Darl’s perspectives

Jewel, I say. Overhead the day drives level and gray, hiding the sun by a flight of gray spears. In the rain the mules smoke a little, splashed yellow with mud, the off one clinging in sliding lunges to the side of the road above the ditch. The tilted lumber gleams dull yellow, water-soaked and heavy as lead, tilted at a steep angle into the ditch above the broken wheel; about the shattered spokes and about Jewel’s ankles a runnel of yellow neither water nor earth swirls, curving with the yellow road neither of earth nor water, down the hill dissolving into a streaming mass of dark green neither of earth nor sky.” (Faulkner 52 online text)

In the middle of Darl’s chapter, the perspective completely switches in both syntax and content. It feels as if there’s a total change in the perspective here, and intrigues me as I do not see this level of interiority/ detachment anywhere else we have read so far. It highlights Darl’s absence in the physical reality of his mother’s death. Why was this such a significant change in form?

“Shades” – The Dead

“Generous tears filled Gabriel’s eyes. He had never felt like that himself towards any woman but he knew that such a feeling must be love. The tears gathered more thickly in his eyes and in the partial darkness he imagined he saw the form of a young man standing under a dripping tree. Other forms were near. His soul had approached that region where dwell the vast hosts of the dead. He was conscious of, but could not apprehend, their wayward and flickering existence. His own identity was fading out into a grey impalpable world: the solid world itself which these dead had one time reared and lived in was dissolving and dwindling.”

Joyce, James, and Jeri Johnson. “The Dead” Dubliners, Oxford University Press, New York, NY, 2000, pg 421

The questions Joyce presents to the reader about the permanence of the dead on those living are haunting in many ways. Becoming something immaterial or ambiguous in the face of mortality allows one to connect with those who have passed. In doing this, Gabriel has become closer to his wife than ever before, claiming he finally feels true love for her. Whatever he felt before has changed, as has his perspective on those around him; they are all part of the ‘flickering, grey world’ that Joyce teases at the end of his tale.