William Faulkner - Absalom, Absalom!

You are the oldest: why do you ask me?" and Bon: 'No. He has never acknowledged me. He just warned me. You are the brother and the son. Do I have your permission, Henry?" and Henry: 'Write. Write. Write." So Bon wrote the letter, after the four years, and Henry read it and sent it off.

But they didn't quit then and follow the letter. They still walked backward, slow and stubborn, listening toward the North for the end of it because it takes an awful lot of character to quit anything when you are losing, and they had been walking backward slow for a year now So all they had left was not the will but just the ability, the grooved habit to endure. Then one night they had stopped again since Sherman had stopped again, and an orderly came along the bivouac line and found Henry at last and said, ' Sutpen, the colonel wants you in his tent.")

'And so you and the old dame, the Aunt Rosa, went out there that night and the old nigger Clytie tried to stop you, stop her; she held your arm and said, "Dont let her go up there, young marster" but you couldn't stop her either because she was strong with forty-five years of hate like forty-five years of raw meat and all Clytie had was just forty-five or fifty years of despair and waiting; and you, you didn't even want to be there at all to begin with. And you couldn't stop her either and then you saw that Clytie's trouble wasn't anger nor even distrust; it was terror, fear. And she didn't tell you in so many words because she was still keeping that secret for the sake of the man who had been her father too as well as for the sake of the family which no longer existed, whose heretofore inviolate and rotten mausoleum she still guarded — didn't tell you in so many words anymore than she told you in so many words how she had been in the room that day when they brought Bon's body in and Judith took from his pocket the metal case she had given him with her picture in it; she didn't tell you, it just came out of the terror and the fear after she turned you loose and caught the Aunt Rosa's arm and the Aunt Rosa turned and struck her hand away and went on to the stairs and Clytie ran at her again and this time the Aunt Rosa stopped and turned on the second step and knocked Clytie down with her fist like a man would and turned and went on up the stairs: and Clytie lay there on the floor, more than eighty years old and not much more than five feet tall and looking like a little bundle of clean rags so that you went and took her arm and helped her up and her arm felt like a stick, as light and dry and brittle as a stick: and she looked at you and you saw it was not rage but terror, and not nigger terror because it was not about herself but was about whatever it was that was upstairs, that she had kept hidden up there for almost four years; and she didn't tell you in the actual words because even in the terror she kept the secret; nevertheless she told you, or at least all of a sudden you knew — '

Shreve ceased again. It was just as well, since he had no listener. Perhaps he was aware of it.

Then suddenly he had no talker either, though possibly he was not aware of this. Because now neither of them were there. They were both in Carolina and the time was forty-six years ago, and it was not even four now but compounded still further, since now both of them were Henry Sutpen and both of them were Bon, compounded each of both yet either neither, smelling the very smoke which had blown and faded away forty-six years ago from the bivouac fires burning in a pine grove, the gaunt and ragged men sitting or lying about them, talking not about the war yet all curiously enough (or perhaps not curiously at all) facing the South where further on in the darkness the pickets stood — the pickets who, watching to the South, could see the flicker and gleam of the Federal bivouac fires myriad and faint and encircling half the horizon and counting ten fires for each Confederate one, and between whom and which (Rebel picket and Yankee fire) the Yankee outposts watched the darkness also, the two picket lines so close that each could hear the challenge of the other's officers passing from post to post and dying away: and when gone, the voice, invisible cautious, not loud yet carrying:

— Hey, Reb.

— Yah.

— where you fellers going?

— Richmond.

— So are we. why not wait for us?

— We air.

The men about the fires would not hear this exchange, though they would presently hear the orderly plainly enough as he passes from fire to fire, asking for Sutpen and being directed on and so reaches the fire at last, the smoldering log, with his monotonous speech: 'Sutpen?

I'm looking for Sutpen' until Henry sits up and says, 'Here." He is gaunt and ragged and unshaven; because of the last four years and because he had not quite got his height when the four years began, he is not as tall by two inches as he gave promise of being, and not as heavy by thirty pounds as he probably will be a few years after he has outlived the four years, if he do outlive them.

— Here, he says — What is it?

— The colonel wants you.

The orderly does not return with him. Instead, he walks alone through the darkness along a rutted road, a road rutted and cut and churned where the guns have passed over it that afternoon, and reaches the tent at last, one of the few tents, the canvas wall gleaming faintly from a candle within, the silhouette of a sentry before it, who challenges him.

— Sutpen, Henry says — The colonel sent for me.

The sentry gestures him into the tent. He stoops through the entrance, the canvas falls behind him as someone, the only occupant of the tent, rises from a camp chair behind the table on which the candle sits, his shadow swooping high and huge up the canvas wall. He (Henry) comes to salute facing a graff sleeve with colonel's braid on it, one beard cheek, a jutting nose, a shaggy droop of iron-riddle hair — a face which Henry does not recognize, not because he has not seen it in four years and does not expect to see it here and now, but rather because he is not looking at it. He just salutes the braided cuff and stands so until the other says, — Henry.

Even now Henry does not start. He just stands so, the two of them stand so, looking at one another. It is the older man who moves first, though they meet in the center of the tent, where they embrace and kiss before Henry is aware that he has moved, was going to move, moved by what of close blood which in the reflex instant abrogates and reconciles even though it does not yet (perhaps never will) forgive, who stands now while his father holds his face between both hands, looking at it.

— Henry, Sutpen says — My son.

Then they sit, one on either side of the table, in the chairs reserved for officers, the table (an open map lies on it) and the candle between them.

— You were hit at Shilo, Colonel Willow tells me, Sutpen says.

— Yes, sir, Henry says.

He is about to say Charles carried me back but he does not, because already he knows what is coming. He does not even think Surely Judith didn't write him about that letter or It was Clytie who sent him word somehow that Charles has written her. He thinks neither of these. To him it is logical and natural that their father should know of his and Bon's decision: that rapport of blood which should bring Bon to decide to write, himself to agree to it and their father to know of it at the same identical instant, after a period of four years, out of all time. Now it does come, almost exactly as he had known that it will: — I have seen Charles Bon, Henry.

Henry says nothing. It is coming now. He says nothing, he merely stares at his father — the two of them in leaf-faded graff, a single candle, a crude tent walling them away from a darkness where alert pickets face one another and where weary men sleep without shelter, waiting for dawn and the firing, the weary backward walking to commence again: yet in a second tent candle gray and all are gone and it is the hollydecked Christmas library at Sutpen's Hundred four years ago and the table not a camp table suitable for the spreading of maps but the heavy carved rosewood one at home with the group photograph of his mother and sister and himself sitting upon it, his father behind the table and behind his father the window above the garden where Judith and Bon strolled in that slow rhythm where the heart matches the footsteps and the eyes need only look at one another.