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- William Faulkner — The Sound and the Fury
- [Harold Bloom] William Faulkner's The Sound and th(Book Fi org) - Copie
- The Sound and the Fury
- The Sound and the Fury
FP now includes eBooks in its collection. Book Details. It employs a number of narrative styles, including the technique known as stream of consciousness, pioneered by 20th-century European novelists such as James Joyce and Virginia Woolf. Published in , The Sound and the Fury was Faulkner's fourth novel, and was not immediately successful. In , however, when Faulkner's sixth novel, Sanctuary, was published—a sensationalist story, which Faulkner later claimed was written only for money—The Sound and the Fury also became commercially successful, and Faulkner began to receive critical attention.
William Faulkner — The Sound and the Fury
Morrison Rev. Ross An Easter Without Resurrection? And yet the narrative mode of Joseph Conrad, and the intricate medley of voices in the style of James Joyce, both are influences not wholly transcended by Faulkner. Gail M. Citing Joyce, T. Alcoholism, about which Faulkner knew all too much, is investigated in relation to Caddy by Gary Storhoff.
Margaret D. McHaney gives a very full account of the inter- locking themes of The Sound and the Fury. It was for him a kind of Keatsian artifact, vase or urn invested with a permanent aesthetic dignity.
His judgment has prevailed with his critics, though some doubts and reservations have been voiced. Like Absalom, Absalom! Jeal- ousy, intimately allied to the fear of mortality, is a central element in The Sound and the Fury. The judg- ment is cruel, yet cogent if Joyce and Conrad are brought too close, and Faulkner does not distance himself enough from them. This makes for an unhappy paradox; The Sound and the Fury is a little too elaborately wrought to sustain its rather homely substance, its plot of family disasters.
His Dickensian nastiness makes Jason an admirable carica- ture, while Quentin, Caddy, and Benjy blend into the continuum, figures of thought for whom Faulkner has failed to find the inevitable figures of speech. Only Poldy, fortunately, is kept away, for his sublime presence would be sublimely irrelevant and so would sink the book.
I emphasize the limitations of The Sound and the Fury only because we are in danger of overlooking them, now that Faulkner has become, rightly, our canonical novelist in this century, clearly our strongest author of prose fiction since the death of Henry James. As I Lay Dying was a radical experiment that worked magnificently; its forms and voices are apposite metaphors for the fierce and terrifying individualities of the Bundrens.
We read The Sound and the Fury and we hear a tale signifying a great deal, because Faulkner constitutes for us a literary cosmos of continual reverberations. Like Dilsey, we too are persuaded that we have seen the first and the last, the beginning and the ending of a story that transcends the four Compson children, and the squalors of their family romance.
G ail M. Since that time this brilliant, difficult work has continued to attract more critical attention than any other single Faulkner work, and its popularity seems unlikely to fade. When his publisher, Horace Liveright, rejected Flags in the Dust, Faulkner wrote him in wry dismay in February I want to submit the mss.
Morrison Will you agree to this with the understanding that I either pay you the what-ever-it-is I owe you, or that I submit to you the next mss. I complete? I have just sent some short stories to an agent; perhaps I shall derive something from them with which to pay you.
Faulkner was in New York when the contract was issued on September 20, A remarkable thing had occurred during the interval between the re- jection of Flags in February and the completion of the Sound and the Fury typescript that October. Now I can just write. I had stopped thinking of myself in publishing terms. I told Hal [Harrison Smith] about it once and he dared me to bring it to him. And so it really was to him that I submitted it, more as a curiosity than aught else.
But when I finished The Sound and The Fury I discovered that there is actually something to which the shabby term Art not only can, but must, be applied. I discovered then that I had gone through all that I had ever read, from Henry James through Henty to newspaper murders, without making any distinction or digesting any of it, as a moth or a goat might. After The Sound and The Fury and without heeding to open another book and in a series of delayed repercussions like summer thunder, I discovered the Flauberts and Dostoievskys and Conrads whose books I had read ten years ago.
Morrison far surpass those of the earlier works. Compson, Quentin, and Benjy. Even more striking, however, is the use of the quest as a controlling structural device.
In the earlier sketch, the laborer pursues an equally unattainable woman across hill and field and eventually falls into a pool of water, at which point the woman is revealed as yet another of the early associations of a beautiful woman with death, an image which culminates in the association of Caddy with Little Sister Death.
El- mer, like Benjy, is identified as the baby in his family; and like Benjy, Elmer sleeps in the same bed with his sister. In one scene, Elmer asks Jo-Addie to sleep with him after the family has moved again. Despite their physical differences, Caddy and Jo-Addie are both as- sociated with the masculine virtues of daring and strength which Quentin so admires in his sister.
In contrast to these awkward and unfinished pieces are two more ambi- tious, polished accomplishments: Marionettes, written in and prepared by its author in several hand-lettered and hand-illustrated copies, and May- day, another hand-lettered, illustrated booklet dated January 27, , which Faulkner gave to Helen Baird.
And, as the character of Galwyn in Mayday anticipates Quentin in so many respects, so the figure of Marietta adumbrates Caddy as well as her brother Quentin. Her ascent is later reflected in the descent of her daughter Quentin down a pear tree. The image of Caddy climbing up the tree was frequently cited by Faulkner as the inception of the short story which grew into the novel. Morrison remains oblivious to everything but the gratification of his own desires.
His limited vocabulary, pronunciation, and syntactical difficulties suggest that he is around three, approximately the same age as Benjy. Still other characters in The Wishing Tree foreshadow their more master- ful and extended counterparts in The Sound and the Fury.
Other details suggest the close relationship of the two works, includ- ing the importance of ponies and the birthday motif which look forward to the Benjy section of the novel where both come to figure so prominently by the typescript stage. They were too young to be told what was going on and they saw things only incidentally to the childish games they were playing.
So the idiot was born. This is not to say that the path to The Sound and the Fury is an orderly, logical sequence of development, for such is clearly not the case. Nothing by Faulkner, published or unpublished, before this novel equals it in sheer creative brilliance nor foretells the arrival of this work. Rather, the ten years preceding its writing saw tentative explorations made by the maturing writer—explorations of character, imagery, structure, theme, and tone—striking out in different direc- tions with varying degrees of success but with no lesson lost on the struggling craftsman.
Then, finally, when he was ready, Faulkner closed that door between himself and the world and wrote the first of his great novels. I dons believe anyone will publish it for 10 years. How- ever, an examination of the paper used for both works is suggestive. The rejected opening ultimately positioned as pages 70—76 in the man- uscript; Vintage text Compson and his behavior in regard to Nancy.
But this must remain only speculative unless further external evidence turns up to assist in dating these writings more precisely. He completed typing the manuscript in New York in October and sub- mitted it to Harrison Smith at Harcourt, Brace, the publisher that accepted Flags in the Dust in its condensed form, Sartoris. In a letter dated February 15, , Harcourt rejected it, and when Harrison Smith left Harcourt to form a partnership with Jonathan Cape, he took the typescript with him.
A contract was executed on February 18, Published on October 7, , a small printing of only 1, copies was suf- ficient until the notoriety of Sanctuary led to a second printing of copies in February ; a third printing of 1, copies from a copy of the second impression was made by offset lithography the following November.
As James B. For this particular novel, we might well suppose such measures a necessity; for this particular novelist, we may well assume that they were not. However, almost three additional pages Vintage text After completing the Dalton Ames-Caddy-Quentin confrontation scene, Faulkner may have set aside the novel and then returned to it, perhaps after rereading the first section.
However, the events in this scene gave Faulkner pause. In this episode Quentin attempts to kill Caddy and then himself. Unsuccessful, he goes so far as to hold a knife to her throat before—pitifully, helplessly—dropping the knife.
Thus Faulkner could also preserve the climactic drama of the confrontation by revealing it late in the monologue; by positioning it early he might have been aware that the rest of the monologue could not help seeming anticlimactic. Structurally, additional elements seem likely to have prompted the post- ponement of this key scene. Appropriately, Quentin will recall in flashback the twilight confrontation with Caddy and Ames on the evening of his last day on earth.
I realised that there would be compensations, that in a sense I could then give a final turn to the screw and extract some ultimate distillation. Yet it took me better than a month to take pen and write The day dawned bleak and chill before I did so. Then I tried to tell the story and it still was not enough. Morrison to achieve the desired end. But this litany must be regarded with a certain amount of skepticism. The brilliant technical achievements in the first three sections of the novel, as well as their very diversity, help to obscure the very traditional, chronologically based, horizontal plot line which emerges with greatest clarity in the fourth section.
Quite the contrary, it is governed by rigid, although terribly literal, rules of logic. For the unwary, there are a few quagmires along the way: confusion of names two Quentins, two Jasons, two Maurys , or the inadvertent omis- sion of italics to signal a time transference to a different scene, for example. Although his memory returns to each of these scenes at different times throughout his monologue, it is important that the events involved in each of these major episodes are nevertheless presented sequentially, albeit in fragmented form.
The Composition of The Sound and the Fury 19 Because of his literalness, his very inability to understand and therefore reason and draw conclusions, Benjy is a remarkably reliable narrator.
[Harold Bloom] William Faulkner's The Sound and th(Book Fi org) - Copie
The Sound and the Fury , novel by William Faulkner , published in , that details the destruction and downfall of the aristocratic Compson family from four different points of view. The Sound and the Fury is divided into four sections. The fourth section has a third-person omniscient narrator. All but the second section are set in fictional Yoknapatawpha County, Mississippi, in April The four sections, despite their formal differences, overlap in important ways. When the disgraced Caddy left the Compson household in , she did not take her daughter. Miss Quentin remained with the family to be raised as a Compson.
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The Sound and the Fury
The Compsons are an old, aristocratic Southern family from Jefferson, Mississippi. After the Civil War the Compsons declined in wealth, morality, and sanity: Jason III is a philosophical but ineffective alcoholic and Caroline is a self-obsessed hypochondriac, and their children have a host of problems. The second section is narrated by Quentin, and takes place at Harvard eighteen years before, on the day Quentin committed suicide.
It employs several narrative styles, including stream of consciousness. Published in , The Sound and the Fury was Faulkner's fourth novel, and was not immediately successful. In , however, when Faulkner's sixth novel, Sanctuary , was published—a sensationalist story, which Faulkner later said was written only for money— The Sound and the Fury also became commercially successful, and Faulkner began to receive critical attention.
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The Sound and the Fury
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An Introduction for The Sound and the Fury. The Southern Review 8 (N.S., ) I wrote this book and learned to read. I had learned a little about writing.