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BUKA I BES by Vilijam Fokner
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BUKA I BES (original 1929; edition 2004)

by Vilijam Fokner (Author)

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13,344166282 (3.97)2 / 696
Member:TatjanaJP
Title:BUKA I BES
Authors:Vilijam Fokner (Author)
Info:NOVOSTI (2004)
Collections:Your library
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The Sound and the Fury by William Faulkner (1929)

  1. 30
    Absalom, Absalom! by William Faulkner (LKAYC)
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    Beloved by Toni Morrison (Laura1124)
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    More Than Human by Theodore Sturgeon (alaskayo)
    alaskayo: A sci-fi romp through--intentionally so--much of the same territory.
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    Wuthering Heights by Emily Brontë (AdonisGuilfoyle)
    AdonisGuilfoyle: The similarities are not obvious, but both stories contain the gothic destruction of two families. That, and there are two Quentins in Faulkner's novel to match the confusion of Cathys in 'Wuthering Heights', and Jason Compson is almost as cruel and twisted as Heathcliff. Enjoy!… (more)
1920s (4)
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English (150)  Spanish (4)  French (3)  Portuguese (2)  Catalan (2)  Danish (1)  Dutch (1)  Swedish (1)  Italian (1)  All languages (165)
Showing 1-5 of 150 (next | show all)
One of the greatest novels of the 20th-century follows the disintegration of former Southern aristocrats looked at in four different ways. The Sound and the Fury is considered William Faulkner’s greatest novel, following members of the Compson family over roughly 30 years in which the once great aristocratic Southern family breaks down from within and influence socially.

The book begins with man-child Benjamin “Benjy” Compson remembering various incidents over the previous 30 years from his first memory of his sister Caddy climbing a tree, his name being changed after his family learned he was mentally handicapped, the marriage and divorce of Caddy, and his castration all while going around his family’s property in April 1928. The second section was of Quentin Compson, skipping classes during a day of his freshman year at Harvard in 1910 and wandering Cambridge, Massachusetts thinking about death and his family’s estrangement from his sister Caddy before committing suicide. The third section followed a day in the life of Jason Compson who must take care of his hypochondriac mother and Benjy along with his niece, Caddy’s daughter Quentin. Working at a hardware store to make ends meet while stealing the money his sister sends to Quentin, Jason has to deal with people who used to lookup to his family and with black people who irritate the very racist head of the Compson family. The four section follows several people on Easter Sunday 1928 as the black servants take care of Benjy and gets for the Compsons while Jason finds out that Quentin as runaway with all the money in the house, which includes the money he stole from her and his life savings. After failing to find Quentin, Jason returns to town to calm down Benjy who is having a fit due to his routine being changed.

In constructing this book, Faulkner employed four different narrative styles for each section. Benjy’s section was highly disjointed narrative with numerous time leaps as he goes about his day. Quentin’s section was of an unreliable stream of consciousness narrator with a deteriorating state of mind, which after Benjy’s section makes the reader want to give up the book. Jason’s section is a straightforward first-person narrative style with the fourth and final section being a third person omniscient point-of-view. While one appreciates Faulkner’s amazing work in producing this novel, the first two sections are so all over the place that one wonders why this book was even written and only during the last two sections do readers understand about how the Compson family’s fortunes have fallen collectively and individually.

The Sound and the Fury is overall a nice novel, however the first two sections of William Faulkner’s great literally derails interest and only those that stick with the book learn in the later half what is going on with any clarity. I would suggest reading another Faulkner work before this if you are a first-time reader of his work like I was because unless you’re dedicated you might just quit. ( )
  mattries37315 | May 22, 2019 |
Now that I've read The Sound and The Fury, it beckons me to read it again, to pick up on all the details I missed. I probably won't be doing that any time soon, however. Faulkner's tale of a decaying family of former plantation dwellers is written in three different, but all difficult, styles (the fourth and final section is relatively straightforward). The first part, narrated by Benjy, the mentally disabled son, isn't that hard once you get used to it. It the second and third parts, narrated by clinically-depressed Harvard student Quentin and crass store clerk Jason that really are challenging. There is much here to discuss. A difficult but rewarding read. ( )
  akblanchard | May 6, 2019 |
Modern Library ranks it as the 6th best novel ever written. Faulkner won the Nobel Prize. What more is there to say? ( )
  jimrgill | Apr 13, 2019 |
Faulkner...
Mis autores favoritos siempre hablaron de Faulkner como a un precedente inalcanzable. Algo tiene esta historia de sangre (sangre metafórica y real, muy real) que conmovió a los grandes escritores latinoamericanos del siglo XX. Y sí, la forma de narrar del genio sureño es formidable. Los primeros dos capítulos de la novela son de los más complejos y apasionantes que he leído. La desgracia y consumación del milenario destino de los Compson es tanto intrigante como arrolladora y triste. El tercer capítulo, narrado por Jason, es para mí un mal necesario que desemboca en el último, magistral. Sin embargo, le tengo más cariño a los que perfeccionaron su legado. ( )
  LeoOrozco | Feb 26, 2019 |
It was January in North London. During the three days I crept through this marvelous novel the rain only paused for a combination of brilliant sun and arctic winds. Most of the conversations around me were in Srpski and somehow Faulkner's viaduct pointed to familiarity: you see avarice, disability and failure are rather common in Indiana. ( )
  jonfaith | Feb 22, 2019 |
Showing 1-5 of 150 (next | show all)
Escribir este libro foi para min como aprender a ler, coma se me achegase á linguaxe, ás palabras, co mesmo respecto e coidado de quen se achega á dinamita". Así describe William Faulkner (New Albany, 1897-Oxford, 1962) a súa experiencia con O ruído e a furia, a súa cuarta novela, publicada en 1929. A historia da ruína e decadencia da familia Compson, no Sur dos EUA, segue a representar para o lector de hoxe ese mesmo desafío, o da literatura como reinvención da linguaxe. Ao tempo, é un magnífico exemplo do pulo que posúe unha narración inspirada na vida, ese "conto contado por un idiota, cheo de ruído e de furia, que nada significa", segundo deixou dito Shakespeare en Macbeth.
 

» Add other authors (46 possible)

Author nameRoleType of authorWork?Status
Faulkner, Williamprimary authorall editionsconfirmed
Coindreau, Maurice EdgarTranslatorsecondary authorsome editionsconfirmed
Dewey, Kenneth FrancisIllustratorsecondary authorsome editionsconfirmed
Gardner, GroverNarratorsecondary authorsome editionsconfirmed
Hughes, RichardIntroductionsecondary authorsome editionsconfirmed
Kaila, KaiTranslatorsecondary authorsome editionsconfirmed
Minter, David L.Editorsecondary authorsome editionsconfirmed
Warren, Robert PennIntroductionsecondary authorsome editionsconfirmed
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People/Characters
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Epigraph
Dedication
First words
Through the fence, between the curling flower spaces, I could see them hitting.
Quotations
Once a bitch, always a bitch, what I say.
Got it at the getting place.
'You're not a gentleman, Spoade said. 'No, I'm Canadian.' Shreve said.
"Dogs are dead." Caddy said. "And when Nancy fell in the ditch and Roskus shot her and the buzzards came and undressed her."
Last words
(Click to show. Warning: May contain spoilers.)
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Haiku summary
Jason sums it thus:
"Once a bitch, always a bitch."
I prefer Benjy.
(LeBoeuf)

Amazon.com Amazon.com Review (ISBN 0679732241, Paperback)

The ostensible subject of The Sound and the Fury is the dissolution of the Compsons, one of those august old Mississippi families that fell on hard times and wild eccentricity after the Civil War. But in fact what William Faulkner is really after in his legendary novel is the kaleidoscope of consciousness--the overwrought mind caught in the act of thought. His rich, dark, scandal-ridden story of squandered fortune, incest (in thought if not in deed), madness, congenital brain damage, theft, illegitimacy, and stoic endurance is told in the interior voices of three Compson brothers: first Benjy, the "idiot" man-child who blurs together three decades of inchoate sensations as he stalks the fringes of the family's former pasture; next Quentin, torturing himself brilliantly, obsessively over Caddy's lost virginity and his own failure to recover the family's honor as he wanders around the seedy fringes of Boston; and finally Jason, heartless, shrewd, sneaking, nursing a perpetual sense of injury and outrage against his outrageous family.

If Benjy's section is the most daringly experimental, Jason's is the most harrowing. "Once a bitch always a bitch, what I say," he begins, lacing into Caddy's illegitimate daughter, and then proceeds to hurl mud at blacks, Jews, his sacred Compson ancestors, his glamorous, promiscuous sister, his doomed brother Quentin, his ailing mother, and the long-suffering black servant Dilsey who holds the family together by sheer force of character.

Notoriously "difficult," The Sound and the Fury is actually one of Faulkner's more accessible works once you get past the abrupt, unannounced time shifts--and certainly the most powerful emotionally. Everything is here: the complex equilibrium of pre-civil rights race relations; the conflict between Yankee capitalism and Southern agrarian values; a meditation on time, consciousness, and Western philosophy. And all of it is rendered in prose so gorgeous it can take your breath away. Here, for instance, Quentin recalls an autumnal encounter back home with the old black possum hunter Uncle Louis:

And we'd sit in the dry leaves that whispered a little with the slow respiration of our waiting and with the slow breathing of the earth and the windless October, the rank smell of the lantern fouling the brittle air, listening to the dogs and to the echo of Louis' voice dying away. He never raised it, yet on a still night we have heard it from our front porch. When he called the dogs in he sounded just like the horn he carried slung on his shoulder and never used, but clearer, mellower, as though his voice were a part of darkness and silence, coiling out of it, coiling into it again. WhoOoooo. WhoOoooo. WhoOooooooooooooooo.
What Faulkner has created is a modernist epic in which characters assume the stature of gods and the primal family events resonate like myths. It is The Sound and the Fury that secures his place in what Edmund Wilson called "the full-dressed post-Flaubert group of Conrad, Joyce, and Proust." --David Laskin

(retrieved from Amazon Thu, 12 Mar 2015 18:21:02 -0400)

(see all 7 descriptions)

Retells the tragic times of the Compson family, including beautiful, rebellious Caddy; manchild Benjy; haunted, neurotic Quentin; Jason, the brutal cynic; and Dilsey, their Black servant.

(summary from another edition)

» see all 8 descriptions

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