"I'm bad and I'm going to hell, and I don't care. I'd rather be in hell than anywhere where you are"
About this Quote
Self-damnation becomes a love letter sharpened into a weapon. Faulkner’s speaker doesn’t just declare “I’m bad”; he grabs the moral vocabulary of the South - sin, hell, judgment - and uses it to stage a melodrama of rejection with biblical stakes. The line works because it treats salvation like social geography: heaven and hell aren’t metaphysical destinations so much as places you end up depending on who gets to claim you.
The first clause (“I’m bad... and I don’t care”) is a swaggering abdication of respectability, the kind of refusal that reads less like true nihilism than wounded pride. It’s a preemptive confession that steals power from the person who might condemn him. If you can’t be forgiven, you can’t be controlled. Then comes the pivot: “I’d rather be in hell than anywhere where you are.” Hell turns from punishment into chosen exile; the real torment is proximity to “you.” That “you” is kept deliberately vague, which is part of the menace. It could be a lover, a parent, a community, a whole moral regime. The ambiguity lets the insult scale up from intimate breakup to cultural indictment.
Placed against Faulkner’s wider obsessions - honor codes, sexual shame, inherited guilt, communities that police belonging - the line reads like a miniature Yoknapatawpha tragedy. It’s the voice of someone cornered by judgment, flipping the script: if the world insists I’m damned, I’ll make damnation my last shred of agency.
The first clause (“I’m bad... and I don’t care”) is a swaggering abdication of respectability, the kind of refusal that reads less like true nihilism than wounded pride. It’s a preemptive confession that steals power from the person who might condemn him. If you can’t be forgiven, you can’t be controlled. Then comes the pivot: “I’d rather be in hell than anywhere where you are.” Hell turns from punishment into chosen exile; the real torment is proximity to “you.” That “you” is kept deliberately vague, which is part of the menace. It could be a lover, a parent, a community, a whole moral regime. The ambiguity lets the insult scale up from intimate breakup to cultural indictment.
Placed against Faulkner’s wider obsessions - honor codes, sexual shame, inherited guilt, communities that police belonging - the line reads like a miniature Yoknapatawpha tragedy. It’s the voice of someone cornered by judgment, flipping the script: if the world insists I’m damned, I’ll make damnation my last shred of agency.
Quote Details
| Topic | Anger |
|---|---|
| Source | Help us find the source |
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