del agua, perentoria aunque co-
15 tactful. “It’ll be back here. Better medida—. Debe de estar por aquí. Será
come back.” mejor que vuelvas.
“You get on out of here,” I say. She —Sal de ahí ya —le digo a Dewey
says nothing, looking at Jewel and Dell que no dice nada y mira a Jewel y a
60 Vernon. Vernon.
70 “Hammer’s got the most wood in it,” —Es que el martillo tiene más madera
Jewel says. He and Vernon face one —dice Jewel. El y Vernon están frente a
another, watching Jewel’s hands. frente, observando las manos de Jewel.
81
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Why don’t you get out of the —¿Por qué no salís del agua? —
water?” I say. digo yo.
10
“ I t w o n ’ t f l o a t l i k e a s a w, ” —No flotan tan bien como una sierra
Jewel says. —dice Jewel.
“It’ll float nigher to a saw than a —Flotará más como la sierra que el
15 hammer will,” Vernon says. martillo —dice Vernon.
“Bet you,” Jewel says. —Te apuesto lo que quieras —dice Jewel.
“Hell,” Jewel says. “Get the plane, —Al diablo —dice Jewel—. Coge el
25 then.” cepillo.
So they get the plane and tie it to Conque cogen el cepillo y lo atan a la
the chalk-line and enter the water cuerda de marcar [160] y se meten nue-
again. Pa comes back along the bank. vamente en el agua. Padre vuelve por la
30 He stops for a while and looks at us, orilla. Se para un rato y nos mira, enco-
hunched, mournful, like a failing steer gido, fúnebre, como un buey apaleado
or an old tall bird. o un viejo y largo pajarraco.
Ve r n o n a n d J e w e l r e t u r n , Ve r n o n y J e w e l v u e l v e n , l u -
35 leaning against the current. chando contra la corriente.
“Get out of the way,” Jewel says to —Quítate de en medio —le dice Jewel
Dewey Dell. “Get out of the water.” a Dewey Dell—. Sal del agua.
“It ain’t so deep there,” Vernon says. —No está tan hondo —dice
75 He does not look back. He is watching Ve r n o n . N o s e v u e l v e . O b s e r v a e l
the water where Jewel went under. agua por donde se hundió Jewel.
When Jewel comes up he has the saw. Cuando Jewel aparece tiene la sierra.
82
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“If ever was such a misfortunate —No hay hombre con tan mala suerte
20 man,” pa says. —dice padre.
“If ever was such a misfortunate —No hay hombre con tan mala suerte
man,” pa says. He looms tall above —dice padre. Su figura se eleva sobre
45 us as we squat; he looks like a nosotros, que estamos en cuclillas; pare-
figure carved clumsily from tough ce una estatua tallada chapuceramente en ma-
wood by a drunken caricaturist. dera muy dura por un caricaturista borracho—
“It’s a trial,” he says. . Es una prueba —dice—.
“But I don’t begrudge her it. P e r o y o n o s e lo escatimo. No hay
50 N o m a n c a n s a y I b e g r u d g e h e r quien pueda decir que le escatimo algo —
i t . ” D e w e y D e l l h a s l aid Cash’s Dewey Dell ha dejado caer la cabeza de
head back on the folded coat, Cash en la chaqueta plegada, doblándose-
twisting his head a little to avoid la un poco para que vomite. Junto a él des-
the vomit. Beside him his tools cansan sus herramientas—. Cualquiera po-
55 lie. “A fellow might call it lucky dría decir que es buena suerte que se haya
it was the same leg he broke when roto la misma pierna que se rompió cuan-
he fell offen that church,” pa says. do cayó de aquella iglesia —dice padre—.
“But I don’t begrudge her it.’’ Pero a ella no le escatimo nada.
60 Jewel and Vernon are in the river Jewel y Vernon están otra vez en el
again. From here they do not appear río. Desde aquí no parece que rompan la
to violate the surface at all; it is as superficie; es como si ésta los hubiera
though it had severed them both at a cortado de un solo tajo y los dos torsos
single blow, the two torsos moving se movieran con un cuidado infinitesimal
65 with infinitesimal and ludicrous care y ridículo por encima de la superficie. La
upon the surface. It looks peaceful, riada parece apacible, igual que una ma-
like machinery does after you have quinaria después de llevar mirándola y
watched it and listened to it for a long oyéndola mucho tiempo. Como si el coá-
time. As though the clotting which is gulo que es uno se hubiera disuelto en la
70 you had dissolved into the myriad pluralidad del movimiento original, y
original motion, and seeing and fuéramos ciegos y sordos al vernos y oír-
hearing in themselves blind and deaf; nos a nosotros mismos; una furia tran-
fury in itself quiet with stagnation. quila en sí misma por la parálisis. En
Squatting, Dewey Dell’s wet dress cuclillas, el vestido empapado de Dewey
75 shapes for the dead eyes of three blind Dell da forma ante los ojos muertos de
men those mammalian ludicrosities tres hombres ciegos a esas ridiculeces
which are the horizons and the valleys mamarias que son los horizontes y los
of the earth. valles de la tierra.
83
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
38
CASH (3) CASH
5 IT wasn’t on a balance. I told No está bien equilibrada. Les dije que Cash (3)
them that if they wanted it to tote si querían cargarla y transportarla de This section consists of two
and ride on a balance, they would modo que mantuviese el equilibrio ten- sentences, one unfinished. This clearly
have to —— drían que indicates that the semi-conscious Cash
is preoccupied with the fate of the
coffin, a fate which he predicted
10 39 because the women put Addie into her
CORA (3) CORA coffin the wrong way round in order
to show off the wide hem of her dress.
ONE day we were talking. She UN día hablando. Ella nunca había
had never been pure religious, sido auténticamente religiosa, ni siquie- Cora (3)
15 not even after that summer at the ra después de la reunión al aire libre**19
This section contains Cora’s
camp meeting when Brother de aquel verano cuando el reverendo recollections of a conversation
Whitfield wrestled with her Whitfield luchó a brazo partido con su with Addie which had taken pla-
spirit, singled her out and strove espíritu, la escogió personalmente y com- ce some unspecified time in the
with the vanity in her mortal heart, batió la vanidad de su corazón mortal, y past. For the first time in the book,
20 and I said to her many a time, “God yo le dije más de una vez: we hear Addie’s voice indirectly
through the memory of Cora. It is
gave you children to comfort your —Dios te ha dado hijos que te con-
a voice which speaks of a full
hard human lot and for a token of His suelen de tanta miseria y como prueba recognition of sin and an
own suffering and love, for in love de sus propios sufrimientos y amor, pues awareness that the hard life with
you conceived and bore them.” I said en amor los concebiste y los diste luz — Anse is the punishment for sin.
25 that because she took God’s love and le dije eso porque ella tomaba el amor Eventually, Cora realises that
her duty to Him too much as a matter de Dios y sus deberes para con Él como Addie has made Jewel into her
God, looking to him for salvation.
of course, and such conduct is not algo natural y tal proceder no es de Su
pleasing to Him. I said, “He gave us agrado. Le dije—: Él nos ha dado el don
the gift to raise our voices in His de poder elevar nuestras voces para can-
30 undying praise” because I said there tar su gloria imperecedera —porque le
is more rejoicing in heaven over one decía, hay más júbilo en los cielos por COMMENTARY: Here Cora
sinner than over a hundred that never un pecador arrepentido que por cien jus- is seen in her usual pose of a
religious woman. She sees it as a
sinned. And she said “My daily life is tos. Y ella decía: [163]
part of her Christian duty to bring
an acknowledgment and expiation of —Mi vida diaria es el reconocimiento Addie to her senses, which for
35 my sin” and I said “Who are you, to y la expiación de mi pecado —y yo le dije: Cora means seeing things as she
say what is sin and what is not sin? It —¿Quién eres tú para decidir lo que herself does. The section is full
is the Lord’s part to judge; ours to es pecado y lo que no es pecado? Al Se- of ironies which can only be
praise His mercy and His holy name ñor le toca juzgar; a nosotros nos basta appreciated when we have read
Addie (1), for then we realise that
in the hearing of our fellow mortals” con alabar su misericordia y su santo
the special attention which
40 because He alone can see into the nombre para que lo oigan los demás mor- Whitfield gave to Addie went
heart, and just because a woman’s life tales —porque sólo El puede ver dentro beyond the spiritual and into the
is right in the sight of man, she can’t de los corazones y aunque la vida de una physical fathering of Jewel. Cora,
know if there is no sin in her heart mujer resulte recta a los ojos de los hom- of course, has no understanding
without she opens her heart to the bres, ella no podrá saber si su corazón of this nor of the special feeling
Addie shows for Jewel.
45 Lord and receives His grace. I said, está limpio de pecado hasta que lo abra
Addie’s belief in Jewel is
“Just because you have been a ante el Señor y reciba su gracia. Y le absolute and prophetic, ‘He is my
faithful wife is no sign that there is dije—: El que hayas sido una esposa fiel cross and he will be my salvation.
no sin in your heart, and just no es señal de que tengas el corazón lim- He will save me from the water
because your life is hard is no sign pio de pecado, y el que tu vida haya sido and from the fire. Even though I
50 that the Lord’s grace is absolving dura no es señal de que la gracia del Señor have laid down my life, he will
save me’. This is a traditional
you.” And she said, “I know my te absuelva de tus pecados —y ella dijo:
invocation of God, yet Addie uses
ow n s i n . I k n o w t h a t I d e s e r v e —Yo conozco perfectamente mis pro- the words to invoke Jewel and by
my punishment. I do not pios pecados. Sé que merezco un casti- so doing appals Cora with her
b e g r u d g e i t . ” A n d I s a i d , “It is go. Y no trato de disminuirlo —y yo dije: blasphemy: ‘I realised that out of
55 out of your vanity that you would —Es tu vanidad la que te lleva a juz- the vanity of her heart she had
judge sin and salvation in the gar el pecado y la salvación en lugar del spoken sacrilege’. Cora’s only
recourse is to pray for the lost soul
Lord’s place. It is our mortal lot Señor. Nuestro destino mortal es sufrir y
of Addie Bundren: ‘I prayed for
to suffer and to raise our voices elevar nuestras voces en alabanza de that poor blind woman as I had
in praise of Him who judges the Aquél que enjuicia el pecado y ofrece la never prayed for me and mine’.
60 s i n a n d o f f e r s t h e s a l v a t i o n salvación por medio de nuestras tribula- Ironically, she cannot hope to
through our trials and tribulations ciones y aflicciones desde tiempo inme- know the depths and the nature
time out of mind amen. Not even morial amén. No es cosa tuya, ni siquie- of Addie’s sinfulness, nor its
inspiration.
after Brother Whitfield, a godly ra después de que el reverendo Whitfield,
man if ever one breathed God’s un hombre piadoso inspirado por Dios,
65 breath, prayed for you and strove rezara por ti y se esforzara como ningún
as never a man could except him,” otro hombre, que no fuera él, hubiera
I said. hecho —dije yo.
Because it is not us that can judge Porque no somos nosotros los que
70 our sins or know what is sin in the podemos juzgar nuestros pecados o sa-
Lord’s eyes. She has had a hard life, ber lo que a los ojos del Señor es peca-
but so does every woman. But you’d do. Ha tenido una vida dura, pero eso les
think from the way she talked that she pasa a todas las mujeres. Pero a juzgar
knew more about sin and salvation por cómo hablaba, uno pensaría que sa-
75 than the Lord God Himself, than them bía más del pecado y de la salvación que
who have strove and laboured with el propio Dios Nuestro Señor y que los
the sin in this human world. When the que se esfuerzan y luchan por combatir
only sin she ever committed was el pecado en este mundo. Cuando el único
84
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
being partial to Jewel that never loved pecado que cometió fue ser parcial con
her and was its own punishment, in Jewel, que nunca la quiso, y eso fue su cas-
preference to Darl that was touched by tigo, prefiriéndolo a Darl que era un bendi-
God Himself and considered queer by to de Dios y al que nosotros mortales consi-
5 us mortals and that did love her. I said, derábamos raro, y que la quería. Yo dije:
“There is your sin. And your —Ese es tu pecado. Y también tu
punishment too. Jewel is your castigo. Jewe1 es tu castigo. Pero,
punishment. But where is your ¿dónde está tu salvación? La vida es
salvation? And life is short enough,” muy corta —dije yo—, para ganar la
10 I said, “to win eternal grace in. And gracia eterna en ella. Y [164] Dios es
God is a jealous God. It is His to un Dios celoso. A Él le toca juzgar y dis-
judge and to mete; not yours.” pensar premios y castigos; no a ti.
“I know,” she said. “I——” Then —Lo sé —dijo ella—. Yo... —luego
15 she stopped, and I said, se interrumpió y yo dije:
25 “How do you know, without you —¿Qué sabes tú, si no has abierto el
open your heart to Him and lift your corazón al Señor ni alzado la voz para
voice in His praise?” I said. Then I alabarle? —dije yo.
realized that she did not mean God. Entonces me di cuenta de que no se
I realized that out of the vanity of refería a Dios. Me di cuenta de que con
30 her heart she had spoken sacrilege. la vanidad de su corazón había dicho un
And I went down on my knees right sacrilegio. Y caí de rodillas allí mismo.
there. I begged her to kneel and open Y le supliqué que se arrodillara y abriese
her heart and cast from it the devil el corazón y que arrojara de él al demo-
of vanity and cast herself upon the nio de la vanidad y se entregara a la mi-
35 mercy of the Lord. But she wouldnt. sericordia del Señor. Pero no quiso. Se
She just sat there, lost in her vanity quedó allí sentada, perdida en la vanidad
and her pride, that had closed her y el orgullo que habían cerrado su cora-
heart to God and set that selfish zón a Dios para albergar a ese muchacho
mortal boy in His place. Kneeling tan egoísta en su lugar. Allí arrodillada
40 there I prayed for her. I prayed for recé por ella. Recé por aquella pobre cie-
that poor blind woman as I had never ga como nunca había rezado por mí ni
prayed for me and mine. por los míos.
40
45 ADDIE (1) ADDIE
IN the afternoon when school was out POR la tarde cuando terminaba la es- Addie (1)
and the last one had left with his little cuela y se había marchado el último niño
dirty snuffling nose, instead of going sorbiéndose los mocos, en vez de irme a This section, which consists of
50 home I would go down the hill to the casa iba colina abajo hasta el manantial the memories of Addie Bundren,
clarifies much that has gone
spring where I could be quiet and hate them. donde podía odiarles con tranquilidad.
before. The time at which it is
It would be quiet there then, with Entonces allí se estaba en silencio y el narrated is not clear, save that it
the water bubbling up and away agua brotaba y se marchaba tranquilamen- is after the day on which Cora
and the sun slanting quiet in the te y el sol se colaba oblicuo tranquilamen- prayed for her.
55 trees and the quiet smelling of te por entre los árboles y olía tranquila-
damp and rotting leaves and new mente a hojas húmedas y medio podridas
earth; especially in the early y a tierra nueva; en especial a principios
spring, for it was worst then. de primavera, que era cuando era peor.
85
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
and selfish life, who have marked cretas y egoístas, yo que he señala- contained in these lines is
your blood with my own for ever and do vuestra sangre con la mía para significant in four distinct ways:
ever. siempre.
1. It shows Addie as a woman
with a strange, if understandable,
5 And so I took Anse. I saw him pass Y así acepté a Anse. Le vi pasar por sadistic streak who needs to make
the school-house three or four times delante de la escuela tres o cuatro ve- her mark on the world by physical
before I learned that he was driving ces antes de enterarme de que tenía que violence.
four miles out of his way to do it. I dar un rodeo de unos seis kilómetros 2. It shows that this need to
break through to the ‘secret and
noticed then how he was beginning para ir por allí. Entonces me fijé en que
selfish’ existence of other people
10 to hump—a tall man and young—so estaba empezando a encorvarse —un is something which she has
that he looked already like à tall bird hombre alto y joven— conque ya pare- passed on to her children in the
hunched in the cold weather, on the cía un pajarraco encogido por el frío en form of an uncertainty about their
wagon-seat. He would pass the el asiento de la carreta. Pasaba por de- own and other people’s
school-house, the wagon creaking lante de la escuela, la carreta chirriaba existences.
3. It is easy to see how a woman
15 slow, his head turning slow to watch lentamente, él volvía lentamente la ca-
such as the one portrayed here
the door of the school-house as the beza para mirar la puerta de la escuela would have a great influence on
wagon passed, until he went on mientras pasaba la carreta, hasta que the nature and character of her
around the curve and out of sight. One doblaba el recodo y se perdía de vista. children. There is no mention of
day I went to the door and stood there Un día salí a la puerta y me quedé allí her having physically punished
20 when he passed. When he saw me he mientras pasaba. Cuando me vio apar- Vardaman, Dewey Dell or Darl,
but perhaps the absence of such
looked quickly away and did not look tó rápidamente la vista y no volvió a
punishment indicates that she
back again. mirar. refused to help them to make
contact with her and so to develop
In the early spring it was worst. A principios de primavera era peor. a sense of their own existence.
25 Sometimes I thought that I could not A veces pensaba que no podría sopor- 4. The paragraph goes some
bear it, lying in bed at night, with the tarlo, acostada de noche en la casa, y way towards explaining the title
Faulkner has chosen for his book.
wild geese going north and their los patos salvajes rumbo al norte y sus
Here, living is equated with the
honking coming faint and high and graznidos que llegaban desde lo alto preparation for death, so ‘as 1 lay
wild out of the wild darkness, and débiles y salvajes en la salvaje oscuri- dying’ may be taken to mean ‘as
30 during the day it would seem as dad, y durante el día parecía como si I lived’. In one way the whole
though I couldn’t wait for the last one no fuera a poder esperar a que se fuera book is a record of what Addie
to go so I could go down to the spring. el último niño para poder bajar al ma- Bundren did during her life, or
preparation for death, a record
And so when I looked up that day and nantial. Y así cuando levanté la vista
written in the characters of her
saw Anse standing there in his aquel día y vi a Anse allí de pie con el children and in the nature of her
35 Sunday clothes, turning his hat round traje de los domingos, dando vueltas al husband.
and round in his hands, I said sombrero entre las manos, dije: It becomes plain from this
section that Addie felt within her
“If you’ve got any womenfolks, —Si hay mujeres en su casa ¿por the stirrings of sexual desire,
which she calls ‘the wild blood’.
why in the world don’t they make you qué diablos no le mandan a que se
The brief respite from these after
40 get your hair cut?” corte el pelo? her marriage to Anse is ended
when she becomes pregnant,
“I ain’t got none,” he said. Then —No las hay —dijo él. Lue- ‘when I knew that had Cash I
he said suddenly, driving his eyes at go, de repente, dijo, fijando sus knew that living was terrible’.
me like two hounds in a strange yard: ojos en mí como dos perros en What Anse calls ‘love’ she comes
to lee as an empty word. Yet the
45 “That’s what I come to see you corral ajeno—: Por eso he ve-
sexual longing remains and leads
about.” nido a verla. to the conception of Darl, ‘Then
I believed I would kill Anse. It
“And make you hold your —¿Y no le dicen que ande derecho? was as though he had tricked me,
shoulders up,” I said. “You haven’t —dije yo—. ¿No las hay? Pero usted tie- hidden within a word like a paper
50 got any? But you’ve got a house. ne una casa. Me contaron que tiene una screen and struck me in in the
back through it’. However, Addie
They tell me you’ve got a house and casa y una granja que no están nada mal.
realices that Anse himself has
a good farm. And you live there alone, Así que vive allí solo, haciéndoselo todo, been tricked, driven on by a deli-
doing for yourself, do you?” He just ¿no es así? —él se limitaba a [166] mi- re which bears no relation to
looked at me, turning the hat in his rarme, dando vueltas al sombrero entre words, ‘I had been tricked by
55 hands. “A new house,” I said. “Are las manos—. Una casa nueva —dije yo— words older than Anse or love . .
you going to get married? . ¿Se va a casar? . and . . . my revenge would be
that he would never know that I
was taking my revenge. And
And he said again, holding his eyes Y él volvió a decir, sin apartar sus ojos when Darl was born 1 asked Anse
to mine “That’s what I come to see de los míos: to promise to take me back to
60 you about.” —Por eso he venido a verla. Jefferson when I died’. Addie’s
revenge is that she will use Anse
Later he told me, “I ain’t got Más adelante, me dijo: to prepare herself for a death spent
alone, in a grave quite separate
n o p e o p l e . S o t h a t w o n ’t b e n o —No tengo a nadie. Así que no se
from his. But the revenge misfires
worry to you. I don’t reckon debe preocupar por eso. Para mí que us- and, as we lee in other sections
65 y o u c a n s a y t h e s a m e . ” ted no puede decir lo mismo. of the book, the family fulfil the
promise to Addie almost
“No. I have people. In Jefferson.” —No. Tengo parientes. En Jefferson. incidentally.
Addie is responsible for Anse’s
negativity, an aspect of his
His face fell a little. El rostro se le ensombreció un poco.
character stressed by all those
70 “ We l l , I g o t a l i t t l e p r o p e r t y. —Bueno, tengo un poco de terreno. who know him. It may be traced
I’m forehanded; I got a good Soy ahorrador; se me considera un hom- back to the fact that, after the birth
honest name. I know how bre honrado. Sé cómo es la gente de la of Darl, his wife decided to treat
town folks are, but maybe ciudad, pero puede que cuando hablen him as if he were dead, ‘1 would
whe n t h e y t a l k t o m e . . . ” conmigo... be I; I would let him be the shape
and echo of his word’. She herself
75
continues to grow and to explore
“They might listen,” I said. “But —A lo mejor le escuchan —dije the meaning of experience as
they’ll be hard to talk to.” He was yo—. Pero será difícil hablar con ellos opposed to the world of empty
watching my face. “They’re in the —me miraba a la cara—. Están en el words, thinking that she had
discovered the real reason for li-
86
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
87
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
had been right, even when he que supe que mi padre había tenido ra- one she herself received.
couldn’t have known he was right zón, aunque no hubiera podido saber que The section is the revealing
centre of the book. The fact that
any more than I could have known la tenía igual que yo no podía saber que
it is placed more than halfway
I was wrong. estaba equivocada. through the novel is not acciden-
5 tal, for Addie Bundren continues
“Nonsense,” Anse said; “you and —¡Qué tontería! —dijo Anse—. Tú to exert an influence even after
me ain’t nigh done chapping yet, with y yo todavía no lo vamos a dejar, con she is dead, so she has a right to
just two.” sólo dos. speak after physical death.
10 He did not know that he was dead, No sabía que entonces él ya estaba
then. Sometimes I would lie by him muerto. A veces yacía en la oscuridad
in the dark, hearing the land that was junto a él, oyendo la tierra que ahora
now of my blood and flesh, and I era de mi sangre y de mi carne, y pen-
would think: Anse. Why Anse. Why saba: Anse. ¿Por qué Anse? ¿Por qué eres
15 are you Anse. I would think about his tú Anse? Y pensaba en su nombre hasta
name until after a while I could see que al cabo de un rato veía que la pala-
the word as a shape, a vessel, and I bra tenía forma, era una vasija, y veía
would match him liquefy and flow que él se licuaba y se iba vistiendo den-
into it like cold molasses flowing out tro como melaza fría fluyendo de la os-
20 of the darkness into the vessel, until curidad en la vasija, hasta que la jarra
the jar stood full and motionless: a quedaba llena e inmóvil: una forma
significant shape profoundly without [168] significativa, profundamente
life like an empty door frame; and inerte como un dintel vacío— y en-
then I would find that I had forgotten tonces me daba cuenta de que había
25 the name of the jar. I would think: The olvidado el nombre de la jarra. Y pen-
shape of my body where I used to be saba: La forma de mi cuerpo cuando
a virgin is in the shape of a and era virgen tiene la forma de un y
I couldn’t think Anse, couldn’t no podía pensar Anse, ni rec o r d a r
remember Anse. It was not that I Anse. No era que pudiese pensar
30 could think of myself as no longer e n m í m i s m a c o m o n o v i rg e n y a ,
unvirgin, because I was three now. porque ahora yo era tres. Y cuan-
And when I would think Cash and d o p e nsaba Cash y Darl de esa mis-
Darl that way until their names would ma manera, hasta que sus nombres mo-
die and solidify into a shape and then rían y se solidificaban en una forma y
35 fade away, I would say, All right. It luego se desvanecían, yo decía: Muy
doesn’t matter. It doesn’t matter what bien. No importa. No importa cómo
they call them. lo s l l a m e n .
And so when Cora Tull would tell Así que cuando Cora Tull me decía
40 me I was not a true mother, I would que yo no era una auténtica madre, pen-
think how words go straight up in a saba en cómo las palabras suben derechas
thin line, quick and harmless, and en una fina línea rápida e inofensiva, y
how terribly doing goes along the de qué modo terrible los hechos se que-
earth, clinging to it, so that after a dan a ras del suelo, pegados a él de modo
45 while the two lines are too far apart que al cabo de un rato las dos líneas es-
for the same person to straddle from tán tan separadas que una persona no las
one to the other; and that sin and love puede pisar a la vez; y que pecado y amor
and fear are just sounds that people y miedo sólo son sonidos que las perso-
who never sinned nor loved nor nas que nunca pecaron ni amaron ni tu-
50 feared have for what they never had vieron miedo usan para eso que nunca
and cannot have until they forget the sintieron y no pueden sentir hasta que se
words. Like Cora, who could never olviden de las palabras. Como Cora que
even cook. ni siquiera sabía cocinar.
55 She would tell me what I owed to Solía decirme lo que yo les de-
my children and to Anse and to God. bía a mis hijos y a Anse y a Dios.
I gave Anse the children. I did not ask L e d i l o s h i j o s a A n s e . Yo n o l o s
for them. I did not even ask him for pedí. Ni siquiera le pedí lo que
what he could have given me: p o d í a h a b e r m e d a d o : n o -A n s e . E s e
60 not-Anse. That was my duty to him, era mi deber hacia él, no pedirle
to not ask that, and that duty I e s o y e s e d e b e r l o c u m p l í . Yo e r a
fulfilled. I would be I; I would let him yo misma; a él le dejaba ser la for-
be the shape and echo of his word. ma y el eco de sus palabras. Era
That was more than he asked, because más de lo que me pedía, porque no
65 he could not have asked for that and podía pedirlo y ser Anse, sirvién-
been Anse, using himself so with a dose de sí mismo por medio de una
word. palabra.
And then he died. He did not know Y entonces murió. Y él no sabía que
70 he was dead. I would lie by him in estaba muerto. Yacía junto a él en la os-
the dark, hearing the dark land talking curidad y oía a la tierra oscura hablar del
of God’s love and His beauty and His amor de Dios y de su belleza y su peca-
sin; hearing the dark voicelessness in do; escuchaba el oscuro silencio en que
which the words are the deeds, and las palabras son los hechos, y las demás
75 the other words that are not deeds, palabras que no son hechos, que sólo son
that are just the gaps in peoples’ lacks, los huecos de las carencias de la gente,
coming down like the cries of the que bajaban como los graznidos de los
geese out of the wild darkness in the patos desde la salvaje oscuridad en las
88
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
old terrible nights, fumbling at the terribles noches de antaño, tanteando los
deeds like orphans to whom are pointed hechos como huérfanos a los que se les
out in a crowd two faces and told, That señalasen dos rostros en una multitud y
is your father, your mother. les dijesen: Ese es tu padre, tu madre.
5
I believed that I had found it. I Creí que lo había descubierto. Creí
believed that the reason was the duty que el sentido era el deber de los vivos,
to the alive, to the terrible blood, the para con la terrible sangre, la amarga
red bitter flood boiling through the sangre roja que corre hirviente por la
10 dad. I would think of sin as I would tierra. Pensaba en el pecado como pen-
think of the clothes we both wore in saba en la ropa que los dos llevábamos
the world’s face, of die a la vista del mundo, en la compostura
circumspection necessary because he necesaria dado que él era él y, yo era
was he and I was I; the sin the more yo; el pecado tanto más grave y horri-
15 utter and terrible since he was the ble por cuanto él era el instrumento dis-
instrument ordained by God who puesto por Dios que creó el pecado, para
created the sin, to sanctify that sin He santificar ese pecado que El había crea-
had created. While I waited for him do. Mientras le esperaba en el bosque,
in the woods, waiting for him before mientras le esperaba antes de que me
20 he saw me, I would think of him as viera, me lo imaginaba vestido de peca-
dressed in sin. I would think of him do. Pensaba que él también me imagi-
as thinking of me as dressed also in naría a mí vestida de pecado, aunque él
sin, he the more beautiful since the el más hermoso porque la vestidura que
garment which he had exchanged for había cambiado por la de pecado estaba
25 sin was sanctified. I would think of santificada. Imaginaba el pecado como
the sin as garments which we would las prendas que nos quitábamos con ob-
remove in order to shape and coerce jeto de conformar y forzar la terrible
the terrible blood to the forlorn echo sangre al desamparado eco de esa pala-
of the dead word high in the air. Then bra muerta que cuelga en el aire. Luego
30 I would lay with Anse again—I did not me volvía a acostar con Anse —no le
lie to him: I just refused just as I refused mentía; sólo me negaba a él, igual que
my breast to Cash and Darl after their les negaba el pecho a Cash y a Darl en
time was up—hearing the dark land cuanto crecieron—y oía a la oscura tie-
talking the voiceless speech. rra pronunciar su mudo discurso.
35
I hid nothing. I tried to deceive No ocultaba nada. No trataba de enga-
no one. I would not have cared. I ñar a nadie. No me hubiera preocupado.
merely took the precautions that he Simplemente tomaba las precauciones que
thought necessary for his sake, not él consideraba necesarias para sí mismo,
40 for my safety, but just as I wore no por mi seguridad, pero del mismo modo
clothes in the world’s face. And I que me vestía a la vista del mundo. Y en-
would think then when Cora talked tonces, cuando Cora me hablaba, pensa-
to me, of how the high dead words ba que las altisonantes palabras muertas
in time seemed to lose even the con el tiempo parecían perder hasta el
45 significante of their dead sound. mismo significado de su sonido muerto.
Then it was over. Over in the Luego todo se acabó. Se acabó en el sen-
sense that he was gone and I knew tido de que él se fue y de que yo me di cuen-
that, see him again though I would, ta de que, aunque lo volviera a ver, nunca le
50 I would never again see him coming volvería a ver acercándose veloz y secreto
swift and secret to me in the woods hacia mí por entre los árboles vestido
gallant adj. 1 brave, chivalrous. 2 a (of a ship, horse, etc.) dressed in sin like a gallant de pecado como si llevara un garboso
grand, fine, stately. b archaic finely dressed. 3 a markedly
attentive to women. b concerned with sexual love; amatory. garment already blowing aside with ropaje que se entreabría con la veloci-
— n. 1 a ladies’ man; a lover or paramour. 2 archaic a man the speed of his secret coming. dad de su secreta aproximación.
of fashion; a fine gentleman. — v. 1 tr. flirt with. 2 tr. escort;
act as a cavalier to (a lady). 3 intr. a play the gallant. b (foll. 55
by with) flirt. But for me it was not over. I mean, Pero para mí no se había acabado.
gallant 1 valiente, gallardo 2 cortés, galante.
El vocablo suguiere cortés en ambas lenguas, pero en over in the sense of beginning and Quiero decir, acabar en el sentido de lo
cada una añade matices nuevos: gallant parece recalcar la ending, because to me there was no que empieza y termina, porque para mí
idea de valentía, como valiente, gallardo, espléndido mien-
tras que galante da más peso a connotaciones de cortesía beginning nor ending to anything por entonces nada empezaba ni termina-
y elegancia en castellano; en inglés los flirteos se convier- 60 then. I even held Anse refraining ba. Incluso seguí rechazando a Anse, no
ten en favores sexuales hasta el punto de ser un eufemis-
mo por prostitución. still, not that I was holding him como si le rechazara por primera vez,
garboso 1. adj. Airoso, gallardo y bien dispuesto. recessional, but as though nothing sino como si siempre le hubiera rechaza-
2. fig. Magnánimo, dadivoso.
else had ever been. My children were do. Mis hijos [170] eran sólo míos, de la
of me alone, of the wild blood boiling sangre salvaje que hierve por la tierra;
65 along the earth, of me and of all that sólo míos y de todo lo que vive: de nadie
lived; of none and of all. Then I y de todo. Luego me enteré de que iba a
found that I had Jewel. When I tener a Jewel. Cuando desperté para acor-
waked to remember to discover it, he darme de descubrirlo, hacía dos meses
was two months gone. que él se había ido.
70
My father said that the reason for Mi padre decía que la finalidad de la
living is getting ready to stay dead. I vida es prepararse para estar muerto. Por
knew at last what he meant and that fin entendí lo que quería decir y que él
he could not have known what he meant no podía haber sabido lo que quería de-
75 himself, because a man cannot know cir, porque un hombre no puede saber
anything about cleaning up the house lo que significa limpiar la casa después.
afterward. And so I have cleaned my Y así yo he limpiado mi casa. Con Jewel
house. With Jewel—I lay by the lamp, —estaba acostada junto a la lámpara,
89
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
41
25 WHITFIELD (1) WHITFIELD
It was His hand that bore me Fue su mano la que me sacó sano y
65 safely above the flood, that fended salvo de la riada, la que fue apartando
from me the dangers of the waters. de mí los peligros de las aguas. Mi ca-
My horse was frightened, and my ballo estaba aterrado, y mi propio cora-
own heart failed me as the logs and zón desfallecía cuando los troncos y los
the uprooted trees bore down upon árboles arrancados amenazaban mi in-
70 my littleness. But not my soul time significancia. Pero no desfalleció mi
after time I saw them averted at alma; una y otra vez los veía desviarse
destruction’s final instant, and I en el instante de la destrucción final, y
lifted my voice above the noise of elevaba mi voz por encima del ruido de
the flood: “Praise to thee, O Mighty la riada: «¡Gloria a Ti, Señor Todopo-
75 Lord and King. By this token shall I deroso! Con esta prueba limpiaré mi
cleanse my soul and gain again into alma y volveré a entrar en el redil de tu
the fold of Thy undying love.” amor imperecedero.»
90
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
bereavement deprive of a relation, friend, I entered the house of bereavement, Entré en la casa de la congoja, la
etc., esp. by death. Luto, duelo, des-
gracia, aflicción the lowly dwelling where another err- humilde morada donde yacía otra po-
ing mortal lay while her soul faced the bre descarriada mientras su alma en-
45 awful and irrevocable judgment, peace caraba el juicio terrible e irrevocable.
to her ashes. Descanse en paz.
“God’s grace upon this house,” I —La paz de Dios sea con vosotros —
said. dije.
50
42
DARL (14) DARL
He tried to say something. Dewey Intentó decir algo. Dewey Dell le vol-
70 Dell wiped his mouth again. vió a limpiar la boca.
“What’s he say?” Vernon said. —¿Qué ha dicho? —dijo Vernon. COMMENTARY: Jewel has
just rescued his mother’s corpse
“What is it, Cash?” —¿Qué te pasa, Cash? —dijo from the river, an action which
seems to bring to Darl’s mind the
75 Dewey Dell said. She leaned Dewey Dell. Se inclinó sobre
special relationship between
down. “His tools,” she said. él—. Sus herramientas —dijo. Addie and Jewel and so focuses
Vernon got them and put them into Vernon las cogió y las metió en la ca- his attention on Jewel. After the
the wagon. Dewey Dell lifted Cash’s rreta. Dewey Dell levantó la cabeza de family are settled in the Armstid’s
house, Darl has an unverbalised
91
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
head so he could see. We drove on, Cash para que las vieras. Después echa- image of his brother, who is
Dewey Dell and I sitting beside Cash mos [173] a andar, Dewey Dell y yo sen- seeing to his horse in the barn.
The image is much like the one
to steady him and he riding on ahead tados al lado de Cash para sostenerle y
in Darl (2), with the emphasis on
on the horse. Vernon stood watching él marchaba delante a caballo. Vernon the agility of Jewel, the gaudiness
5 us for a while. Then he turned and se quedó un rato mirándonos. Luego dio of the horse and the ‘obscene
went back toward the bridge. He media vuelta y volvió en dirección al ferocity’ with which Jewel
walked gingerly, beginning to flap the puente. Andaba con cuidado, agitando las addresses his animal. Such
wet sleeves of his shirt as though he mangas mojadas de su camisa como si se repetitions of imagery strengthen
the impression Faulkner is buil-
had just got wet. las acabase de mojar.
ding up of his characters.
10
He was sitting the horse before the Estaba a caballo delante de la cerca.
gate. Armstid was waiting at the gate. Armstid esperaba a la puerta. Nos detu-
We stopped and he got down and we vimos y él desmontó y bajamos a Cash
lifted Cash down and carried him into de la carreta y lo llevamos dentro de la
15 the house, where Mrs. Armstid had casa, donde Mrs. Armstid ya había pre-
the bed ready. We left her and Dewey parado una cama. Dejamos que ella y
Dell undressing him. Dewey Dell lo desnudaran.
We took the team out and rolled Desenganchamos las mulas y empu-
50 the wagon back under the shed. One jamos la carreta debajo del cobertizo.
side of the shed was open. Uno de los lados estaba abierto.
92
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
10 “It’s for her,” pa said. “It’s for her —Lo haré por ella —dijo padre—.
sake I am taking the food. I got no Tomaré un bocado en memoria suya. No
team, no nothing. But she will be tengo ni mulas, ni nada. Pero ella os lo
grateful to ere a one of you.” agradecerá a todos vosotros.
15 “Sho,” Armstid said. “You folks —Claro, claro —dijo Armstid—. Ven-
come in and dry.” ga, entrad todos a secaros.
But after Armstid gave pa a drink, Pero después de que Armstid le diera
he felt better, and when, we went in un trago, padre se sintió mejor, y cuando
20 to see about Cash he hadn’t come in entramos a ver cómo seguía Cash él no
with us. When I looked back he was vino con nosotros. Cuando volví la cabe
leading the horse into the barn he was conducía el caballo al establo ya estaba
already talking about getting another hablando de conseguir otro tiro y al sen-
team, and by supper time he had good tarnos a la mesa a cenar ya daba la cosa
25 as bought it. He is down there in the por hecha. Está allá abajo en el establo,
barn, sliding fluidly past the gaudy desliándose con fluidez al otro lado del
lunging swirl, into the stall with it. agresivo torbellino brillante, metiéndose
He climbs on to the manger and drags en el pesebre con él. Trepa al pajar y baja
the hay down and leaves the stall and con heno y sale del pesebre y busca y en-
curry-comb: a comb designed for 30 seeks and finds the curry-comb. Then cuentra una almohaza. Luego vuelve y
grooming horses be returns and slips quickly past the esquiva la única pero tremenda coz del
single crashing thump and up against caballo y se pone a su lado, allí donde no
the horse, where it cannot over-reach. le puede alcanzar. Empuña la almohaza,
He applies the curry-comb, holding manteniéndose dentro del radio de acción
35 himself within the horse’s striking del caballo con la agilidad de un acróba-
radius with the agility of an acrobat, ta, mientras lo maldice entre dientes en
cursing the horse in a whisper of un obsceno murmullo de cariño. El caba-
obscene caress. Its head flashes back, llo vuelve la cabeza, enseñando los dien-
tooth-cropped; its eyes roll in the dark tes; los ojos le giran en la oscuridad como
40 like marbles on a gaudy velvet cloth canicas sobre un trozo de terciopelo bri-
as he strikes it upon the face with the llante cuando él le pega en la cara con el
back of the curry-comb. revés de la almohaza.
43
45 ARMSTID (1) ARMSTID
BUT time I give him another sup PERO cuando le doy otro trago de
of whisky and supper was about whisky y la cena estaba casi lista, ya
ready, he had done already bought daba por hecha la compra de un tiro de Armstid (1)
50 a team from somebody, on a credit. mulas, a crédito. Por entonces ya anda-
This is a record of the
span A 1 (de las alas) envergadura (de la mano) palmo 2 Picking and choosing he were by ba seleccionando y escogiendo, dicien-
(de tiempo) lapso, espacio 3 Arquit (de un puente, etc) conversations which take place
the bridge has a span of 100 metres, el puente tiene then, saying how he didn’t like this do por qué no le gustaba esta o aquella among the Bundrens after they
100 metros de largo 4 Arquit arco a bridge with four
spans, un puente con cuatro ojos span and wouldn’t put his money pareja y que no se gastaría dinero en have lost their mules. Jewel has
B 1 (un arco, puente, etc) cruzar 2 (en el tiempo)
abarcar 3 pareja de caballería, tiro in nothing so-and-so owned, not nada que hubiera sido de éste o aquél, ni gone to fetch a doctor for Cash
hen coop: a house for hens [galline- 55 even a hen coop. X siquiera una jaula para pollos. [175] but returns with an amateur horse-
ro] doctor instead. The leg is set and
next morning Anse borrows
“You might try Snopes,” I said. —Podrías probar con Snopes —dije
Jewel’s horse to visit the Snopes
“He’s got three-four span. Maybe one yo—. Tiene tres o cuatro parejas. Puede and buy a team. In his absence,
of them would suit you.’’ que alguna te convenga. the sun comes up and the
60 buzzards start to collect around
Then he begun to mumble his Luego empezó a murmurar entre dien- the farm, attracted by the smell
mouth, looking at me like it was me tes, mirándome como si yo fuera el due- of Addie’s corpse. Anse returns,
saying he has got a team. He has
that owned the only span of mules ño de la única pareja de mulas de la co-
span of mules: a pair of mules taken the money which Cash
in the country and wouldn’t sell marca y no se la quisiera vender, cuando saved up to buy a radio and has
65 them to him, when I knew that like yo sabía que, de una manera o de otra, traded Jewel’s horse as well for
as not it would be my team that sería mi tiro el único con el que iban a the mules. Jewel is furious, leaves
would ever get them out of the lot salir de aquel corral. Lo único es que no on his horse and, next morning,
at all. Only I don’t know what they me imaginaba qué iban a hacer con el someone from the Snopes’ farm
appears with a team of mules,
would do with them, if they had a tiro, si es que lo conseguían. Littlejohn
saying that the horse has been
70 team. Littlejohn had told me that the me había contado que la riada se había delivered during the night.
levee through Haley bottom had llevado más de tres kilómetros del terra- Armstid is left to wonder at the
levee: raised bank of a river done gone for two miles and that the plén que encauza el Haley y que el úni- way in which Anse gets people
only way to get to Jefferson would co modo de llegar a Jefferson sería dan- to do things for him.
be to go around by Mottson. But that do un rodeo por Mottson**20. Pero eso
75 was Anse’s business. era cosa de Anse.
COMMENTARY: The main
a close man: a difficult man, a hard “He’s a close man to trade with,” —Es difícil hacer tratos con él, por- purpose of this section is to fill in
bargainer he says, mumbling his mouth. But que es que no suelta prenda —dice the details of how the family get
a new team of mules, although it
93
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
when I give him another sup after mascullando. Pero cuando le doy otro incidentally gives the reader
a sup: a drink of whisky supper, he cheered up some. He was trago después de cenar, se animó un confirmation of his opinion of the
impact the various members of
aiming to go back to the barn and set poco más. Tenía la intención de vol-
the family make on those who see
up with her. Maybe he thought that if ver al granero a velarla. Puede que them.
5 he just stayed down there ready to pensara que si se quedaba allí abajo
take out, Santa Claus would maybe hasta la hora de irse, Santa Claus le
bring him a span of mules. “But I proporcionaría un par de mulas—.
reckon I can talk him around,” he Pero para mí que le convenceré —
says. “A man’ll always help a fellow dijo—. Nadie le niega ayuda a un ve-
10 in a tight, if he’s got ere a drop of cino en apuros, si es que le queda una
Christian blood in him.”’ gota de sangre de cristiano.
“Of course you’re welcome to the —Podéis usar las mías, natu-
use of mine,” I said, me knowing how ralmente —dije yo, sabiendo
15 much he believed that was the reason. que él creía que era por eso.
After supper Jewel rode over to the Después de cenar Jewel cabalgó hasta
Bend to get Peabody. I heard he was el Bend**21, a buscar a Peabody. Yo ha-
to be there to-day at Varner’s. Jewel bía oído que hoy estaría allí, en casa de
25 come back about midnight. Peabody Varner. Jewel volvió a medianoche.
had gone down below Inverness Peadoby se había ido a algún sitio más
somewhere, but Uncle Billy come abajo del Inverness**22, pero el tío Billy
back with him, with his satchel of [176] venía con él, con su maletín de ve-
horse-physic. Like he says, a man ain’t terinario. Como él dice, en definitiva un
horse-physic: medicine for horses 30 so different from a horse or a mule, hombre no es tan diferente de un caballo
come long come short, except a mule o una mula, salvo en que una mula o un
or a horse has got a little more sense. caballo tienen algo más de sentido común.
“What you been into now, boy?” he —¿En qué lío te has metido ahora,
says, looking at Cash. .” Get me a muchacho? —dice, mirando a Cash—.
35 mattress and a chair and a glass of Traedme un colchón y una silla y un vaso
whisky,” he says. de whisky —dice.
He made Cash drink the whisky, Mandó a Cash que se bebiera el whis-
then he run Anse out of the room. ky, luego echó a Anse del cuarto.
40 “Lucky it was the same leg he broke —Por suerte fue la misma pierna que
last summer,” Anse says, mournful, se rompió el verano pasado —dice Anse
mumbling and blinking. “That’s sombríamente, entre dientes y parpadean-
something.” do—. Ya es algo.
When he waked up, Uncle Billy Cuando se rehízo, el tío Billy ya había
had done packed up and left. He kept recogido sus cosas y se había ido. Siguió
60 on trying to say something until the tratando de decir algo hasta que la chica
gal leaned down and wiped his mouth. se inclinó sobre él y le secó la boca.
“It’s his tools,” she said. —Son sus herramientas —dijo ella.
“I brought them in,” Darl said. “I —Ya las he traído —dijo Darl—. Las
65 got them.” tengo yo.
He tried to talk again; she leaned down. Intentó hablar de nuevo; la chica se agachó.
“He wants to see them,” she said. —Quiere verlas —dijo.
So Darl brought them in where he Conque Darl las trajo para que las
70 could see them. They shoved them pudiera ver. Las [177] metieron bajo la
under the side of the bed, where he cama, donde llegara con la mano y pu-
could reach his hand and touch them diera tocarlas cuando se sintiera mejor.
when he felt better. Next morning A la mañana siguiente Anse cogió aquel
Anse taken that horse and rode over caballo y se fue al Bend a ver a Snopes.
75 to the Bend to see Snopes. Him and Jewel y él estuvieron hablando un rato
Jewel stood in the lot talking a while, en el corral, luego Anse montó a caba-
then Anse got on the horse and rode llo y se marchó. Para mí que era la pri-
off. I reckon that was the first time mera vez que Jewel dejaba que otro
94
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
Jewel ever let anybody ride that aparte de él montara el caballo, y hasta
horse, and until Anse come back he que Anse volvió anduvo dando vueltas
hung around in that swole-up way, por todas partes, vigilando el camino
watching the road like he was half a como si estuviera a punto de salir co-
5 mind to take out after Anse and get rriendo detrás de Anse para recuperar
the horse back. el caballo.
There must have been a dozen of Había por lo menos una docena
30 them setting along the ridge-pole of de ellos posados en la viga del gra-
the barn, and that boy was chasing nero y aquel chico perseguía a otro
another one around the lot like it was por el corral como si fuera un pavo
a turkey and it just lifting enough to y el pajarraco se elevó lo suficiente
dodge him and go flopping back to para esquivarlo y subir otra vez al
35 the roof of the shed again where he tejado del cobertizo donde el chico
had found it setting on the coffin. It l o h a b í a e ncontrado posado en el
had got hot then, right, and the breeze ataúd. Entonces ya apretaba el calor
had dropped or changad or y la brisa había caído o cambiado o
something, so I went and found Jewel, algo, conque fui a buscar a Jewel,
40 but Lula come out. pero Lula salió.
45 “That’s what I aim to do,” I said. —Es lo que pensaba hacer —dije yo.
“It’s a outrage,” sha said. “He should —Es una vergüenza —dijo ella—. De-
be lawed: (Am. col.) brought to be lawed for treating her so.” berían de denunciarle por tratarla así.
court, arrested
50 “ H e ’s g e t t i n g h e r i n t o t h e —Intenta enterrarla lo mejor que pue-
ground the rest he can,” I said. So de —dije yo.
I found Jewel and asked him if he Conque encontré a Jewel y le pregun-
d i d n ’t w a n t t o t a k e o n e o f t h e té si no quería coger una de las mulas y
mules and go over to the Bend and acercarse al Bend a ver si daba con [178]
55 s ee a b o u t A n se . H e d i d n ’t s a y Anse. No dijo nada. Se limitó a mirarme
nothing. He just looked at me with con aquellas mandíbulas que eran blan-
h i s j a w s g o i n g b o ne- w h i t e a n d cas donde se le marcaban los huesos y
them bone-white ayes of hisn, then aquellos ojos tan claros como las mandí-
he went and begun to call Darl. bulas, y fue y se puso a llamar a Darl.
60
“What you fixing to do?” I said. —¿Qué piensas hacer? —dije yo.
“Going to move the wagon,” Jewel —Voy a sacar la carreta —dijo Jewel
said over his shoulder. por encima del hombro.
70
“Don’t be a fool,” I said. “I never —No hagas tonterías —dije yo—. No
meant nothing. You couldn’t help it.” quería decir eso. No lo puedes evitar.
And Darl hung back too, but nothing Y Darl dudaba también, pero Jewel se-
wouldn’t suit Jewel. guía decidido a hacer lo que había dicho.
75
“Shut your goddamn mouth,” he says. —Cierra esa maldita boca —dice él.
“It’s got to be somewhere,” Darl —Tiene que estar en algún sitio —dijo
95
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
said. “We’ll take out soon as pa gets Darl—. Nos iremos en cuanto vuelva pa-
back.” dre.
“You won’t help me?” Jewel says, —¿No me vas a ayudar? —dice Jewel,
5 them white eyes of hisn kind of con esos ojos claros suyos que parecen
blaring and his face shaking like he echar chispas y la cara temblándole como
had a auger. si tuviera malaria.
auger: an ague, a fever
“No,” Darl said. “I won’t. Wait till —No —dijo Darl—. No quiero. Es-
10 pa gets back.” pera hasta que vuelva padre.
30 “He’s doing the best he can,” I —Hace todo lo que puede —dije
said. “A fellow don’t trade with yo—. Nadie cierra un trato con
Snopes in thirty minutes. They’ll set Snopes en media hora. Se pasará toda
in the shade all afternoon to dicker.” la tarde regateando a la sombra.
to dicker: (Am. col.) to talk busi-
ness, to bargain
35 “Do?” she says. “Do? He’s done —¿Hace? —dice Lula—. ¿Hace? Ya
too much, already.” ha hecho demasiadas cosas.
And I reckon he had. Trouble is, Y para mí que las había hecho. El pro-
his quitting was just about to start blema es que [179] como deje de hacer
40 our doing. He couldn’t buy no team cosas tendremos que empezar a hacerlas
from nobody, let alone Snopes, nosotros. No podría comprar un tiro a
withouten he had something to nadie, y menos a Snopes, sin algo que
mortgage he didn’t know would hipotecar que no sabía todavía que fuera
mortgage yet. And so when I went hipotecable. Conque cuando volví al
45 back to the field I looked at my campo miré a mis mulas como diciéndo-
mules and same as told them les adiós por una temporada. Pero cuan-
good-bye for a spell. And when I do volví aquella tarde, con el sol que se
come back that evening and the sun había pasado el día entero brillando so-
shining all day on that shed, I wasn’t bre el cobertizo, no estaba nada seguro
50 so sho I would regret it. de que fuera a lamentarlo.
96
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
again. detenerse.
5 “So you got a team from Snopes,” —Así que le sacaste el tiro a Snopes,
I said. “He’ll send them over to-night, ¿eh? —dije yo—. Mandará las mulas esta
I reckon? You’ll want a early start noche, supongo. Mañana tendréis que
to-morrow, long as you’ll have to go madrugar, pues tenéis que dar un rodeo
by Mottson.” por Mottson.
10
Then he quit looking like he had Entonces Anse dejó de tener el as-
been for a while. He got that pecto que tenía. Recuperó el de perro
badgered [acosado]look like he used ap a l e a d o q u e s o l í a t e n e r , y
to have, mumbling his mouth. murmuraba entre dientes.
15
“I do the best I can,” he said. —Hice todo lo que pude —dijo—.
“‘Fore God, if there were ere a man Pongo a Dios por testigo de que ningún
in the living world suffered the trials hombre ha pasado por las pruebas y tribu-
and floutings I have suffered.” laciones que he tenido que aguantar yo.
20
“A fellow that just beat Snopes in —Un tipo que se impone a Snopes en
a trade ought to feel pretty good,” I un trato tiene motivos para sentirse bien
said. “What did you give him, Anse?” —dije yo—. ¿Cuánto le pagaste, Anse?
“But they ain’t worth forty dollars. —Pero no valen ni cuarenta dólares.
30 How far do you aim to get with a ¿Adónde piensas llegar con un tiro de
forty-dollar team?” cuarenta dólares?
They were all watching him now, Ahora todos le miraban, callados y
quiet and steady. Jewel was stopped, fijos en él. Jewel se había detenido a
35 half-way back, waiting to go on to the mitad de camino hacia el caballo.
horse. “I give other things,” Anse —Le di otras cosas —dijo Anse.
said. He begun to mumble his mouth Se puso a murmurar otra vez entre
again, standing there like he was dientes, quedándose allí parado
waiting for somebody to hit him and como si esperara que alguien le
40 him with his mind already made up fuera a pagar y se hubiera hecho a
not to do nothing about it. la idea de aguantarse.
“What other things?” Darl said. —¿Qué otras cosas? —dijo Darl.
45 “Hell,” I said. “You take my team. —Demonios —dije yo—. Llevaos mis
You can bring them back. I’ll get mulas. Ya me las devolveréis. Me las
along some way.” arreglaré.
“So that’s what you were doing in —Por eso estaba hurgando usted en
50 Cash’s clothes last night,” Darl said. la ropa de Cash la noche pasada —dijo
He said it just like he was reading it Darl. Dijo esto como si lo estuviera le-
outen the paper. Like he never give a yendo en un periódico. Como si no le
durn himself one way or the other. importara en absoluto aquella cuestión.
Jewel had come back now, standing Jewe1 se había acercado y estaba allí quie-
55 there, looking at Anse with them to mirando a Anse con aquellos ojos suyos
marble eyes of hisn. “Cash aimed to como canicas—. Cash pensaba comprarse ese
buy that talking machine from Suratt gramófono que hay en la tienda de
talking machine: (col.) radio
with that money,” Darl said. Suratt**(23) con ese dinero —dijo Darl.
60 Anse stood there, mumbling his Anse se quedó allí quieto, murmuran-
mouth. Jewel watched him. He ain’t do. Jewel le observaba. Todavía no ha-
never blinked yet. bía ni parpadeado.
“But that’s just eight dollars —Pero eso sólo son ocho dólares más
65 more,” Darl said, in that voice like —dijo Darl, con aquella voz de quien se
he was just listening and never give limita a escuchar como si la cosa no fue-
a durn himself. “That still won’t ra con él—. Ni siquiera con eso podrá
buy a team.” comprar un par de mulas.
70 Anse looked at Jewel quick, Anse miró a Jewel, furtivo, como des-
kind of sliding his eyes that lizando los ojos en aquella dirección, y
way, then he looked down again. enseguida volvió a bajar la vista al suelo.
“God knows, if there were ere a —Dios sabe que si hay un hombre
man,” he says. Still they didn’t que... —dice él. Ellos todavía no habían
75 say nothing. They just watched dicho nada. Se limitaban a mirarle, espe-
him, waiting, and him sliding his rando, y él dejaba resbalar la mirada hasta
eyes toward their feet and up los pies de sus hijos y la subía hasta la
their legs but no higher. “And the altura de sus rodillas, pero no más arri-
97
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“What horse?” Jewel said. Anse —¿Qué caballo? —dijo Jewel. Anse
just stood there. I be durn, if a man seguía allí quieto. Qué diablos, si un
get the upper hand control 5 can’t keep the upper hand of his hombre no es capaz de meter en cintura
sons, he ought to run them away a sus hijos, debería echarles de casa, sin
from home, no matter how big importar lo mayores que sean. Y si no es
they are. And if he can’t do that, I capaz de hacer eso, que me condene si
be durn if he oughtn’t to leave no debería de largarse él mismo. Qué dia-
10 himself. I be durn if I wouldn’t. blos, eso es lo que yo haría—. ¿Quiere
“You mean, you tried to swap my decir que intentó usted hacer un camba-
horse?” Jewel says. lache con mi caballo? —dice Jewel.
Anse stands there, dangle-armed. Anse seguía allí, con los brazos caídos.
dangle-armed: (neologism) with
15 “For fifteen years I ain’t had a —Hace quince años que no tengo ni
arms hanging loosely by his sides
tooth in my head,” he says. “God un diente en la boca —dice—. Dios bien
knows it. He knows in fifteen years lo sabe. Sabe que llevo quince años sin
I ain’t et the victuals He aimed for comer los alimentos que Él destinó para
man to eat to keep his strength up, que comiera el hombre para conservar sus
20 and me saving a nickel here and a fuerzas, y que he ahorrado centavo a cen-
nickel there so my family wouldn’t tavo para comprarme una dentadura sin
suffer it, to buy them teeth so I que mi familia sufriera por eso y poder
could eat God’s ap p o i n t e d f o o d . así comer la comida que Dios provee.
I give that money. I thought that Bueno, pues le he dado ese dinero. Pen-
25 i f I c o u l d d o w i t h o u t e a t i n g , m y sé que si yo podía pasarme sin comer, mis
s o n s c o u l d d o w i t h o u t riding. hijos podían pasarse sin montar a caba-
God knows I did.” llo. Dios sabe que eso es lo que pensé.
Jewel stands with his hands on his Jewe1 estaba allí con los brazos en
30 hips, looking at Anse. Then he looks jarras, mirando a Anse. Luego apartó la
away. He looked out across the field, vista. Miró hacia el campo, su cara in-
his face still as a rock, like it was móvil como una roca, igual que si alguien
somebody else talking about estuviera hablando del caballo de otra
somebody else’s horse and him not persona y él ni se molestara en escuchar-
35 even listening. Then he spit, slow, and le. Luego escupió, muy despacio, y dijo:
said “Hell” and he turned and went —Al diablo —y dio media vuelta y
on to the gate and unhitched the horse se dirigió a la cerca y desató al caba-
and got on it. It was moving when he llo y lo montó. El caballo ya se movía
come into the saddle and by the time cuando se subió a la silla y para cuan-
40 he was on it they was tearing down do estuvo sentado ya volaban camino
the road like the Law might have been abajo como si los persiguiera la justi-
behind them. They went out of sight cia. Enseguida se perdieron de vista,
that way, the two of them looking like en aquella dirección, como una espe-
some kind of a spotted cyclone. cie de ciclón de mezclados colores.
45
“Well,” I says. “You take my —Bueno —digo—. Llevaos mis mu-
team,” I said. But he wouldn’t do las —dije. Pero él no quería llevárselas.
it. And they wouldn’t even stay, Y los demás no querían quedarse, y aquel
and that boy chasing them chico persiguiendo a los buitres el día
50 buzzards all day in the hot son entero bajo aquel sol de justicia hasta que
until he was nigh as crazy as the se volvió casi tan loco como todos los
rest of them. “Leave Cash here, demás—. Por lo menos, dejad a Cash aquí
anyway,” I said. But they wouldn’t —dije yo. Pero tampoco querían. Con
do that. They made a pallet for him unas colchas le improvisaron un jergón
55 with quilts on top of the coffin and encima del ataúd y le echaron en él y le
laid him on it and set his tools by [182] pusieron las herramientas al lado,
him, and we put my team in and y enganchamos mis mulas y arrastramos
hauled the wagon about a mile la carreta durante un par de kilómetros
down the road. camino abajo.
60
“If we’ll bother you here,” Anse —Si te molestamos aquí —dice
says, “just say so.” Anse—, sólo tienes que decirlo.
“Sho,” I said. “It’ll be fine here. —Nada de eso —dije yo—. Aquí es-
65 Safe, too. Now let’s go back and tará bien. Y también segura. Ahora ve-
eat supper.” nid a casa a cenar.
“I thank you,” Anse said. “We got —Te lo agradezco —dijo Anse—.
a little something in the basket. We Tenemos algunas cosas en la cesta. Nos
70 can make out.” las arreglaremos.
“Where’d you get it?” I said. —¿Dónde las habéis conseguido? —dije yo.
98
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“I thought him and Anse never —Creí que él y Anse nunca iban a lle-
traded,” I said. gar a un acuerdo —dije yo.
35
“Sho,” Eustace said. “All they —Así es —dijo Eustace—. Lo único
liked was the horse. Like I said to que a los dos les importaba de verdad era
Mr. Snopes, he was letting this el caballo. Como le dije a Mr. Snopes, le
team go for fifty dollars, because iba a ceder este tiro por cincuenta dólares,
40 if his uncle Flem had a just kept porque si [183] su tío Flem no hubiera sol-
them Texas horses when he owned tado a esos caballos de Texas cuando eran
them, Anse wouldn’t a never “ suyos, Anse jamás hubiera conseguido...
“Look, Darl,” I say; “see?” —Mira, Darl —digo—; ¿lo ves? Vardaman remains almost
He looks up. We watch them in Levanta la vista. Los vemos hacer oblivious to all the tensions which
little tall black circles of not-moving. circulitos negros inmóviles arriba. surround the buying of the mules.
As we see in this section, which
75
consists of his unspoken and
“Yesterday there were just four,” I say. —Ayer sólo había cuatro —digo. spoken thoughts, his sole concern
is with the buzzards. Armstid in
There were more than four on the barn. En el granero había más de cuatro. Armstid (1) saw Vardaman trying
to frighten the birds away, and
99
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
5 “What would you do?” Darl says. —¿Qué vas a hacer? —dice Darl.
35 I haven’t got a broken leg and Yo nunca me he roto una pierna y pa-
p a h a s n ’ t a n d D a r l h a s n ’t a n d dre tampoco y Darl tampoco y
“It’s just the bumps,” Cash says. “It —Sólo es el traqueteo —dice Cash—.
kind of grinds together a little on a Es como si se rozara una parte con otra a
bump. I don’t bother none.” Jewel cada sacudida. No me molesta en absoluto.
40 has gone away. He and his horse —Jewe1 se ha largado. Él y su caballo se
went away one supper time. largaron una noche a la hora de cenar
50 “Maybe I can draw the ropes a —Puede que consiga apretar un poco
little tighter,” Darl says. That’s más las cuerdas —dice Darl. Por eso
why Jewel and I were both in the Jewel y yo estábamos en el cobertizo y
shed and she was in the wagon ella estaba en la carreta, porque el ca-
because the horse lives in the barn ballo vive en la cuadra y yo tenía que
55 and I had to keep on running the estar corriendo todo el tiempo para es-
buzzard away from pantar al buitre
“If you just would,” Cash says. And —Si te parece... —dice Cash. Y
Dewey Dell hasn’t got a broken leg Dewey Dell no se ha roto una pierna, y
60 and I haven’t. Cash is my brother. yo tampoco. Cash era hermano mío.
We stop. When Darl loosens the Nos paramos. Cuando Darl afloja la
rope Cash begins to sweat again. His cuerda Cash empieza a sudar otra vez.
teeth look out. Enseña los dientes.
65
“Hurt?” Darl says. —¿Duele? —dice Darl.
“I reckon you better put it back,” —Para mí que mejor la vuelves a po-
Cash says. ner —dice Cash.
70
Darl puts the rope back, pulling Dash ata otra vez la cuerda, apretan-
hard. Cash’s teeth look out. do con fuerza. Cash enseña los dientes.
100
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
30 Dewey Dell does not look around. Dewey Dell no levanta la vista.
“You better try to sell them in —Será mejor que intentes venderlos
Mottson,” Darl says. en Mottson —dice Darl.
“Why did he feed them on —¿Por qué les daba serrín de comer,
sawdust, Darl?” I say. Darl? —digo yo.
Now there are nine of them, tall in Ahora hay nueve, haciendo circulitos
little tall black circles. negros arriba.
45
65 MOSELEY (1) MOSELEY
bumble move clumsily, trastabillar She kind of bumbled at the screen Titubeó o algo así a la puerta durante
trastabillar 1. intr. Dar traspiés o tropezones.
2. intr. Tambalearse, vacilar, titubear. 3. intr.
Tartalear, tartamudear, trabarse la lengua.
101
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
door a minute, like they do, and came un momento, como les pasa a todos, y
in. She had on a stiff-brimmed straw entró. Llevaba un sombrero de [186] paja
hat setting on the top of her head and con el ala muy tiesa, encajado en la co-
she was carrying a package wrapped ronilla y un paquete envuelto en papel
5 in newspaper: I thought that she had de periódico: supuse que tendría veinti-
a quarter or a dollar at the most, and cinco centavos o un dólar como mucho,
that after she stood around awhile she y que después de pensárselo mucho a lo COMMENTARY: This section
would maybe buy a cheap comb or a mejor compraba un peine de los baratos puts the Bundrens in another new
perspective for the reader. We see
bottle of nigger toilet water, so I never o un frasco de colonia de la que usan los
them through the eyes of the
10 disturbed her for a minute or so except negros, de modo que durante un minuto townspeople and from this point
to notice that she was pretty in a kind o así la dejé en paz, aunque me fijé en of view they appear both
of sullen, awkward way, and that she que era guapa de un modo hosco y des- grotesquely comic and a little
complexion n.1 the natural colour, texture, and looked a sight better in her gingham garbado, y que resultaba mejor con aquel tragic in their simplicity. Dewey
appearance, of the skin, esp. of the face. 2 dress and her own complexion than vestido de percal y su cutis natural de lo Dell in particular appears in sharp
an aspect; a character (puts a different
complexion on the matter). focus, ‘bumbling’ at the door of
15 she would after she bought whatever que resultaría con lo que al fin se deci-
complexión 1. f. constitución, naturaleza y re- the shop, her eyes blank and her
lación de los sistemas orgánicos de cada
she would finally decide on. Or tell diera a comprar. O a decir lo que quería. voice incapable of expressing her
individuo. Temperamento, contextura física that she wanted. I knew that she had Yo sabía que ya lo tenía decidido antes wants.
y moral.
already decided before she came in. de entrar. Pero hay que dejarlas que se The story of the Bundren
But you have to let them take their tomen su tiempo. Conque seguí con lo wagon, as told to Moseley by his
20 time. So I went on with what I was que estaba haciendo, pensando en dejar assistant Albert, contains the
implicit contrast between the
doing, figuring to let Albert wait on que la atendiera Albert cuando se acer-
figuring: (Am. English) reasoning, ways of the town and the country.
judging her when he caught up at the fountain, cara al mostrador de los grifos**(24), Anse had remained oblivious to
caught up: finished working when he came back to me. cuando Albert se me acercó. the horrified reactions of the
the fountain: (Am. English) townspeople, being concerned
soda-fountain, a type of drink 25 “That woman,” he said. “You —Esa mujer —dijo—. Será mejor que only with telling them his story
dispenser better see what she wants.” vea usted lo que quiere. of how the stinking corpse had
travelled to Mottstown.
“What does she want?” I said. —¿Y qué quiere? —dije yo.
30 “I don’t know. I can’t get anything —No lo sé. No consigo sacarle nada.
out of her. You better wait on her.” Será mejor que la atienda usted.
So I went around the counter. I saw De modo que salí del mostrador.
that she was barefooted, standing with Vi que iba descalza y que estaba có-
35 her feet flat and easy on the floor, like moda así, como si estuviera acostum-
she was used to it. She was looking brada a ir descalza. Me miraba, in-
at me, hard, holding the package; I tensamente, agarrando el paquete;
saw she had about as black a pair me fijé en que tenía un par de ojos
of eyes as ever I saw, and she was negros como nunca jamás había vis-
40 a stranger. I never remembered to, y que era forastera. No recorda-
seeing her in Mottson before. ba haberla visto por Mottson antes.
“What can I do for you?” I said. —¿En qué puedo servirla? —dije.
Still she didn’t say anything. She Seguía sin decir nada. Me
45 stared at me without winking. Then m i r a b a s i n p e s t a ñ e a r. L u e g o
she looked back at the folks at the miró a los que estaban en el
fountain. Then she looked past me, mostrador. Luego miró al
toward the back of the store. fondo de la tienda.
50 “Do you want to look at some toilet —¿Desea algún artículo de tocador?
things?” I said. “Or is it medicine you —dije—. ¿O quiere usted algún medica-
want?” mento?
“That’s it,” she said. She looked —Eso es —dijo ella, y enseguida vol-
quick back at the fountain again. So
55 vió a mirar a los del [187] mostrador.
I thought maybe her ma or somebody Conque pensé que a lo mejor su madre u
had sent her in for some of this fe- otra persona la había mandado entrar a
dope: (col.) medicine, specifically male dope and she was ashamed to por uno de esos medicamentos para mu-
laudanum used to stop ask for it. I knew she couldn’t have jeres y le daba vengüenza pedirlo. Sabía
menstruation 60 a complexion like hers and use it her- que no podía tener un cutis como el que
self, let alone not being much more tenía y usarlo ella; aparte de que no era
than old enough to barely know what lo bastante mayor para saber para qué se
it was for. It’s a shame, the way they toman. Es una vergüenza cómo se enve-
poison themselves with it. But a nenan con esas cosas. Pero en esta co-
65 man’s got to stock it or go out of marca uno tiene que tenerlas o renunciar
business in this country. a hacer negocio.
liefer: (Am. col.) would rather “I’d liefer go back there,” she said. —Preferiría que fuéramos allí —dijo.
75
“All right,” I said. You have to —Muy bien —dije yo. Hay que seguirles
humour them. You save time by it. I la corriente. Se pierde menos tiempo. La
followed her to the back. She put her acompañé al fondo. Puso la mano en el pica-
102
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
hand on the gate. “There’s nothing porte de la puerta de atrás—. Ahí detrás sólo
back there but the prescription está la rebotica —dije yo—. ¿Qué desea?
case,” I said. “What do you want?” —Se detuvo y me miró. Era como
She stopped and looked at me. It was si se hubiera quitado un velo o algo
5 like she had taken some kind of a lid así de la cara, de los ojos. Especial-
off her face, her eyes. It was her eyes: mente de los ojos: unos ojos de tonta,
kind of dumb and hopeful and esperanzados y malhumoradamente
sullenly willing to be disappointed all dispuestos a sentirse decepcionados,
at the same time. But she was in t o d o a l t i e m p o . P e r o t e n í a algún
10 trouble of some sort; I could see that. problema; lo notaba—. ¿Qué le ocu-
“What’s your trouble?” I said. “Tell rre? —dije—. Dígame lo que quiere.
me what it is you want. I’m pretty Estoy muy ocupado —no intentaba
busy.” I wasn’t meaning to hurry her, meterle prisa, pero uno no tiene tan-
but a man just hasn’t got the time they to tiempo que perder como la gente
15 have out there. del campo.
“It’s the female trouble,” she said. —Es el mal de las mujeres —dijo.
“Oh,” I said. “Is that all?” I thought —Ah —dije yo—. ¿Sólo es eso? —
20 maybe she was younger than she pensé que a lo mejor era más joven de lo
looked, and her first one had scared que parecía y se había asustado con la
her, or maybe one had been a little primera, o puede que tuviera una regla
abnormal as it will in young women. algo anormal como les pasa a las jóve-
“Where’s your ‘ma?” I said. “Haven’t nes—. ¿Dónde está su madre? —dije—.
25 you got one?” ¿O no la tiene usted?
“She’s out yonder in the wagon,” she said. —Está allí, en la carreta —dijo.
“Why not talk to her about it ¿Por qué no habla con ella an-
30 before you take any medicine,” I tes de tomar ninguna medicina? —
said. “Any woman would have told le dije—. Cualquier mujer le pue-
you about it.” She looked at me, and de hablar de eso —me miró, y la
I looked at her again and said, “How volví a mirar y dije—: ¿Cuántos
old are you?” años tiene?
35
“Seventeen,” she said. —Diecisiete.
“Oh,” I said. “I thought maybe you —Ah —dije yo—. Creí que ten-
were . . .” She was watching me. But dría unos... —me miraba. Pero en
40 then, in the eyes all of them look like los ojos todas ellas parecen como
they had no age and knew everything si no tuvieran edad y supieran todo
in the world, anyhow. “Are you too lo que hay que saber en el mundo-
regular, or not regular enough?” ¿Es usted regular o no? [188]
45 She quit looking at me but she didn’t move. Dejó de mirarme, pero no se movió.
“Yes,” she said. “I reckon so. Yes.” —Sí —dijo—. Me parece que sí. Sí.
“Well, which?” I said. “Don’t you —¿En qué quedamos? —dije yo—.
know?” It’s a crime and a shame; but ¿O es que no lo sabe? —Es un crimen y
50 after all, they’ll buy it from una vergüenza; pero después de todo, al-
somebody. She stood there, not guien se las tiene que vender. Estaba allí
looking at me. “You want something quieta, sin mirarme—. ¿Quieres algo para
to stop it?” I said. “Is that it?” interrumpirlo? —dije—. ¿Es eso?
55 “No,” she said. “That’s it. It’s —No —dijo ella—. Eso es. Ya se me
already stopped.” ha interrumpido.
“Well, what——” Her face was —Bueno, pero qué... —había bajado
lowered a little, still, like they do in un poco la cara y seguía quieta como ha-
60 all their dealings with a man so he cen siempre que tratan con un hombre,
don’t ever know just where the de modo que éste nunca sepa dónde van
lightning will strike next. “You are a descargar el siguiente rayo—. ¿No está
not married, are you?” I said. usted casada, verdad? —dije.
65 “No.” —No.
“Oh,” I said. “And how long has it —Ah —dije yo—. ¿Y desde cuándo
been since it stopped? about five no lo tiene? ¿A lo mejor desde hace cin-
months maybe?” co meses, no?
70
“It ain’t been but two,” she said. —Nada más que dos —dijo ella.
103
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
licence. Was that all you wanted.?” de matrimonio. ¿Desea algo más?
But she just stood there, not look- Pero ella seguía allí quieta, sin
ing at me. mirarme.
5
“I got the money to pay you,” she said. —Tengo dinero para pagarle —dijo.
“Is it your own, or did he act enough —¿Es suyo o fue él lo bastante hom-
of a man to give you the money?” bre como para dárselo?
10
“He give it to me. Ten dollars. He —Me lo dio él. Diez dólares. Dijo que
said that would be enough.” sería bastante.
“He never said this drug-store,” I —No se refería a esta botica —dije
said. “If he did or mentioned my yo—. Si lo hizo o mencionó mi nombre,
name, I defy him to prove it. I defy le desafío a que lo demuestre. Le desafío
55 him to repeat it or I’ll prosecute him a que se atreva a repetirlo o a atenerse a
to the full extent of the law, and you todas las responsabilidades legales, pue-
can tell him so.” de usted decírselo.
“Then I don’t want to know it. Me, —En tal caso no quiero saberlo.
that’s——” Then I looked at her. But Eso es... —entonces la miré. Pero es
it’s a hard life they have; sometimes dura la vida que llevan; a veces un
65 a man . . . if there can ever be any hombre... si hubiera alguna excusa
excuse for sin, which it can’t be. And para el pecado, que no la hay. Y ade-
then, life wasn’t made to be easy on más la vida no está hecha para que les
folks: they wouldn’t ever have any resulte fácil: no tienen ningún motivo
reason to be good and die. “Look para ser buenos y esperar la muerte—
70 here,” I said. “You get that notion out . Mire —le dije—. Quítese esa idea de
of your head. The Lord gave you what la cabeza. El Señor le ha dado lo que
you have, even if He did use the tiene, aunque se haya servido del de-
devil to do it; you let Him take it monio para ello; deje que sea Él quien
away from you if it’s His will to do la libre de eso, si es Su voluntad que
75 so. You go on back to Lafe and you así sea. Conque vuelva usted con Lafe,
and him take that ten dollars and y usted y él cogen esos diez dólares y
get married with it.” se casan con ellos.
104
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Lafe said I could get something —Lafe dijo que en la botica me da-
at the drugstore,” she said. rían algo —dijo.
“Then go and get it,” I said. “You —Entonces vaya y que se lo den —
5 won’t get it here.” dije yo—. Aquí no lo va a conseguir.
It was Albert told me about the Fue Albert el que me contó el resto
15 rest of it. He said the wagon was de la historia. Me dijo que la carreta ha-
s t o p p e d i n f r o n t o f G r u m m e t ’s bía parado delante de la ferretería de
hardware store, with the Jadies all Grummet, y que las señoras salieron hu-
scattering up and down the street yendo por la calle con los pañuelos en
with handkerchief to their poses, and las narices, y que un grupo de hombres y
20 a trocad of hard-nosed men and boys muchachos de olfato menos delicado se
standing around the wagon, listening quedaron alrededor de la carreta, escu-
to the marshal arguing with the man. chando al comisario discutir con el hom-
He was a kind of tall, gaunted man bre. Era uno de esos hombres altos y fla-
sitting on the wagon, saying it was a cos que estaba sentado en la carreta y
25 public street and he reckoned he had decía que aquello era la vía pública y que
as much right there as anybody, and él tenía tanto derecho como cualquiera a
the marshal telling him he would estar allí, y el comisario le decía que te-
have to move on; folks couldn’t stand nía que irse; la gente no lo podía aguan-
it. It had been dead eight days, Albert tar. Debía de llevar ocho días muerta, me
30 said. They came from some place out dijo Albert. Venían de algún sitio del
in Yoknapatawpha county, trying to condado de Yoknapatawpha, y pretendían
get to Jefferson with it. It must have llegar a Jefferson con aquello. Era algo
been like a piece of rotten cheese así como un trozo de queso podrido caí-
coming into an ant-hill, in that do en un hormiguero y metido en aque-
35 ramshackle wagon that Albert said lla carreta tan destartalada que Albert
folks were scared would fall all to me dijo que la gente tenía miedo de que
pieces before they could get it out of se hiciera pedazos antes de salir del
town, with that home-made box and pueblo, con aquella caja de fabricación
another fellow with a broken leg casera y otro tipo con una pierna rota
40 lying on a quilt on top of it, and the tumbado en una manta encima de ella,
father and a little boy sitting on the y el padre y un niño sentados en el pes-
seat and the marshal trying to make cante y el comisario tratando de que se
them get out of town. fueran del pueblo.
45 “It’s a public street,” the man says. —Esto es la vía pública —dice el hom-
“I reckon we can stop to buy bre—. Para mí que podemos parar a com-
airy: (Am. col.) any something same as airy other man. We prar unas cosas como cualquier otra perso-
got the money to pay for hit, and hit na. Tenemos dinero para pagar, y no hay
ain’t airy law that says a man can’t ninguna ley que diga que un hombre no
50 spend his money where he wants.” pueda gastarse su dinero donde quiera.
105
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
washed out and they had to come otro tiro y que encontraron que el cami-
clean around by Mottson, and then no estaba inundado y tuvieron que dar
the one with the cement came otro rodeo por Mottson, y entonces el del
back atad told him to shut up. cemento volvió y le dijo que se callara.
5
“We’ll be gone in a minute,” he —Nos iremos dentro de un momento
told the marshal. —dijo al comisario.
“You take that fellow to a doctor,” the —Lleven a ese individuo a un médi-
marshal told the one with the cement. co —le dijo el comisario al del cemento.
“It ain’t that we’re hard-hearted,” —No es que tengamos mal corazón
the marshal said. “But I reckon you —dijo el comisario—. Pero tiene que
can tell yourself how it is.” hacerse cargo de la situación.
20
“Sho,” the other said. “We’ll take —Claro que sí —dijo el otro—. Nos
out soon as Dewey Dell comes back. iremos en cuanto vuelva Dewey Dell.
She went to deliver a package.” Fue a entregar un paquete.
25 So they stood there with the De modo que se quedaron allí con la
folks backed off with gente un poco apartada con los pañuelos
handkerchiefs to their faces, until en las narices, hasta que al rato apareció
in a minute the girl came up with la chica con el paquete envuelto en pa-
that newspaper package. pel de periódico.
30
“Come on,” the one with the —Vámonos —dijo el del cemento—,
cement said, “we’ve lost too much hemos perdido mucho tiempo.
time.” So they got in the wagon and Conque subieron a la carreta y
went on. And when I went to supper se fueron. Y cuando cenaba toda-
35 it still seemed like I could smell it. vía me parecía que olía aquello.
And the next day I met the marshal Y al día siguiente me encontré
and I began to sniff and said, con el comisario y olí y le dije:
46
50 DARL (15) DARL
“HERE’S a place,” pa says. He pulla —ESTE es buen sitio —dice padre. De-
the team up and sits looking at the house. tiene a las mulas y se queda sentado miran-
“We could get some water over do a la casa—. Podremos conseguir agua Darl (15)
55 yonder.” allí.
This section consists of Darl’s
unspoken and unverbalised
“All right,” I say. “You’ll have to borrow —Muy bien —digo yo—. Tendrás que
thoughts, as well as the words he
a bucket from them, Dewey Dell.” pedirles un cubo prestado, Dewey Dell. overhears and speaks, as the
family stop outside Mottstown to
60 “God knows,”’ pa says. “I wouldn’t —Bien lo sabe Dios —dice padre—. No make up the cement for Cash’s
be beholden, God knows.” me gusta deber favores, Dios bien lo sabe. leg. Just as they finish working on
the leg, Jewel reappears, having
been absent since taking his horse
“If you see a good-sized can, you —Si ves una lata de buen tamaño,
to the Snopes’.
might bring it,” I say. Dewey Dell podrías traerla —digo yo. Dewey Dell se
65 gets down from the wagon, carrying baja de la carreta, llevando el paquete—
the package. “You had more trouble . Has tenido más problemas de los que
than you expected, selling those esperabas para vender esos bollos en
cakes in Mottson,” I say. How do our Mottson —digo. Cómo se deshilachan
lives ravel out into the no-wind, nuestras vidas camino de allí donde no
70 no-sound, the weary gestures wearily hay viento ni sonido, los cansados ges- COMMENTARY: Here the
recapitulant: echoes of old tos que se repiten cansinamente: ecos de effect of the journey on Darl is
compulsions with no-hand on viejos acordes de instrumentos sin cuer- explored. In Moseley (1), the
no-strings: in sunset we fall into das tocados sin manos: al ponerse el sol unnamed Bundren who
furious attitudes, dead gestures of adoptamos furiosas actitudes, gestos apologised to the townspeople
must have been Darl, who is the
75 dolls. Cash broke his leg and now the muertos de marionetas. Cash se ha roto
only Bundren who seems to feel
sawdust is running out. He is la pierna y ahora el serrín sale. Se está the awfulness of the situation.
bleeding to death is Cash. desangrando, Cash se desangra. Here, at an unverbalised level, he
longs for extinction, ‘If you could
just ravel out roto time. That
106
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“I wouldn’t be beholden,” pa says. —No me gusta deber favores —dice would be nice’. He also, in the
“God knows.” padre—. Dios bien lo sabe. lines ‘How do our lives . . . death
is Cash’, sees the family as being
engaged in a meaningless ritual
“Then make some water yourself,” —Entonces haga agua usted mismo —digo which is related to the general
5 I say. “Wecan use Cash’s hat.” yo—. Podemos usar el sombrero de Cash. meaninglessness of life. The
emphasis in the image is on
When Dewey Dell comes back the Cuando vuelve Dewey Dell el repetition and on the lack of
man comes with her. Then he stops hombre viene con ella. Luego él se direction in human affairs. Men
are seen as puppets attached to
and she comes on and he stands there para y ella se acerca y él se queda
‘no-hand on no-strings’. It is as if
10 and after a while he goes back to the allí y al cabo de un rato vuelve a Darl had suddenly realised that
house and stands on the porch, la casa y se detiene en el porche, what he observes around him has
watching us. observándonos. no reality but is a species of
foolish play enacted by replicas
“We better not try to lift him down,” —Será mejor que no intentemos bajarle of men.
Until this moment, he has been
15 pa says. “We can fix it here.” —dice padre—. Podemos hacerlo aquí.
concerned with the gap between
words and experience, his
“Do you want to be lifted down, —¿Quieres que te bajemos, Cash? — inheritance from Addie. Now he
Cash?” I say. digo yo. sees experience itself as being
without any reason or substance,
20 “Won’t we get to Jefferson —¿No llegaremos a Jefferson ma- possibly in reaction against
experience which has become too
to-morrow?” he says. He is watching ñana? —dice él. Nos mira con sus
grotesque for him to cope with.
us, his eyes interrogatory, intent, and ojos interrogantes, intensos y tris- He therefore negates everything,
sad. “I can last it out.” tes—. Puedo aguantar. no-wind, no-sound, and imagines
that men move without knowing
25 “It’ll be easier on you,” pa says. —Te sentará bien —dice padre—. why, ‘echoes of old compulsions’.
“It’ll keep it from rubbing together.” Evitará que se rocen. It is a vision of the world which
is not merely negative but which
tries to deny that the world has
“I can last it,” Cash says. “We’ll —Puedo aguantar —dice Cash—. any substance at all. Such a belief
lose time stopping.” Perderemos tiempo parándonos. frees Darl to act without reference
30 to any idea of reality.
“We done bought the cement, —Ya hemos comprado el cemento —
now,” pa says. dice padre.
“You don’t want too much water, —No añadas demasiada agua o no fra-
or it won’t work right,” he says. guará bien —dice él. [193]
“Does that look all right?” —¿Te parece que está bien?
70 “Yes,” Cash says. “I could have —Sí —dice Cash—. Podía haber
lasted. It don’t bother me none.” aguantado. No me molesta en absoluto.
We loosen the splints and pour the Soltamos las tablillas y le echamos
cement over his leg, slow. lentamente el cemento sobre la pierna.
75
“Watch out for it,” Cash says. —Tened cuidado —dice Cash—, de
“Don’t get none on it if you can help.” que no caiga nada en la caja, si podéis.
107
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Yes,” I say. Dewey Dell tears a —Sí —digo yo. Dewey Dell
piece of paper from the package and arranca un trozo de papel del paque-
wipes the cement from the top of it te y seca el cemento de la tapa cuan-
as it drips from Cash’s leg. do gotea de la pierna de Cash.
5
“How does that feel?” —¿Cómo te sienta?
“It feels fine,” he says. “It’s cold. —Me sienta bien —dice—. Está frío.
It feels fine.” Me sienta bien.
10
“If it’ll just help you,” pa says. “I —Con tal de que te alivie —dice pa-
asks your forgiveness. I never forseen dre—.Tengo que pedirte perdón. Nunca
it no more than you.” lo hubiera previsto, como tú tampoco.
15 “It feels fine,” Cash says. —Me sienta bien —dice Cash.
We replace the splints, the cords, Volvemos a poner las tablillas, apre-
drawing them tight, the cement in thick tando fuerte las cuerdas. El cemento sur-
pale green slow surges among the ge en espesos grumos verde pálido entre
25 cords, Cash watching us quietly with las cuerdas. Cash nos observa en silencio
that profound questioning look. con esa profunda mirada interrogante.
Then we all turn on the wagon Entonces todos nos damos media vuel-
and watch him. He is coming up ta en la carreta y le observamos. Viene
the road behind us, camino arriba detrás de nosotros, con su
35 w o o d e n - b a c k e d , w o o d e n - f a c e d , espalda envarada, su cara de palo, mo-
moving only from his hips down. viéndose únicamente de cintura para abajo.
He comes up without a word, with Se acerca sin decir ni una palabra, con
his pale rigid eyes in his high sullen sus rígidos ojos claros en su larga cara
face, and gets into the wagon. sombría, y se sube a la carreta.
40
“ H e r e ’s a h i l l , ” p a s a y s . “ I —Otra cuesta —dice padre—. Para
reckon you’ll have to get out and mí que tendréis que bajaros y subir
walk.” andando. [194]
45 47
VARDAMAN (7) VARDAMAN
DARL and Jewel and Dewey Dell DARL y Jewel y Dewey Dell y yo
and I are walking up the hill behind vamos andando cuesta arriba, detrás
50 the wagon. Jewel came back. He de la carreta. Jewel volvió. Vino ca-
Vardaman (7)
came up the road and got into the mino arriba y se subió a la carreta.
wagon. He was walking. Jewel hasn’t Vino andando. Jewel ya no tiene ca- In this section Vardaman lists,
got a horse any more. Jewel is my ballo. Jewel es mi hermano. Cash es at an unspoken level, all the things
brother. Cash is my brother. Cash has mi hermano. Cash se ha roto una pier- which have meaning for him. His
55 a broken leg. We fixed Cash’s leg so na. Arreglamos la pierna de Cash para thoughts are short and consist
it doesn’t hurt. Cash is my brother. que no le doliese. Cash es mi herma- simply of factual observations of
his brothers’ actions, the
Jewel is my brother tool but he hasn’t no. Jewel también es mi hermano,
buzzards, the wagon, and of a
got a broken leg. pero no tiene una pierna rota. brief image of the train which he
hopes to get in Jefferson.
60 Now there are five of them, tall in Ahora hay cinco, haciendo circulitos
little tall black circles. negros arriba.
108
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
48
DARL (16) DARL
“JEWEL,” I say, “whose son are —JEWEL —digo—, ¿de quién eres
5 You?” hijo? Darl (16)
The breeze was setting up from the La brisa soplaba de la parte del gra- This section contains a mixture
barn, so we put her anden the apple nero, de modo que la pusimos debajo del of factual observations about the
dapple 1 to mark or become marked with spots condition of Cash’s foot and
or patches of a different colour; mottle
tree, where the moonlight can dapple manzano, donde la luna pueda salpicar el
questions directed at Jewel,
2 mottled or spotted markings Motear 10 the apple tree upon the long manzano sobre los largos costados me- designed to upset him. When Darl
3 a dappled horse, etc 1. Dícese del caballo
o yegua que tiene manchas, ordinariamente slumbering flanks within which now dio dormidos entre los cuales de vez en asks ‘who was your father, Jewel’,
redondas, más oscuras que el color general
de su pelo.. and then she talks in little trickling cuando ella cuenta secretos en leves es- he is goading his brother and
4 marked with dapples or spots. bursts of secret and murmurous tallidos irregulares y murmullos attempting to make Jewel face the
bubbling. I took Vardaman to listen. burbujeantes. Llevé a Vardaman a que los fact that he is different from the
rest of the family. The section also
15 When we came up the cat leaped down escuchara. Cuando llegamos el gato sal-
flick 1 a a light, sharp, quickly retracted blow
contains the information that
with a whip etc. b the sudden release of a
from it and flicked away with silver tó desde la caja y escapó con garras de Addie’s corpse is now so decayed
bent finger or thumb, esp. to propel a small claw and silver eye into the shadow. plata y ojos de plata hacia la sombra. that it is exhaling foul gases. Darl
object. 2 a sudden movement or jerk. 3 a
quick turn of the wrist in playing games, esp. takes Vardaman to listen to the
in throwing or striking a ball. 4 a slight, sharp noise of the gases being released,
sound. 5 Brit. colloq. a a cinema film. b (in “Your mother was a horse, but who —Tu madre era un caballo, pero
pl.; prec. by the) the cinema. 20 was your father, Jewel?” ¿quién era tu padre, Jewel? [195] encouraging him to imagine that
1 tr. (often foll. by away, off) strike or move with it is the noise of his mother
a flick (flicked the ash off his cigar; flicked
away the dust). 2 tr. give a flick with (a whip, talking, ‘now and then she talks
towel, etc.). 3 intr. make a flicking movement “You goddamn lying son of a —Eres un maldito hijo de puta men- in little trickling bursts of secret
or sound.
Dar un golpecito (interruptor), rozar (látigo), pa- bitch.” tiroso. and murmurous bubble’.
sar rápidamente (páginas), arrojar (colilla,
humo), sacar (lengua), apagar (luz)
25 “Don’t call me that,” I say. —No me llames eso —digo yo.
30 “Don’t you call me that, Jewel.” —No me llames eso, Jewel —ala ele-
In the tall moonlight his eyes look like vada luz de la luna sus ojos parecen tro-
spots of white papen pasted on a high zos de papel blanco pegados a un peque-
small football. ño balón de fútbol en lo alto.
“See if you can get come sleep,-’ —A ver si consigues dormir algo —
70 we say. decimos.
“Sho,” Cash says. “I’m right —Claro —dice Cash—. Os estoy muy
obliged. It feels fine now.” agradecido. Ahora me encuentro bien.
75 Jewel, I say, Who was your father, Jewel, digo yo, ¿quién era tu padre,
Jewel? Jewel?
109
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
49
VARDAMAN (8) VARDAMAN
SHE was under the apple tree and ELLA estaba bajo el manzano y
5 Darl and I go across the moon and Darl y yo cruzamos la luna y el gato Vardaman (8)
the cat jumps down and runs and we salta al suelo y corre y la podemos
can hear her inside the wood. oír dentro de la madera. This section records
Vardaman’s conversation with
Darl as they stand beside Addie’s
“Hear?” Darl says. “Put your —¿Oyes? —dice Darl—. Pega la
coffin. Darl tells Vardaman that
10 ear close.” oreja. Addie is asking God to help her
‘lay down her life’, a remark
I put my ear close and I can hear Pego la oreja y la oigo. Lo que pasa which the child does not
her. Only I can’t tell what she is es que no puedo entender lo que está di- understand. He thinks instead of
saying. ciendo. something that he does know, a
secret shared with Dewey Dell,
15
then he sees Cash and lies down
“What is she saying, Darl?” I say. —¿Qué está haciendo, Darl? —digo beside Dewey Dell to go to sleep.
“Who is she talking to?” yo—. ¿A quién le está hablando?
“What does she want Him to do?” —¿Y para qué quiere que la ayude?
I say. —digo yo.
25
“She wants Him to hide her away —Quiere que la aparte de la mirada
from the sight of man,” Darl says. de los hombres —dice Darl.
“Why does she want to hide her —¿Y por qué quiere que la aparte de
30 away from the sight of man, Darl?” la mirada de los hombres, Darl?
“So she can lay down her life,” —Así podrá entregar la vida —dice
Darl says. Darl.
35 “Why does she want to lay down —¿Y por qué quiere entregar la vida,
her life, Darl?” Darl?
“She’s turned over” I say. “She’s —Se ha dado la vuelta —digo yo—.
looking at me through the wood.” Me está mirando a través de la madera.
“How can she see through the —¿Y cómo puede ver a través de la
wood, Darl?” madera, Darl?
50 “Come,” Darl says. “We must let —Vámonos —dice Darl—. Debemos
her be quiet. Come.” dejar que esté tranquila. Vámonos.
“She can’t see out there, because —No puede ver lo de aquí fuera por-
the holes are in the top,” I say. “How que los agujeros están arriba —digo yo—
55 can she see, Darl?” . ¿Cómo puede ver, Darl?
“Let’s go see about Cash,” Darl —Vamos a ver cómo está Cash —dice
says. Darl.
60 And I saw something Dewy Dell Y vi una cosa que Dewey Dell me dijo
told me not to tell nobody. que no se la contase a nadie.
Cash is sick in his leg. We fixed Cash tiene la pierna mal. Esta tarde
his leg this afternoon, but he is sick se la entablillamos, pero vuelve a tener-
65 in it again, lying on the bed. We la mal, ahí tumbado en la cama. Le echa-
pour water on his leg and then he mos agua en la pierna y entonces se siente
feels fine. bien.
“I feel fine,” Cash says. “I’m —Me siento bien —dice Cash—. Os
70 obliged to you.” lo agradezco.
“Try to get some sleep,” we say. —Procura dormir un poco —le decimos.
“I feel fine,” Cash says. “I’m —Me siento bien —dice Cash—. Os
75 obliged to you.” lo agradezco.
And I saw something Dewey Dell Y vi una cosa que Dewey Dell me
told me not to tell nobody. It is not dijo que no se la contare a nadie. Y no
110
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
about pa and it is not about Cash and es sobre padre ni es sobre Cash ni es
it is not about Jewel and it is not about sobre Jew e l n i e s s o b re D e w e y
Dewey Dell and it is not about me. Dell ni es sobre mí
We lie on the pallet, with our legs Nos acostamos en el jergón, con las
in the moon. piernas en la luna.
20
“Look,” I say, “my legs look black. —Mira —digo—, mis piernas parecen
Your legs look black, too.” negras. Las tuyas parecen negras también.
Maybe Santa Claus won’t know A lo mejor Santa Claus no sabe que
45 they are town boys. son chicos de ciudad.
“What are they going to do, Dewey Dell?” —¿Qué van a hacer, Dewey Dell?
“I can smell her,” I say. “Can you —La huelo —dije yo—. ¿Las hueles
smell her, too?” tú también?
70
“Hush,” Dewey Dell says. “The —Cállate —dice Dewey Dell— Ha
wind’s changed. Go to sleep.” cambiado el viento. Duérmete.
111
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
to the barn, the moon shining flat and tras la luna brilla lisa y callada so-
quiet on her. Then they come back and bre ella. Luego vuelven y entran en
go into the house again. While they la casa otra vez. Mientras los ilu-
were in the moon, Mr. Gillespie’s minaba la luna, las piernas del chi-
5 boy’s legs fuzzed. And then I waited co de Mr. Gillespie tenían pelo. Y
and I said Dewey Dell? and then I luego esperé y dije: ¿Dewey Dell?
waited and then I went to find where —y luego esperé y luego fui a ave-
they stay at night and I saw something riguar dónde se posan de noche y
that Dewey Dell told me not to tell vi una cosa que Dewey Dell me dijo
10 nobody. que no se la contase a nadie.
50
DARL (17) DARL
112
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
flings its head about, lifting Jewel culos se agarrotan y se mueven cuando tragedy, it is possible that here,
clear of the ground. He drags it on, agita la cabeza, levantando a Jewel ma- as in Whitfield (1), Faulkner is
making a wry and ironic
slowly, terrifically; again he gives terialmente del suelo. Este tira de él, len-
comment on the nature of
me across his shoulder a single glare tamente, tremendamente; vuelve a lanzar- prophecy.
brief 1 (de duración) breve, momentáneo a 5 furious and brief. Even when they me por encima del hombro una mirada
brief rest, un breve descanso 2 (de tama- wry adj.1 distorted or turned to one side. 2 (of a face
ño) conciso, lacónico, muy corto, in brief, are clear of the barn the horse furiosa y breve. Aunque ya han salido or smile etc.) contorted in disgust (abhorrence),
en resumen continues to fight and lash backward del granero el caballo continúa resistién- disappointment, or mockery. 3 (of humour) dry and
1 (noticia) informe, sumario, resumen 2 mocking.
Jur escrito 3 briefs pl, (de hombre) cal- toward the doorway until Gillespie dose y trata de recular hacia la puerta Torcido, pervertido, raro, irónico, forzado, agria,
zoncillos (de mujer) bragas amarga (of a face or smile etc.) contorted in
1 (dar información) informar, despachar 2 passes me, stark naked, his hasta que Gillespie me adelanta, total- disgust, disappointment, or mockery. 3 (of humour)
Mil Jur informar a dry and mocking. Astuto, sagaz, ladino, taimado.
10 nightshirt wrapped about the mule’s mente desnudo, su camisón envolviendo de reojo [1. fr. Mirar disimuladamente dirigiendo la
head, and beats the maddened horse la cabeza de la mula y aparta a palos al vista por encima del hombro, o hacia un lado y
sin volver la cabeza. 2. fig. Mirar con prevención
on out of the door. enloquecido caballo de la puerta. hostil o enfado]
75 Jewel turns back into the barn. Jewel vuelve a entrar en el granero.
“Here,” I say; “Jewel!” I grasp at —Oye —digo—. ¡Jewe1! —e inten-
him; he strikes my hand down. to agarrarle, pero él me aparta la mano
“You fool,” I say, “don’t you see de un golpe—. Estás loco —le digo—,
113
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
you can’t make it back yonder?” ¿no ves que no conseguirás llegar ahí
The hall-way looks like a search- atrás? —la puerta parece como un re-
light turned into rain. “Come on,” flector iluminando la lluvia—. Ven —
I say, “around this way.” le digo—, por aquí.
5
When we are through the Cuando salimos por el boquete echa
g a p h e b e g i n s t o r u n s. a correr.
“Jewel,” I say, running. He darts Jewel —le digo, corriendo también.
around the corner. When I reach it Dobla la esquina. Cuando llego a ella él
10 he has almost reached the next one, casi ha alcanzado la otra, corriendo so-
running against the glare like that bre el resplandor como aquella figura
figure cut from tin. Pa and Gillespie recortada de hojalata. Padre y Gillespie
and Mack are some distance away, y Mack están un poco más lejos mirando
watching the barn, pink against the el granero, enrojecidos sobre la oscuri-
15 darkness where for the time the dad donde por el momento la luz de la
moonlight has been vanquished. luna ha sido vencida—. ¡Cojedle! —gri-
“Catch him!” I cry; “stop him!” to—; ¡detenedle! [201]
114
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
51
VARDAMAN (9) VARDAMAN
WHEN I went to find where they Cuando fui a ver dónde se posan por
5 stay at night, I saw something. la noche, vi una cosa.
Th e y s a i d , “ W h e r e i s D a r l ? —¿Dónde está Darl? —decían—. Vardaman (9)
Where did Darl go?” ¿Adónde ha ido Darl?
In this section, Vardaman ob-
serves what happens after the fire.
They carried her back under the La volvieron a llevar bajo el
Vardaman finds Darl standing
10 apple tree. manzano. beside Addie’s coffin, crying. He
tries to comfort him, saying Addie
The barn was still red, but it wasn’t El granero todavía estaba rojo pero ya has been saved by Jewel, so Darl
a barn now. It was sunk down, and no era un granero. Se había hundido y el need not cry.
the red went swirling up. The barn rojo subía en remolinos. El granero su-
15 went swirling up in little red pieces, bía en remolinos de trocitos rojos sobre
against the sky and the stars so that el cielo y las estrellas de modo que las
the stars moved backward. estrellas retrocedían.
And then Cash was still awake. He Y entonces Cash seguía despierto.
20 turned his head from side to side, with Volvió la cabeza a uno y otro lado con
sweat on his face. sudor en la cara.
COMMENTARY: Through
“Do you want some more water on —¿Quieres que te eche un poco de agua Vardaman’s unsophisticated eyes,
it, Cash?” Dewey Dell said. encima, Cash? —le dijo Dewey Dell. the reader is given a vivid
25 impression of the suffering of
Cash’s leg and foot turned black. La pierna y el pie de Cash se pusieron various members of the family.
Cash’s foot is black, presumably
We held the lamp and looked at negros. Levantamos el farol y miramos
gangrenous, and Jewel’s back is
Cash’s foot and leg where it was el pie y la pierna de Cash por donde es- also black after Dewey Dell puts
black. taban negros. the ointment of soot on it. These
30 are the obvious and outward signs
“Your foot looks like a nigger’s —Tu pie parece el de un negro, Cash of the decay which is infecting not
foot, Cash,” I said. —dije yo. only Addie but also her family.
When Vardaman finds Darl
crying there is no explanation for
“I reckon we’ll have to bust it —Para mí que se lo tendremos que his tears. Vardaman assumes that
35 off,” pa said. quitar —dijo padre. he is upset about Addie’s near-
destruction but it is equally
“What in the tarnation you put it —¿Por qué demonios le han pues- possible that Darl is upset by the
tarnation: (Am. col.) damnation on there for?” Mr. Gillespie said. to eso? —dijo Mr. Gillespie. failure of his scheme to get rid of
his mother’s burdensome corpse.
Although Vardaman records
40 “I thought it would steady it some,” —Creí que se la sujetaría —dijo pa- experience very directly, without
pa said. “I just aimed to help hin.” dre—. Sólo pretendía ayudarle. any of the profound and poetic
images which haunt Darl, his
They got the flat iron and the Trajeron un escoplo y un martillo. section is not without a certain
hammer. Dewey Dell held the lamp. Dewey Dell sostenía el farol. Tuvieron beauty. He is attracted by the red
of the barn, and remembers it as
45 They had to hit it hard. And then Cash que pegar con fuerza. Y luego Cash se
‘swirling, making the stars run
went to sleep. durmió. backwards without falling’. Such
beauty, he says, ‘made my head
“He’s asleep now,” I said. “It can’t —Se ha dormido —dije yo—. Mien- hurt like the train did’. This, in
hurt him while he’s asleep.” tras duerma no le dolerá. simple, childish language, is an
50 expression of an aesthetic
response, being deeply touched
It just cracked. It wouldn’t come Aquello sólo se agrietaba. Pero no se
by beauty. Vardaman also notices
off. soltaba. that the little patches of moonlight
which remain still on the coffin
“It’ll take the hide, too,” Mr. —Vamos a llevarnos la piel también move up and down on Darl; in
the hide: (col.) the skin 55 Gillespie said. “Why in the —dijo Mr. Gillespie—. ¿Por qué demo- other words, Darl is shaking with
tarnation you put it on there? nios le han puesto eso? ¿Es que a ningu- grief and so causing the
moonlight to appear to move on
D i d n ’t no n e o f y o u t h i n k t o no se le ocurrió ponerle un poco de gra-
his body. In this and other sections
grease his leg first?” sa en la pierna primero? of Vardaman’s Faulkner shows
that a direct and untutored
60 “I just aimed to help him,” pa said. —Sólo pretendía ayudarle —dijo pa- response to the world is not
“It was Darl put it on.” dre—. Fue Darl quien se lo puso. necessarily a response devoid of
wonder or a sense of beauty.
“Where is Darl?” they said. —¿Dónde está Darl? —dijeron. [203]
65 “Didn’t none of you have more —¿Es que ninguno tiene el menor sen-
sense than that?” Mr. Gillespie said. tido común? —dijo Mr. Gillespie—. Creí
“I’d ‘a’ thought he would, anyway.” que él, por lo menos, sí lo tendría.
Jewel was lying on his face. His Jewel estaba tumbado boca abajo. Tenía
70 back was red. Dewey Dell put the la espalda roja. Dewey Dell le puso medici-
medicine on it. The medicine was made na. La medicina estaba hecha de mantequi-
out of butter and soot, to draw out the lla y hollín, para quitarle las quemaduras.
fire. Then his back was black. Luego ya tenía la espalda negra.
75 “Does it hurt, Jewel?” I said. —¿Te duele, Jewel? —dije yo—. Tienes
“Your back looks like a nigger’s, una espalda que parece la de un negro, Jewel
Jewel,” I said. Cash’s foot and leg —dije. El pie y la pierna de Cash parecen
looked like a nigger’s. Then they los de un negro. Entonces lo rompieron. La
115
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
He is out there under the apple Está ahí fuera, debajo del manzano,
10 tree with her, lying on her. He is con ella, tumbado encima de ella. Está allí
there so the cat won’t come back. I said, para que el gato no se vuelva a subir. Dije:
“Are y o u g o i n g t o k e e p t h e c a t —¿Vas a quedarte ahí para espantar
a w a y, D a r l ? ” al gato, Darl?
dapple 1 tr. mark with spots or rounded 15 The moonlight dappled on him La luz de luna también le salpicaba a
patches of colour or shade. 2 intr. become
marked in this way. too. Can her it was still, but on él. Sobre ella caía tranquila, pero sobre Darl
1 a dappled effect. 2 a dappled animal,
esp. a horse. Darl it dappled up and down. formaba motas que subían y bajaban.
dappled moteado
“You needn’t to cry,” I said. “Jewel —No tienes que llorar —dije—. Jewel
20 got her out. You needn’t to cry, Darl.” la sacó afuera. No tienes que llorar, Darl.
The barn is still red. It used to be El granero todavía está rojo. Antes
redder than this. Then it went estaba más rojo. Luego fue subiendo en
swirling, making the stars run torbellinos haciendo que las estrellas
25 backward without falling. It hurt my retrocedieran sin llegar a caer. Me duele
heart like the train did. el corazón como cuando el tren.
When I went to find where thy stay at Cuando fui a ver dónde reposan por
night, I saw something that Dewy Dell la noche, vi una cosa que Dewey Dell me
30 says I mustn’t never tell nobody. dice que no debo contar a nadie [204]
52
DARL (18) DARL
35 WE have been passing the signs for LLEVAMOS ya algún tiempo dejan-
some time now: the drug-stores, the do atrás los anuncios: de las boticas, de
patent medicine: medicine available clothing stores, the patent medicine las tiendas de ropa, de medicinas
without consulting a doctor and the garages and cafés, and the patentadas (25) y de los garajes y cafés, y Darl (18)
mile-boards diminishing, becoming los indicadores, en cantidad decreciente,
re-accruent: (neologism) recurrent This section contains Darl’s
40 more starkly re-accruent: 3 mi. 2 mi. cada vez más escuetamente reiterativos: unspoken and unverbalised
stark 1 desolate, bare (a stark landscape). 2
sharply evident (in stark contrast). 3 From the crest of a hill, as we get into 5 km, 3 km. Al coronar una cuesta nos thoughts, together with the words
downright, sheer (stark madness). 4
completely naked. the wagon again, we can see the smoke subimos de nuevo a la carreta y vemos el he speaks and overhears as the
completely, wholly (stark mad; stark naked). family finally enter the outskirts
low and flat, seemingly unmoving in humo bajo y plano que parece inmóvil
unwinded: (neologism) windless the unwinded afternoon. en la tarde sin viento. of Jefferson. As the wagon
descends towards the town it has
45
to pass through the negro quarter.
“Is that it, Darl?” Vardaman says. —¿Es eso, Darl? —dice Vardaman— Jewel is enraged by the comments
“Is that Jefferson?” He too has lost ¿Es eso Jefferson? —él también ha adel- on the smell from the wagon and
flesh; like ours, his face has an gazado; como las nuestras, su cara tiene tríes to attack an innocent white
expression strained, dreamy, and una expresión de fatiga, de irrealidad, de by-stander. Darl prevents the
50 gaunt. desvaimiento. fight, gets Jewel to apologise but
saves his honour for him. They
then go on into the town, where
“Yes,” I say. He lifts his head —Sí —digo. people turn appalled at the smell.
a n d l o o k s a t t h e s k y. H i g h Levanta la cabeza y mira al cielo. After a brief stop, they mount the
against it they hang in narrowing Arriba, sobre él, se ciernen en círculos wagon again and, with Jewel
55 circles, like the smoke, with an poco amplios, como el humo, con una balanced on the wheel, they set
outward semblance of form and apariencia externa de forma e inten- off again.
purpose, but with no inference ción, aunque sin ninguna implicación
inference: suggestion
of motion, progress or retro- de movimiento, avance o retroceso.
jagged adj. 1 with an unevenly cut or torn edge. g r a d e . We m o u n t t h e w a g o n Volvemos a subirnos a la carreta don-
2 deeply indented; with sharp points.
Lacerated irregularly. Dentado, mellado, raí- 60 a g a i n w h e r e C a s h l i e s o n t h e de Cash sigue tumbado encima de la caja
do, rasgado, irregular,
box, the jagged shards of ce- con agudas esquirlas de cemento pega- COMMENTARY: Darl
shards: broken pieces ment cracked abou t h i s l e g . T h e das todavía a su pierna. Las escuálidas emerges from this section as
someone with an unexpected
shabby mules droop rattling and mulas se dejan caer rechinando y
ability to act when it is necessary.
c l a n k i ng down the hill. golpeteando colina abajo. He acted when he tried to burn
65 the barn, here he acts to prevent
“We’ll have to take him to the —Tendremos que llevarle al médico — Jewel from knifing a man. Yet his
doctor,” pa says. “I reckon it ain’t dice padre—. Para mí que no habrá otro customary pose is that of the
no way around it.” The back of remedio —la camisa de Jewel se va lle- uninvolved observer who has
difficulty maintaining a sense of
Jewel’s shirt, where it touches him, nando de manchas negras de grasa en los
his own reality. This apparent
70 stains slow and black with grease. puntos donde le toca la espalda. La vida contradiction in Darl’s nature can
Life was created in the valleys. It fue creada en los valles. Subió violenta- be traced back to Addie’s state of
blew up on to the hills on the old mente a las colinas empujada por los vie- mind at the time of his conception
terrors, the old lusts, the old jos terrores, las viejas lascivias, las viejas and birth, the disparity between
despairs. That’s why you must walk desesperaciones. Por eso hay que subir las words and deeds which has
become a part of Darl, enabling
75 up the hills so you can ride down. colinas a pie para poder bajarlas montados.
him to act decisively but making
him lost and unsure when he
Dewey Dell sits on the seat, the Dewey Dell sigue en el asiento con el enters the realms of abstract
newspaper package on her lap. When paquete envuelto [205] en periódicos en thoughts.
His thoughts, as they approach
116
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
we reach the foot of the hill where el regazo. Cuando llegamos al final de la the town, follow the same pattern
the road flattens between close walls colina, allí donde el camino se hace lla- as his thoughts throughout the
book. He sees the buzzards as an
of trees, she begins to look about qui- no entre dos cercanas paredes de árbo-
emblem of the apparently
etly from one side of the road to the les, se pone a mirar tranquilamente a uno unending and senseless journey,
5 other. At last she says, y otro lado del camino. Por fin, dice: ‘with an outward semblance of
form and purpose, but with no
“I got to stop.” —Tengo que parar. inference of motion, progress or
retrograde’. As the wagon goes
over the hills towards the town,
Pa looks at her, his shabby profile Padre la mira y su mísero
Darl thinks that ‘Life was created
anticipant: expectant 10 that of anticipant and disgruntled perfil expresa un enfado antici- in the valleys. It blew up on to the
annoyance. He does not check the team. pado. No detiene a las mulas. hills on the old terrors, the old
“What for?” —¿Para qué? lusts, the old despairs’. This
image relates back to Darl’s
“I got to go to the bushes,” Dewey —Tengo que ir a un matorral —dice vision of the valley between
Dewey Dell’s legs as the centre
15 Dell says. Dewey Dell.
of all creation. The family’s
descent into the town is a species
Pa does not check the team. Padre sigue sin detener las mulas. of pilgrimage back to the
“Can’t you wait till we —¿No puedes esperar hasta que lle- beginnings of its own creation,
get to town? It ain’t over guemos a la ciudad? Ya sólo quedan me- the place where Anse and Addie
20 a m i l e n o w . ” nos de dos kilómetros. met. But his reflections are not
simply related to the family. They
extend to all mankind, whose life
“Stop,” Dewey Dell says. “I got to —Pare —dice Dewey Dell—. Tengo was created out of terror, lust and
go to the bushes.” que ir a un matorral. despair, the kinds of unworthy
motives which recall the lack of
25 Pa stops in the middle of the road Padre se detiene en medio del camino direction of ‘no-hand on no-
and we watch Dewey Dell descend, y miramos cómo Dewey Dell empieza a strings’.
carrying the package. She does not bajar, llevando el paquete. No vuelve la
look back. cabeza.
30 “Why not leave your cakes here?” —¿Por qué no dejas los bollos aquí?
I say. “We’ll watch them.” —digo yo—. Los vigilaremos nosotros.
She descends steadily, not looking at us. Se baja decidida, sin mirarnos.
35 “How would she know where to go —¿Cómo iba a saber adónde ir si es-
to if she waited till we get to town?” peramos hasta llegar a la ciudad? —dice
Vardaman says. “Where would you go Vardaman—. ¿A que no sabrías adónde
to do it in town, Dewey Dell?” ir en la ciudad, Dewey Dell?
40 She lifts the pack-age down and Baja el paquete y da media vuel-
turns and disappears among the trees ta y desaparece entre los árboles y
and undergrowth. la maleza.
“Why didn’t you?” I say. “You —¿Por qué no lo hizo? —digo yo—.
could have telephoned.” Podría haber llamado por teléfono.
55
“What for?” Jewel says. “Who the —¿Y para qué? —dice Jewel—. ¿Es que
hell can’t dig a hole in the ground?” no podemos cavar un agujero en el suelo?
“How far is it now, Darl?” he says. —¿Y ahora cuánto nos queda, Darl? —dice.
75 “Who the hell can’t dig a damn —¿Es que no podemos cavar un mal-
hole in the ground?” Jewel says. dito agujero en el suelo? —dice Jewel.
“It ain’t respectful, talking that —No hay que ser tan poco respetuo-
117
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
way about her grave,” pa says. so y hablar así de su tumba —dice pa-
“You all dont know what it is. You dre—. Ninguno sabéis lo que es eso. No
never pure loved her, none of you.” la habéis querido de verdad, ninguno de
Jewel does not answer. He sits a vosotros—. Jewel no contesta. Está sen-
5 little stiffly erect, his body arched tado un poco tieso, con el cuerpo evitan-
away from his shirt. His do el contacto con la camisa. Y la man-
prominente, sobresale highcoloured jaw juts. díbula de vivos colores muy levantada.
15 “I thought I told you to leave them —Creí haberte dicho que dejaras to-
clothes to home,” pa says. She does dos esos trapos en casa —dice padre.
not answer, she does not look at us. Ella no contesta, no nos mira. Pone el
She sits the package in the wagon and paquete en la carreta y se instala. La
gets in. The wagon moves on. carreta se pone en marcha.
20
“How many more hills now, —¿Cuántas cuestas quedan, Darl? —
Darl?” Vardaman says. dice Vardaman.
“Just one,” I say. “The next one —Sólo una —digo yo—. La siguien-
25 goes right up into town.” te termina en la ciudad.
This hill is red sand, bordered on Esta colina es de arena roja, bor-
either hand by negro cabins; against deada de cabañas de negros; contra
the sky ahead the massed telephone el cielo, enfrente, corren los cables
30 lines run, and the clock on the del teléfono, y el reloj del juzgado
courthouse lifts among the trees. In se eleva entre los árboles. Las rue-
the sand the wheels whisper, as das susurran en la arena, como si la
though the very earth would hush our tierra misma quisiera ensordecer
entry. We descend as the hill nuestra llegada. Nos bajamos don-
35 commences to rise. de empieza la cuesta.
“Hold up, mister” I say; “I’ve got —Espere, señor —digo yo—. Ya le
118
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Thinks because he’s a goddam —Cree ese jodido que porque vive
town fellow,” Jewel says, panting, en la ciudad... —dice Jewel, jadeando,
5 wrenching at me. “Son of a bitch,” tratando de soltarse—. Hijo de puta —
he says. dice.
20 “Fire or no fire,” the man says, —Con incendio o sin incendio —dice el
“can’t no man call me that.” hombre—, no hay hombre que me llame eso.
“He thought you said something to —Pensó que usted le había dicho algo
him,” I say. —digo yo.
25
“I never said nothing to him. I —No le he dicho nada. Es la primera
never see him before.” vez que lo veo.
“I know,” I say. “He never meant —Estoy seguro —digo yo—, de que no
anything, He’ll take it back.” quería molestarle. Retirará lo dicho. [208]
“I thought he said something,” Jewel —Creí que había dicho algo —dice
says. “Just because he’s——” Jewel—. Sólo porque viva...
55 “Hush,” I say. “Tell him you didn’t —Cállate —le digo—. Dile que no le
mean it.” querías molestar.
“I didn’t mean it,” Jewel says. —No quería molestarle —dice Jewel.
60 “He better not,” the man says. —Mejor para él —dice el hombre—.
“Calling me a——” Llamarme...
“Do you think he’s afraid to call —¿Cree que le da miedo llamárselo?
you that?” I say. —digo yo.
65
The man looks at me. “I never said El hombre me mira.
that,” he said. —Yo no he dicho eso —dice.
“Shut up,” I say. “Come on. Drive —Cállate —digo yo—. Ven aquí. En
on, pa.” marcha, padre.
119
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
120
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
60 Pa was looking at me, then at him, Padre me está mirando, luego le mira
mumbling his mouth. a él, murmurando.
“Go on,” I said. “We’ll get it done —Siga —dije yo—. Acabemos con
first.” esto primero.
65
“She would want us all there,” pa —Ella nos querría a todos allí —dice
says. padre.
“You all don’t know,” pa says. —No sabéis nada —dice padre—
“The somebody you was young with . La persona con la que uno ha pa-
75 and you growed old in her and she sado la juventud y se ha hecho vie-
growed old in you, seeing the old jo, la persona que ha envejecido con
coming on and it was the one uno y viendo venir la vejez le ha
somebody you could hear say it don’t dicho a uno que no importa, y uno
121
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
matter and know it was the truth outen se da cuenta de que esa es la verdad
the hard world and all a man’s grief en este mundo cruel lleno de sufri-
and trials. You all don’t know.” mientos y dolor. No sabéis nada.
5 “We got the digging to do, too, ” —Además tenemos que cavar la
I said. fosa... —dije yo.
“Go on,” I said. “It feels right —Sigamos —dije yo—. Ahora me
easy now. It’s best to get things encuentro bastante bien. Es mejor hacer
15 done in the right place.” cada cosa a su debido tiempo.
“Go on and get a spade,” Jewel —Venga, vamos por la pala —dijo
said. “Here, give me the money.” Jewel—. A ver. Deme el dinero.
30
B u t p a d i d n ’t s t o p . “ I r e c k o n Pero padre no detuvo la carreta.
we can get a spade,” he said. —Para mí que nos prestarán una pala —dijo—
“I r e c k o n t h e r e a r e C h r i s t i a n s . Para mí que aquí todavía quedan cristianos.
h er e.” So Darl set still and we went Conque Darl siguió sentado y conti-
35 on, with Jewel squatting on the tail nuamos, con Jewel en cuclillas en la
Bate, watching the back of Darl’s head. parte trasera de la carreta mirando la
He looked like one of these bulldogs, nuca de Darl. Parecía uno de esos
one of these dogs that don’t bark none, bulldogs, uno de esos perros que nun-
squatting against the rope, watching the ca ladran, encogido y vigilando la pre-
40 thing he was waiting to jump at. sa sobre la que esperan saltar.
He set that way all the time we was Se quedó así todo el rato que estu-
in front of Mrs. Bundren’s house, vimos delante de casa de Mrs. Bundren,
hearing the music, watching the back oyendo la música, contemplando la
45 of Darl’s head with them hard white nuca de Darl con esos ojos blancos y
eyes of hisn. duros suyos.
“No,” I said. It was better to get —No —dije yo. Era mejor ente-
her underground, now we was this rrarla, ahora que estábamos tan cerca
60 close, just waiting until pa borrowed y esperábamos que le prestaran la pala
the shovel. He drove along the street a padre. Había seguido la calle hasta
until we could hear the music. donde sonaba la música.
122
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“You want Jewel to go,” Darl says, —¿Quiere que vaya Jewe1 o prefiere
“or do you reckon I better?” que sea yo? —dice Darl.
Only it was more than ten minutes. Sólo que fueron más de diez minutos.
The music stopped and never La música paró de nuevo y no volvió a
20 commenced again for a good spell, sonar durante un buen rato, mientras,
where her and pa was talking at the padre y ella hablaban en la parte de atrás.
back. We waited in the wagon. Nosotros esperábamos en la carreta.
“You let me take you back to —Déjame que te lleve a que te vea
25 Peabody’s,” Darl said. Peabody —dijo Darl.
30 “If he ever gets back,” Jewel said. —Si es que vuelve —dijo Jewel. Ha-
He began to cuss. He started to get bía empezado a soltar maldiciones. Se
down from the wagon. “I’m going,” dispuso a bajar de la carreta—. Voy allá
he said. —dijo.
45 But the curiousest thing was Pero lo más curioso fue Dewey Dell.
Dewey Dell. It surprised me. I see Aquello me sorprendió. Comprendo que
all the while how folks could say he toda la gente dijera que él era un tipo
was queer, but that was the very raro, y que a la vez nadie tomara como
reason couldn’t nobody hold it cuestión personal lo que hacía, por eso
50 personal. It was like he was outside mismo. Era también como si estuviera
of it too, same as you, and getting ausente de todo, lo mismo que tú, de
mad as it would be kind of like modo que enfadarse con él hubiera sido
getting mad at a mudpuddle that un poco como enfadarse con un charco
splashed you when you stepped in it. que al pisarlo te salpicara. Y además
55 And then I always kind of had a idea siempre me ha dado un poco la impre-
that him and Dewey Dell kind of sión de que él y Dewey Dell sabían co-
knowed things betwixt them. If I’d municarse sin palabras. Si tuviera que
‘a’ said it was ere a one of us she decir cuál de nosotros era el preferido de
liked better than ere a other, I’d ‘a’ Dewey Dell, diría que Darl. Pero cuando
60 said it was Darl. But when we got it la terminamos de llenar y la cubrimos y
filled and covered and drove out the nos dirigimos a la puerta de la cerca y
gate and turned into the lane where llegamos al sendero donde nos espera-
them fellows was waiting, when they ban aquellos individuos, y se adelanta-
come out and come on him and he ron y se le acercaron y él dio un salto
65 jerked back, it was Dewey Dell that atrás, fue Dewey Dell la que le agarró
was on him before even Jewel could incluso antes de que Jewel pudiera echar-
get at him. And then I believed I le mano. Y entonces creí saber cómo se
knowed how Gillespie knowed about había enterado Gillespie de quién había
how his barn taken fire. prendido fuego a su granero.
70
She hadn’t said a word, hadn’t Ella no dijo nada, ni siquiera lo
even looked at him, but when them miró, pero cuando aquellos tipos le di-
fellows told him what they wanted jeron lo que querían y que habían ve-
and that they had come to get him and nido a por él y él retrocedió, se echó
75 he throwed back, she jumped on him sobre él como una gata salvaje de modo
like a wild cat so that one of the que uno de los tipos tuvo que dejarle a
fellows had to quit and hold her and él y sujetarla para que no le arañase y
her scratching and clawing at him like le tirase zarpazos como una gata salva-
123
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
a wild cat, while the other one and pa je, mientras el otro y padre y Jewel de-
and Jewel throwed Darl down and rribaban a Darl y le mantenían sujeto
held him lying on his back, looking de espaldas al suelo, desde donde me
up at me. miraba.
5
“I thought you would have told —Creí que me avisarías —
me,” he said. “I never thought you dijo él—. Nunca pensé que no
wouldn’t have.” me avisarías.
It was bad so. It was bad. A fellow Fue muy desagradable. Fue desagra-
can’t get away from a shoddy job. He dable. Uno no puede escapar de una cha-
20 can’t do it. I tried to tell him, but he puza. El tampoco. Traté de explicárselo,
just said, “I thought you’d ‘a’ told me. pero sólo dijo:
It’s not that I,” he said, then he began —Creí que me avisarías. No es que
to laugh. The other fellow pulled yo... —dijo, luego se echó a reír. El otro
Jewel off of him and he sat there on tipo apartó a Jewel y él se quedó sentado
25 the ground, laughing. en el suelo, riéndose.
“Do you want me to go?” he said. —¿Quieres que vaya con ellos? —dijo.
60 54
PEABODY (2) PEABODY
I SAID, DIJE:
“I reckon a man in a tight might —Supongo que cualquiera en un apu-
65 let Bill Varner patch him up like ro dejaría que Bill Varner le recompu- Peabody (2)
a damn mule, but I be damned if siera como a una maldita mula, pero que
the man that’d let Anse Bundren me maten si el que permite que Anse This section consists Of the
t r e a t h i m w i t h r a w c e m e n t a i n ’t Bundren le cure con cemento no es por- words Peabody speaks to Cash
when he is eventually brought to
got more spare legs than I que tiene más piernas de repuesto de las
him for treatment and of his
70 h a v e . ” que tengo yo. unspoken thoughts about Anse.
“They just aimed to ease hit some,” —Sólo querían aliviármela un poco —
he said. dijo él.
124
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Don’t you lie there and try to tell —No mientas tratando de convencer-
me you rode six days on a wagon me de que has [215] pasado seis días**27
without springs, with a broken leg and en una carreta sin ballestas con una pier-
10 it never bothered you.” na rota y que no te ha molestado nada.
“You mean, it never bothered Anse —Querrás decir que a Anse nunca le
15 much,” I said. “No more than it molestó mucho —dije yo—. No más de
bothered him to throw that poor devil lo que le molestó cuando tiró a ese pobre
down in the public street and handcuff diablo en mitad de la calle para que lo
him like a damn murderer. Don’t tell esposaran como si fuera un maldito ase-
me. And don’t tell me it ain’t going sino. No me digas. Y no me digas que no
20 to bother you to lose sixty-odd square te va a molestar que te arranquen casi
inches of skin to get that concrete off. medio metro cuadrado de piel para qui-
And don’t tell me it ain’t going to tar el cemento. Y tampoco me digas que
bother you to have to limp around on no te molesta tener que andar cojeando
one short leg for the balance of your el resto de tu vida con una pierna más
25 life—if you walk at all again. corta... si es que puedes volver a andar.
Concrete,” I said. “God Amighty, Cemento —dije—. Dios todopoderoso,
why didn’t Anse carry you to the ¿por qué no te llevó Anse al aserradero
nearest sawmill and stick your leg in más cercano para que te cortaran la pier-
the saw? That would have cured it. na? Eso la hubiera curado. Luego podías
30 Then you all could have stock his haber conseguido que le metieran la ca-
head into the saw and cured a whole beza en la sierra a él y así se hubiera cu-
family. .: . Where is Anse, anyway? rado toda la familia... Y a todo esto, ¿qué
What’s he up to now?” es de Anse? ¿Qué anda haciendo ahora?
35 “He’s takin’ back them spades he —Ha ido a devolver las palas que nos
borrowed,” he said. prestaron —dijo.
45 “Not to speak of,” he said, and the —No demasiado —dijo él, y grandes
sweat big as marbles running down gotas de sudor como canicas le corrían
his face and his face about the colour por la cara y la cara tenía el color del
of blotting-paper. papel secante.
50 “Course not,” I said. “About next —Claro que no —dije—. Para el ve-
summer you can hobble around fine rano podrás brincar perfectamente sobre
on this leg. Then it won’t bother you, esta pierna. Entonces ya no te molestará,
not to speak of . . If you had anything no demasiado... Si tuvieses algo que pu-
you could call luck, you might say it dieses llamar suerte, podrías decir que
55 was lucky this is the same leg you fue una suerte que ésta haya sido la mis-
broke before,” I said. ma pierna que te rompiste antes —dije.
“Hit’s what paw says,” he said. —Es lo que dice padre —dijo él. [216]
60 55
MacGOWAN (1) MACGOWAN
125
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“She looks like a pretty hot mamma, X —Está bastante buena, para ser una
hot mamma: (Am. col.) sexually for a country girl,” he says. campesina —dice él.
attractive woman 20
“Take this,” I says, giving him the — To m a — l e d i g o , d á n d o l e e l
chocolate. I took off my apron and chocolate. Me quité el mandil y
went up there. She looked pretty salí. Era bastante guapa. Una de
good. One of them black-eyed ones esas morenas de ojos negros
25 that look like she’d as soon put a knife que parecen capaces de darte
in you as not if you two-timed her. una puñalada si las engañas.
She looked pretty good. There wasn’t Era bastante guapa. No había
nobody else in the store; it was nadie más en la tienda; era la
dinner-time. hora de comer.
30
“What can I do for you?” I says. —¿En qué puedo servirla? —digo yo.
“Are you the doctor?” she says. —¿Es usted el médico? —dice ella.
35 “Sure,” I says. She quit looking at —Claro —digo yo. Ella deja de mirarme
me and was kind of looking around. y se pone como a mirar a su alrededor.
“Can we go back yonder?” she says. —¿Podemos pasar ahí dentro? —dice.
“What the hell do you think this —¿Qué demonios te has creído que
is?” I says; “a stud-farm? You watch es esto? —digo yo—, ¿un potrero de
65 out for him. I’m going into sementales? Tú a vigilar, que yo voy a
conference.” entrevistarme con ella.
“It’s the female trouble,” she says, watching —Las molestias femeninas —dice,
126
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
me. “I got the money,” she says. mirándome—. Tengo el dinero —dice.
“Ah,” I says. “Have you got female —Ah —digo yo—. ¿Tiene usted
troubles or do you want female molestias o las quiere tener? Porque
5 troubles? If so, you come to the right si es así ha encontrado al médico
doctor.” Them country people. Half adecuado. —Estos campesinos. La
the time they don’t know what they mitad de las veces no saben lo que
want, and the balance of the time they quie r e n __ _ _____ _ _____ ___ __ ___
can’t tell it to you. The clock said X ___ _ __ _ __. E l r e l o j m a r c a b a l a s
10 twenty past twelve. doce y veinte.
“Oh,” I says. “You got something in —Oh —digo—. Tiene usted en la ba-
your belly you wish you didn’t have.” rriga algo que no le apetece tener —me
25 She looks at me. “You wish you had a mira—. ¿Quisiera usted tener un poco
little more or a little less, huh?” más o un poco menos, no?
“He did,” she says, looking at me. —Él —dice ella, mirándome.
35
“You don’t want to call no narres,” —¿No quiere mencionar los nom-
I says. “The one that put the acorn in bres, eh? —digo yo—. El que le hizo
put the acorn in your belly: (Am. your belly? He the one that told you?” la barriga. ¿Fue él quien se lo dijo? —
col.) a vulgar term meaning made
She don’t say nothing. “You ain’t ella no dice nada—. ¿No están casa-
you pregnant
40 married, are you?” I says. I never saw dos, verdad? —digo, porque no veo
no ring. But like as not, they ain’t heard que lleve alianza. Pero a saber si es-
yet out there that they use rings. tos campesinos usan alianzas o no.
“I’ll swear you have,” I says. “He —Estoy seguro de que lo tiene —
give it to you?” digo—. ¿Se lo dio él?
50
“Yes,” she says. —Sí —dice ella.
“Which one?” I says. She looks at me. —¿Cuál de ellos? —digo. Me mira—.
“Which one of them give it to you?” ¿Cuál de ellos se lo dio?
55
“It ain’t but one,” she says. She —Sólo hay uno —dice. Me
looks at me. mira.
“Go on,” I says. She don’t say —Adelante —digo. Ella no dice
60 nothing. The trouble about the cellar nada. Lo malo del sótano es que sólo
is, it ain’t but one way out and that’s tiene una salida y da a la escalera in-
back up the inside stairs. The clock terior. En el reloj ya es la una menos
says twenty-five to one. “A pretty girl veinticinco—. Una chica tan guapa
like you,” I says. como usted —digo.
65
She looks at me. She begins to tie Me mira. Se pone a atar de nuevo el
the money back up in the dinero en el pañuelo.
handkerchief. “Excuse me a minute,” —Perdone un momento —digo.
I says. I go around the prescription Salgo de la rebotica—. ¿Has oído
70 case. “Did you hear about that fellow hablar del tipo que se hizo un es-
sprained his ear?” I says. “After that guince en la oreja? —digo—. Des-
he couldn’t even hear a belch.” pués ya no podía oír ni un eructo.
“You better get her out from back —Será mejor que la saques de
75 there before the old man comes,” Jody ahí antes de que venga el viejo —
says. dice Jody.
“If you’ll stay up there in front —Eres tú el que debe estar ahí delan-
127
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
where he pays you to stay, he won’t te, que para eso te paga. Y si cogen a al-
catch nobody but me;” I says. guien será a mí —digo.
He goes on, slow, toward the front. Sale despacio, hacia la parte delantera.
5 “What you doing to her, Skeet?” he —¿Qué piensas hacer con ella, Skeet?
says. —dice.
“Ah, go on,” I says. “I ain’t doing —Vete de una vez —digo—. Sólo voy
15 nothing but filling a prescription.” a preparar una receta.
“He may not do nothing about that —Puede que no diga nada por la mu-
woman back there, but if he finds you jer de ahí dentro, pero si te encuentra
monkeying: (col.) interfering with monkeying with that prescription enredando con las medicinas, seguro
20 case, he’ll kick your stern clean down que te echa escaleras abajo de una pa-
them cellar stairs.” tada en el trasero.
“Sure I am,” I says. She watches —Claro que lo soy —digo. Me mira—
handsome me. “Is it because I look too young, . ¿Es que le parezco demasiado joven, o
1 (of a person) good-looking. Hermoso, bello, bien 35 or am I too handsome?” I says. “We soy demasiado guapo? —digo—. Antes
parecido
2 (of a building etc.) imposing, attractive. used to have a bunch of old water- aquí teníamos un puñado de viejos mé-
3 a generous, liberal (a handsome present; handsome
treatment). b (of a price, fortune, etc., as assets jointed doctors here,” I says; dicos achacosos —digo—. Jefferson era
gained) considerable. (victory) fácil
gentil “Jefferson used to be a kind of Old una especie de asilo para médicos vie-
1. adj. Idólatra o pagano.Gentile (En) Doctors’ Home for them. But jos. Pero el negocio empezó a ir tan mal
2. Brioso, galán, gracioso. GENTIL mozo; GENTIL
donaire. 40business started falling off and folks y la gente a encontrarse tan bien que un
3. notable. GENTIL desvergüenza; GENTIL disparate.
4. Amable, cortés. kind, pleasant, charming, stayed so well until one day they día comprendieron que las mujeres nun-
obliging, comely
gentle dulce tierno, dócil, suave, cortés, ligero, found out that the women wouldn’t ca se volverían a poner malas. De modo
cudadoso, pausado moderado never get sick at all. So they run all que echaron a todos los médicos viejos y
gracious : amable cortés, gentil, benevolente, indul-
gente [lenient] the old doctors out and got us young trajeron a unos cuantos guapos y jóve-
gracioso : funny,witty, amusing, charming
45 good-looking ones that the women nes como yo que les gustáramos a las
graceful : lleno de gracia, con mucho garbo,
elengante, digno would like and then the women begun mujeres y entonces las mujeres volvie-
to get sick again and so business ron a ponerse malas otra vez y el nego-
picked up. They’re doing that all over cio aumentó. Están haciendo lo mismo
the country. Hadn’t you heard about en toda la comarca. ¿No ha oído hablar
50 it? Maybe it’s because you ain’t never de ello? A lo mejor es porque nunca ha
needed a doctor.” necesitado un médico.
“Have you got something for it?” —¿Tiene usted algo para eso? —
she says. “I got the money.” dice—. Tengo el dinero.
60
“We l l , ” I s a y s , “ o f c o u r s e a —Bueno —digo—, naturalmente un
doctor has to learn all sorts of things médico tiene que aprender todo tipo de
while he’s learning to roll calomel; cosas mientras aprende a preparar calome-
he can’t help himself. But I don’t lanos**28; no le queda otro remedio. Pero
65 know about your trouble.” en relación con su problema, no sé, no sé.
128
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“How bad do you want to do some- —¿Hasta qué punto quiere hacer
thing?” I says. She looks at me. “Of algo? —digo. Me mira—. Claro está
course, a doctor learns all sorts of que un médico aprende muchas co-
things folks don’t think he knows. But sas que la gente no se imagina que
5 he ain’t supposed to tell all he knows. sabe. Pero no puede decir todo lo que
It’s against the law.” sabe. Va contra la ley.
“I ain’t got but ten dollars,” she —Sólo tengo diez dólares —dice—
says. “I could bring the rest next . A lo mejor el me que viene le puedo
month, maybe.” traer lo que falte.
30
“Pooh,” I says, “ten dollars? You —Pero bueno... —digo—, ¿diez dó-
see, I can’t put no price on my lares? No puedo va lorar en tan poco mis
knowledge and skill. Certainly not for conocimientos y aptitudes. Sin duda no
sawbuck: (Am. col.) small amount
of money no little paltry sawbuck.” en diez dólares miserables.
35
She looks at me. She don’t even Me mira. Ni siquiera pestañea.
blink. “What you want, then?” —¿Entonces qué es lo que quiere?
The clock said four to one. So En el reloj es la una menos cuatro minutos.
40 I decided I better get her out. Conque de cidí no andarme con más rodeos.
“You guess three times and then I’ll —Diga tres cosas y le diré si ha acer-
show you,” I says. tado —digo.
50 “You mean, you’re ready to right —¿Quiere decir que ya está prepara-
now?” I says. “Here?” da? —digo—. ¿Aquí?
“Gimme the medicine first,” she says. —Deme la medicina antes —dice.
the hair of the dog: (col.) here, more “It won’t hurt you. You’ve had the —No le dolerá. Es la misma que ya le
sex to undo the effects of the same operation before. Ever hear hicieron antes ¿No ha oído hablar de que
original act; usually, another drink about the hair of the dog?” un clavo hay que sacarlo con otro clavo?
to cure a headache caused
129
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
5 “Sure it’ll work. If you come back —Claro que funcionará. Si viene a
and get it.” terminar el trata miento.
So she drunk whatever it was Conque bebió lo que fuera aquello sin
without batting a eye, and went out. I pestañear y se marchó. Yo salí a la parte
10 went up front. de delante.
“Didn’t you get it?” Jody says. —¿Lo conseguiste? —dice Jody.
“Oh, her,” I says. “She just wanted —Ah, ella —digo—. Sólo que-
20 a little medicine. She’s got a bad case r í a u n m e d i c a m e n t o . Ti e n e u n a
of dysentery and she’s a little fuerte disentería y le daba un
ashamed about mentioning it with a poco de vergüenza decirlo con un
stranger there.” desconocido delante.
55 I gave her the box of capsules. She Le di la caja con las cápsu-
held the box in her hand, looking at las. La cogió y se quedó mi-
the capsules. rándolas.
“Are you sure it’ll work?” she —¿Está seguro de que funcionará? —
60 says. dice.
“Sure,’’ I says. “When you take the —Claro que sí —digo—. Cuando siga
rest of the treatment.” el resto del tratamiento.
65 “Where do I take it?” she says. —¿Dónde lo tengo que seguir? —dice ella.
56
70 VARDAMAN (10) VARDAMAN
NOW it is wider and lighter , AHORA hay más espacio y más luz,
but the stores are dark because pero las tiendas están a oscuras porque
they have all gone home. The todos se han ido a sus casas. Las tiendas
Vardaman (10)
75 s t o r e s a r e d a r k , b u t t h e l i g h t s están a oscuras, pero las luces se refle-
pass on the windows when we jan en los escaparates cuando pasamos This section consists of
pass. The lights are in the trees por delante de ellos. Las luces están en Vardaman’s unspoken and
around the court-house. They los árboles de alrededor del juzgado. unverbalised thoughts as he waits
outside the drug-store whilst
130
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
roost in the trees, but the Cuelgan de los árboles, pero el juzgado Dewey Dell is having sexual
court-house is dark. The clock on está a oscuras. El reloj de encima se ve intercourse with MacGowan.
When Dewey Dell returns,
it looks four ways, because it is por los cuatro lados, porque no está a
Vardaman still fails to
not dark. The moon is not dark oscuras. La luna tampoco está a oscuras. understand.
5 t o o . N o t v e ry dark. Darl he went No muy a oscuras. D a r l e l q u e s e f u e
to Jackson is my brother Darl is a Jackson es hermano mío Darl es
my brother Only it was over that hermano mío Estaba por allí, bri-
way, shining on the track. l l a n d o e n l a v í a [.] COMMENTARY: Vardaman’s
delight in all the new sights of the
town, the lights which appear to
10 “Let’s go that way, Dewey Dell,”’ —Vamos por allí, Dewey Dell —digo. ‘roost’ in the trees like hens, the
I say. four-sided clock and the
—¿Para qué? —dice Dewey Dell. pavement, is modified by his
“What for?” Dewey Dell says. The La vía rodeaba reluciente el escapara- thoughts of Darl. These thoughts
track went shining around the te, con él rojo sobre la vía. Pero ella appear in italics, suggesting that
they exist at the deeper level of
15 window, it red on the track. But she me ha dicho que no se lo venderán a
his consciousness, and Vardaman
said he would not sell it to the town los chicos de la ciudad—. Pero en Na- clearly finds it difficult to
boys. “But it will be there Christmas,” vidad todavía estará ahí —dice Dewey understand what it means when
Dewey Dell says. “You’ll have to wait Dell—. Tendrás que esperar hasta en- he is told ‘Darl went crazy’.
till then, when he brings it back.” tonces, cuando lo vuelva a traer. Vardaman cannot distinguish
20 between ‘going to Jackson’ and
‘going crazy’ and it is possible
Darl went to Jackson. Lots of Darl se fue a, Jackson. Hay mucha
that his innocent mind has hit
people didn’t go to Jackson. Darl is gente que nunca ha ido a Jackson. Darl upon an unrecognised truth. It is
my brother. My brother is going to es hermano mío. Mi hermano va a ir a only when Darl is taken off by the
Jackson Jackson. attendants that he openly ‘goes
25 crazy’. The two things may well
While we walk the lights go Mientras andamos las luces colga- be related in this way, the trip
being the cause of the madness.
around, roosting in the trees. On all das de los árboles giran. Por todas par-
The section also creates the
sides it is the same. They go around tes es lo mismo. Dan la vuelta por de- impression of a lost child, sitting
the court-house and then you cannot trás del juzgado y no se las puede ver. in a town which is alien to him,
30 see them. But you can see them in the Pero se las puede ver en las ventanas waiting for a sister who is
black windows beyond. They have all negras de más allá. Todo el mundo se engaged in an enterprise he does
gone home to bed except me and ha ido a sus casas, a acostarse, excepto not understand and seeing a cow
coming into the empty square, a
Dewey Dell. Dewey Dell y yo.
familiar object in unfamiliar
surroundings which only makes
35 Going on the train to Jackson. Va en el tren a Jackson. Mi her- the loneliness all the more acute,
My brother mano ‘I hear the cow a long time,
clopping on the street. She goes
There is a light in the store, far En la botica hay una luz, muy al fon- across the square, her head down
clopping. She lows.’
back. In the window are two big do. En el escaparate hay dos grandes fras-
40 g l a s s e s o f s o d a - w a t e r, r e d a n d cos de agua de soda, uno rojo y otro ver-
green. Two men could not drink de. Dos hombres no se los podrían be-
them. Two mules could not. Two ber. Dos mulas tampoco. Dos vacas tam-
cows could not. Darl poco podrían. Darl
“You wait out here,” Dewey Dell says. —Espérame aquí —dice Dewey Dell.
50 “Why can’t I come in?” I say. “I —¿Por qué no puedo entrar? —digo—
want to come in, too.” . Quiero entrar también.
“You wait out here,” she says. —Espérame aquí —dice ella.
The walk is harder than sitting on La acera está más dura que el suelo.
the ground. He is in the open door. Él está en la puerta abierta. Me mira.
He looks at me. “You want —¿Quieres algo? —dice. Tiene la
65 something?” he says. His head is cabeza repeinada. A veces la cabeza de
slick. Jewel’s head is slick sometimes. Jewel está repeinada. La cabeza de
Cash’s head is not slick. Darl be went Cash nunca está repeinada. Darl él ha
to Jackson my Brother Darl In the ido a Jackson mi hermano Darl En la
street he ate a banana. Wouldn’t you calle se comió un plátano. ¿No preferi-
70 rather have bananas? Dewy Dell rías unos plátanos? dijo Dewey Dell[.]
said. You wait till Christmas. It’ll be Espera hasta Navidad. Todavía segui-
there then. Then you can see it. So rá allí. Entonces lo podrás ver. De
we are going to have come bananas. modo que nos conformaremos con unos
We are going to have a bag full, me plátanos. Tendremos una bolsa llena,
75 and Dewy Dell. He locks the door. yo y Dewey Dell. Cierra la puerta con
Dewey Dell is inside. Then the light llave. Dewey Dell está dentro. Luego
winks out. la luz se apaga.
131
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
I hear the cow a long time, Oigo a una vaca mucho rato,
10 clopping on the street. Then she clap clap e n l a c a l l e . L u e g o e n -
comes into the square. She goes tra en la plaza. Atraviesa la
across the square, her head down plaza con la cabeza baja
clopping. She lows. There was c l a p [.] Muge. No había nada en la
nothing in the square before she plaza antes de que mugiera, pero no
15 lowed, but it wasn’t empty. Now it is estaba vacía. Ahora, después de que
empty after she lowed. She goes on, mugiera está vacía. Sigue, clap .
clopping . She lows. My brother is Muge. Mi hermano es Darl. Se fue a
Darl. He went to Jackson on the train. jackson en tren. No se fue en tren para
He didn’t go on the train to go crazy. volverse loco. Se volvió loco en nues-
20 He went crazy in our wagon. Darl She tra carreta. Darl Ya lleva ahí desde
had been in there a long time. And hace rato. Y la vaca también se ha ido.
the cow is gone too. A long time. She Hace rato. Lleva ahí más tiempo de lo
has been in there longer than the cow que estuvo la vaca. Pero no más que
was. But not as long as empty. Darl cuando estaba vacía. Darl es hermano
25 is my brother. My brother Darl mío. Mi hermano Darl
Dewey Dell comes out. She looks at me. Dewey Dell sale. Me mira.
“Let’s go around that way now,” I say. —Vamos por allí ahora —digo yo.
30 Me mira.
She looks at me. “It ain’t going to —No va a funcionar —dice—. El muy
work,” she says. “That son of a bitch.” hijoputa.
“I just know it won’t,” she says. She is not —Estoy segura de que no —dice. No
looking at anything. “I just know it.” mira a ninguna parte—. Estoy segura.
“We got to go back to the hotel. —Tenemos que volver al hotel. Es tar-
It’s late. We got to slip back in.” de. Entraremos a escondidas.
“Hadn’t you rather have bananas? —¿No prefieres los plátanos? ¿No los
Hadn’t you rather?” prefieres? [224]
50
“All right.” My brother he went crazy —Bueno. Mi hermano él se volvió
and he went to Jackson too. Jackson is loco y se fue a Jackson. Jackson está más
further away than crazy allá que loco
55 “It won’t work,” Dewey Dell says. —No va a funcionar —dice Dewey
“I just know it won’t.” Dell— Estoy segura de que no.
57[56]
65 DARL (19) DARL
132
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“Yes Yes yes yes yes yes yes yes.” —Sí sí sí sí sí sí sí sí.
55 58
DEWEY DELL (4) DEWEY DELL
70 “You never had them cakes. It’s a —Nunca has tenido esos bollos. Es
lie. It was them Sunday clothes you mentira. Lo que tenías en el paquete era
had in that package.” el traje de los domingos.
“Don’t you touch it! If you take it —¡No lo toque! Si lo coge es usted
75 you are a thief.” un ladrón.
133
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“I have fed you and sheltered you. —Te he criado y te he dado un hogar.
5 I give you love and care, yet my own Te he dado mi cariño y mi atención, y mi
daughter, the daughter of my dead propia hija, la hija de mi difunta esposa,
wife, calls me a thief over her me llama ladrón delante de la tumba de
mother’s grave.” su madre. [226]
10 “It’s not mine, I tell you. If it was, —No es mío, se lo aseguro. Si lo fuera,
God knows you could have it.” bien sabe Dios que podría usted cogerlo.
“Where did you get ten dollars?” —¿De dónde has sacado diez dólares?
“It’s not like I wouldn’t pay it —No es que no te los fuera a de-
25 back. But she calls her own father a volver. Pero llamar ladrón a su propio
thief.” padre...
“I can’t, I tell you. I tell you it’s —No puedo, se lo aseguro. Le asegu-
not my money. God knows you ro que este dinero no es mío. Bien sabe
30 could have it.” Dios que si lo fuera...
“I wouldn’t take it. My own born —No lo querría coger. Que mi propia
daughter that has et my food for hija a la que llevo diecisiete años alimen-
seventeen years, begrudges me the tando me niegue un préstamo de diez
35 loan of ten dollars.” dólares**30.
He took the money and went out. Cogió el dinero y se marchó. [227]
60 59 [58]
CASH (5) CASH
134
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
“He can do it in hall the time you can. Jewel—. Puede hacerlo en la mitad de tiempo the book ending on an ironical
Or here, you let me——” que usted. O si no, déjeme a mí. note. Having carried one Mrs
Bundren to Jefferson, the family
take back another Mrs Bundren.
“I reckon I better do it,” pa —Para mí que es mejor que lo haga All the children are impressed by
5 says. “Long as it was me that yo —dice padre—. Soy el que se las ha the change which takes place in
borrowed them.” pedido prestadas. their father, a change possibly due
to the absence of Addie who
So we set in the wagon, but the Conque nos quedamos en la carre- denied Anse’s existence, ‘it (the
new teeth) made him look a foot
music wasn’t playing now. I reckon ta, pero la música ahora no sonaba.
taller kind of holding his head up,
10 it’s a good thing we ain’t got ere a Para mí que es mejor que no tenga- hangdog and proud too’. The only
one of them. I reckon I wouldn’t mos uno de esos aparatos. Para mí touch of sadness is Cash’s
never get no work done a-tall for que no trabajaría bastante porque me thoughts of Darl whenever they
listening to it. I don’t know if a little pasaría el tiempo oyéndolo. No sé si listen to the new record-player,’
music ain’t about the nicest thing a un poco de música no es lo más agra- ‘every time a new record would
come from the mail order . . . I
15 fellow can have. Seems like when he dable que se puede tener. Me parece
would think what a shame Darl
comes in tired of a night, it ain’t que cuando uno vuelve cansado por couldn’t be to enjoy it too’. Cash,
nothing could rest him like having a la noche, nada puede descansar más however, reconciles himself to
little music played and him resting. I que tener un poco de música sonan- Darl’s absence with the words,
have seen them that shuts up like a do. He visto unos que se cierran ‘But it is better so for him. This
20 hand-grip, with a handle and all, so a como maletas, con asa y todo, de world is not his world; this life
his life’. If Darl does not belong
fellow can carry it with him wherever modo que se pueden llevar adonde
in the little world of the Bundrens,
he wants. uno quiera. then he does not belong
anywhere. As Cash’s section
“ W h a t y o u r e c k o n h e ’s —¿Qué crees que estará hacien- shows, the rest of the family
25 doing?” Jewel says. “I could a do? —dice Jewel—. Yo ya podría managed to accommodate
toted them shovels back and haber traído y llevado las palas por themselves to Addie’s absence.
Only Darl remains permanently
forth ten times by now.” lo menos diez veces.
alienated and it is at this point that
the reader recalls Addie’s words
“Let him take his time,” I said. “He —Déjale que se tome su tiempo —dije when she was pregnant with Darl,
spry : alegre, activo, nimble, animado 30 ain’t as spry as you, remember.” yo—. No es tan activo como tú, recuérdalo. ‘my revenge would be that he
would never know I was taking
“ W h y d i d n ’t h e l e t m e t a k e —Entonces, ¿por qué no me dejó que my revenge’. The revenge seems
to misfire, for Anse does not
them back, then? We got to get fuera a devolverlas yo? Tenemos que lle-
suffer, but Darl the inspiration of
your leg fixed up so we can start varte a que te curen la pierna para poder that revenge is also its prime
35 home to-morrow.” volver a casa mañana. victim.
60 And so next morning he was gone Conque a la mañana siguiente otra vez
again, then he come back and told se fue, luego vuelve y nos dijo que en-
us get hitched up and ready to take gancháramos y nos preparásemos para
out and he would meet us and when irnos y que él ya se reuniría con nosotros
they was gone he said, y cuando los otros se fueron me dijo:
65
“I don’t reckon you got no more —Supongo que ya no te quedará más
money.” dinero.
“No,” pa said; “no. We don’t need —No —dijo padre—; no. No necesi-
nothing.” He stood there, not looking at me. tamos nada —se quedó allí sin mirarme.
75
“If it is something we got to have, —Si es para algo que necesitamos, para
I reckon maybe Peabody,” I said. mí que a lo mejor Peabody... —dije.
135
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
5 So Jewel got the team and come for Conque Jewel cogió las mulas y
me and they fixed me a pallet in the vino a por mí y me prepararon un jer-
wagon and we drove across the square gón en la carretera y atravesamos la
to the corner where pa said, and we plaza hasta la esquina donde dijo pa-
was waiting there in the wagon, with dre, y estábamos esperando allí en la
10 Dewey Dell and Vardaman eating carreta, mientras Dewey Dell y
bananas, when we see them coming Vardaman comían plátanos, cuando
up the street. Pa was coming along les vemos venir calle arriba. Padre
with that kind of daresome and traía esa expresión suya orgullosa y
hangdog look all at once like when he de perro apaleado a la vez de cuando
15 has been up to something he knows hacía algo que sabía que a madre no
ma ain’t going to like, carrying a grip le iba a gustar, y llevaba un maletín
in his hand, and Jewel says, en la mano, y Jewel dice:
60
65
70
75
136
__________ Faulkner’s As I lay dying tr. de Javier Coy notas
5 ÍNDICE
INTRODUCCIÓN ................... 7
Los precedentes y el ambiente de la época . . . . 9
Faulkner: resumen biobibliográfico . . . . . . . . . 12
10 El condado de Yoknapatawpha . . . . . . . . . . . . 24
Mientras agonizo . . . . . . . . . . . . . . . . . . . . . . . 29
ESTA EDICIÓN 47
BIBLIOGRAEiA 49
MIENTRAS AGONIZO ... 53
15 [231]
20
25
30
35
40
45
50
55
60
65
70
75
137