Gonzales, Analysa Marie

Barn Burning: a Criticism

A major conflict in William Faulkner’s ‘‘Barn Burning,’’ concerns Sarty Snopes, a child on the verge of
moral awareness, who finds himself cut off from the larger social world of which he is growing conscious. This
alienation is instigated by his father, the boy’s only moral model, who seems to abhor all that repudiate his violent
ways. Through specific irony, narrative technique, and diction; Faulkner presents the idea that the price of
knowledge is far greater in the wake of ignorance.

In the introductory pages of the story, Sarty makes it very clear that he is well aware of his father’s vile
intentions as he states, “He aims for me to lie,” (482). And yet, his understanding of this doesn’t seem complete.
“Enemy” is his only thought as he faces the kindly Justice who seeks to convict his father. Though it is obvious that
he does so in his obligation of loyalty to his family, it also becomes blatantly obvious that the boy remains ignorant
of who the true enemy is. Faulker, meanwhile, creates an irony in this introduction by revealing that the boy’s full
name is Colonel Sartoris Snopes. The name Sartoris bears a palpable resemblance to the word satoris, which
means enlightenment. The irony, then, serves not only as a means to emphasize the ignorance that plagues the
young boy, but also serves as a harbinger to what has yet to come.

Faulkner further enhances the conflict through his chosen structure for the story in terms of the narrative
technique he employs. Though the perspective is largely limited to Sarty and his own consciousness of ethics,
Faulkner occasionally interrupts the syntactical flow of the narration by utilizing a seemingly omniscient voice to
provide insight that the child is unaware of. “Older,” the narrator states, “the boy might have remarked” (483)
about the small and neat fire his father made, when he was obviously capable of setting great infernos. This style is
continuously used, stating various potential possibilities, were Sarty even older and more experienced. Then, at the
end of the piece, after young Sarty has betrayed his father, Faulker once again uses this style, when the boy cries
out, “’He was brave! …He was in the war! He was in Colonel Sartoris’ cav’ry!’” (492). Little did Sarty know, “his
father had gone to that war… wearing no uniform… and giving fidelity to no man or army or flag… -It meant
nothing to him if it were enemy booty,” (493). All of these additional points of information further emphasize the
inability of the boy to full understand and the resulting ignorance that often clouds his judgment.

Towards the end of the piece, it seems Sarty is more aware of his own dilemma. On one hand, there is his
blood-bond between his father and himself. On the other, there is the issue of morality in society, modeled by
Harris. Sarty essentially comes to realize that remaining loyal to his blood-bond requires his total submission to the
contemptible character he now sees in his father. The violent nature of his father is fully revealed just before he is
about to leave to commit yet another crime of arson. “No! No! Oh, God, Oh, God. Abner!” (497). In Mrs. Snopes’
cries to stop her raving husband, Faulkner addresses God, as if Mrs. Snopes’ cries are pleas for deliverance from
the violence. Such diction serves to invoke the very morality which eventually tears Sarty away from his obligation
of loyalty to his corrupt bloodline.

At the conclusion to “Barn Burning,” Sarty sits upon a hill, gazing up at the sky, while he despairs over his
betrayal to his father. He has come so far from the ignorance that once consumed his being, and yet, he knows not
“how far he [has] truly come,” (493). The “slow constellations” that Sarty observes from the hills symbolize this
change. The ultimate “prize” of freedom turns out to be both a blessing and a curse. The cost of freedom, he finds,
it wisdom, whose price is ultimately suffering and grief. Though he no longer resides in the care of the corrupt, he
also no longer has his father. His inexperience merely leads him to believe that all he has left of the man is guilt.