'And Judith. She lived alone now. Perhaps she had lived alone ever since that Christmas day last year and then year before last and then three years and then four years ago, since though Sutpen was gone now with his and Sartoris' regiment and the Negroes ‐ the wild stock with which he had created Sutpen's Hundred ‐ had followed the first Yankee troops to pass through Jefferson, she lived in anything but solitude, what with Ellen in bed in the shuttered room, requiring the unremitting attention of a child while she waited with that amazed and passive uncomprehension to die; and she (Judith) and Clytie making and keeping a kitchen garden of sorts to keep them alive; and Wash Jones, living in the abandoned and rotting fishing camp in the river bottom which Sutpen had built after the first woman ‐ Ellen ‐ entered his house and the last deer and bear hunter went out of it, where he now permitted Wash and his daughter and infant granddaughter to live, performing the heavy garden work and supplying Ellen and Judith and then Judith with fish and game now and then, even entering the house now, who until Sutpen went away, had never approached nearer than the scuppernong arbor behind the kitchen where on Sunday afternoons he and Sutpen would drink from the demijohn and the bucket of spring water which Wash fetched from almost a mile away, Sutpen in the barrel stave hammock talking and Wash squatting against a post, chortling and guffawing.
It was not solitude and certainly not idleness for Judith: the same impenetrable and serene face, only a little older now, a little thinner now, which had appeared in town in the carriage beside her father's within a week after it was learned that her fiance and her brother had quitted the house in the night and vanished. When she came to town now, in the made‐over dress which all Southern women now wore, in the carriage still but drawn now by a mule, a plow mule, soon the plow mule, and no coachman to drive it either, to put the mule in the harness and take it out, to join the other women ‐ there were wounded in Jefferson then ‐ in the improvised hospital where (the nurtured virgin, the supremely and traditionally idle) they cleaned and dressed the self‐fouled bodies of strange injured and dead and made lint of the window curtains and sheets and linen of the houses in which they had been born; there were none to ask her about brother and sweetheart, while they talked among themselves of sons and brothers and husbands with tears and grief perhaps, but at least with certainty, knowledge.
Judith waiting too, like Henry and Bon, not knowing for what, but unlike Henry and Bon, not even knowing for why. Then Ellen died, the butterfly of a forgotten summer two years defunctive now the substanceless shell, the shade impervious to any alteration of dissolution because of its very weightlessness: no body to be buried: just the shape, the recollection, translated on some peaceful afternoon without bell or catafalque into that cedar grove, to lie in powder light paradox beneath the thousand pounds of marble monument which Sutpen (Colonel Sutpen now, since Sartoris had been deposed at the annual election of regimental officers the year before) brought in the regimental forage wagon from Charleston, South Carolina and set above the faint grassy depression which Judith told him was Ellen's grave.
And then her grandfather died, starved to death nailed up in his own attic, and Judith doubtless inviting Miss Rosa to come out to Sutpen's Hundred to live and Miss Rosa declining, waiting, too, apparently upon this letter, this first direct word from Bon in four years and which, a week after she buried him, too, beside her mother's tombstone, she brought to town herself, in the surrey drawn by the mule which both she and Clytie had learned to catch and harness, and gave to your grandmother, bringing the letter voluntarily to your grandmother, who (Judith) never called on anyone now, had no friends now, doubtless knowing no more why she chose your grandmother to give the letter to than your grandmother knew; not thin now but gaunt, the Sutpen skull showing indeed now through the worn, the Coldfield, flesh, the face which had long since forgotten how to be young and yet absolutely impenetrable, absolutely serene: no mourning, not even grief, and your grandmother saying, "Me? You want me to keep it?"
' "Yes," Judith said. "Or destroy it. As you like. Read it if you like or don't read it if you like.
Because you make so little impression, you see. You get born and you try this and you don't know why only you keep on trying it and you are born at the same time with a lot of other people, all mixed up with them, like trying to, having to, move your arms and legs with strings only the same strings are hitched to all the other arms and legs and the others all trying and they don't know why either except that the strings are all in one another's way like five or six people all trying to make a rug on the same loom only each one wants to weave his own pattern into the rug; and it cant matter, you know that, or the Ones that set up the loom would have arranged things a little better, and yet it must matter because you keep on trying or having to keep on trying and then all of a sudden it's all over and all you have left is a block of stone with scratches on it provided there was someone to remember to have the marble scratched and set up or had time to, and it rains on it and the sun shines on it and after a while they don't even remember the name and what the scratches were trying to tell, and it doesn't matter. And so maybe if you could go to someone, the stranger the better, and give them something ‐ a scrap of paper ‐ something, anything, it not to mean anything in itself and them not even to read it or keep it, not even bother to throw it away or destroy it, at least it would be something just because it would have happened, be remembered even if only from passing from one hand to another, one mind to another, and it would be at least a scratch, something, something that might make a mark on something that was once for the reason that it can die someday, while the block of stone cant be is because it never can become was because it cant ever die or perish..." and your grandmother watching her, the impenetrable, the calm, the absolutely serene face, and crying: ' "No!
No! Not that! Think of your ‐" and the face watching her, comprehending, still serene, not even bitter: ' "Oh. I? No, not that.
Because somebody will have to take care of Clytie, and father, too, soon, who will want something to eat after he comes home because it wont last much longer since they have begun to shoot one another now.
No. Not that. Women don't do that for love. I don't even believe that men do. And not now, anyway. Because there wouldn't be any room now, for them to go to, whereever it is, if it is. It would be full already. Glutted. Like a theater, an opera house, if what you expect to find is forgetting, diversion, entertainment; like a bed already too full if what you want to find is a chance to lie still and sleep and sleep and sleep" ‐' Mr Compson moved. Half rising, Quentin took the letter from him and beneath the dim bug‐fouled globe opened it, carefully, as though the sheet, the desiccated square, were not the paper but the intact ash of its former shape and substance: and meanwhile Mr Compson's voice speaking on while Quentin heard it without listening: 'Now you can see why I said that he loved her.
Because there were other letters, many of them, gallant flowery indolent frequent and insincere, sent by hand over that forty miles between Oxford and Jefferson after that first Christmas ‐
the metropolitan gallant's idle and delicately flattering (and doubtless to him, meaningless) gesture to the bucolic maiden ‐ and that bucolic maiden, with that profound and absolutely inexplicable tranquil patient clairvoyance of women against which that metropolitan gallant's foppish posturing was just the jackanape antics of a small boy, receiving the letters without understanding them, not even keeping them, for all their elegant and gallant and tediously contrived turns of form and metaphor, until the next one arrived. But keeping this one which must have reached her out of a clear sky after an interval of four years, considering this one worthy to give to a stranger to keep or not to keep, even to read or not to read as the stranger saw fit, to make that scratch, that undying mark on the blank face of the oblivion to which we are all doomed, of which she spoke ‐' Quentin hearing without having to listen as he read the faint spidery script not like something impressed upon the paper by a once‐living hand but like a shadow cast upon it which had resolved on the paper the instant before he looked at it and which might fade, vanish, at any instant while he still read: the dead tongue speaking after the four years and then after almost fifty more, gentle sardonic whimsical and incurably pessimistic, without date or salutation or signature: You will notice how I insult neither of us by claiming this to be a voice from the defeated even, let alone from the dead. In fact, if I were a philosopher I should deduce and derive a curious and apt commentary on the times and augur of the future from this letter which you now hold in your hands ‐ a sheet of notepaper with, as you can see, the best of French watermarks dated seventy years ago, salvaged (stolen if you will) from the gutted mansion of a ruined aristocrat; and written upon in the best of stove polish manufactured not twelve months ago in a New England factory.