Analysis. As Faulkner reveals more of Joe’s past and personal history, he draws certain parallels between the Hineses and the McEacherns

As Faulkner reveals more of Joe’s past and personal history, he draws certain parallels between the Hineses and the McEacherns. Each of the patriarchs in the respective families subscribes to a faith that borders at times on religious fanaticism, blindly following his own absolute moral code and expecting all within his care to do the same. Both men are drawn by an instinctive almost clairvoyant force that draws them to the exact sites where their respective children succumb to the temptations of the flesh. Just as Mr. McEachern is intuitively directed to the school on the night of his death, so is Uncle Doc Hines able to track down his daughter fleeing with her lover in his wagon. The women also share similarities, as they live in the shadows of their spouses, meekly accepting their husbands’ often abusive and authoritarian rule.

Women form a curious, tangential presence in Light in August. The novel resides in a male-centered, male-dominated world, exploring masculine brutality and the idea of the Byronic hero (named for the nineteenth-century English poet Lord Byron)—a brooding, restless, and flawed individual wounded by life’s cruelties and slights. Women exist on the edges of this world, scapegoats for the frustrations and unrealized potential of the men in their lives, and often the victims of physical brutality.

In Faulkner’s imagining, his female characters fall into one of two broadly defined and generalized types. The first type, the meek and ineffective nurturer, is embodied by Mrs. McEachern and Mrs. Hines. Their silence, inaction, and easily cowed natures give free reign to the cruelty and disastrous choices of their spouses and indirectly result in harm to others. Lena, Hightower’s wife, and Milly (Joe Christmas’s mother) are representative of Faulkner’s second type—fallen women, seen as loose and prodigal in overtly embracing and asserting their sexual desires. Often, they are erroneously seen as the source of the undoing of the men with whom they are associated. It is Miss Burden, the female presence in the work that comes the closest to being fully realized, who resists easy categorization. She exists on the edges of these broad groupings—carnal and nurturing at the same time, seen as brazenly straddling the gender divide.

Surprisingly, Hightower, despite his isolation, emerges as the philosophical center of the novel—a humanist presence who rejects the rigid moral codes that confine Jefferson’s residents. Hightower’s static, abstract journey to self-knowledge and self-acceptance contrasts with the strivings of the other main characters, who either fail to attain insight or fail to act on it. Hightower, Lena, and Christmas all attempt to salvage their pride, turn from the harsh realities of the past, and infuse their lives with a newfound purpose. They all are damaged individuals whose reputations and senses of self have been compromised, both by their own actions and by social forces beyond their control. Hightower eventually makes peace with his life of internal struggle, stoically embracing his impending death, armed with the understanding that suffering is an unavoidable component of existence.

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