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El Ruido Y La Furia/ The Noise and the Fury…
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El Ruido Y La Furia/ The Noise and the Fury (Letras Universales) (original 1929; edition 2005)

by William Faulkner, Maria Eugenia Diaz Sanchez (Editor)

MembersReviewsPopularityAverage ratingConversations / Mentions
11,790134225 (3.99)2 / 643
Member:capanegra
Title:El Ruido Y La Furia/ The Noise and the Fury (Letras Universales)
Authors:William Faulkner
Other authors:Maria Eugenia Diaz Sanchez (Editor)
Info:Ediciones Catedra S.A. (2005), Edition: 6, Paperback, 359 pages
Collections:Your library
Rating:
Tags:aviermen

Work details

The Sound and the Fury by William Faulkner (1929)

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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)
Romans (33)
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Showing 1-5 of 123 (next | show all)
This is probably the fourth time I've read [The Sound and the Fury]. I read it the first time the summer before starting junior year of high school - I must have been 16? I already considered myself a "reader" but this was the first book that completely dumbfounded me. I vividly remember being on a family vacation and trying to read it by the pool - not even being able to figure out a basic plot timeline or why in the world Quentin seemed to be both male and female!! It ended up being the book I was assigned to read and do a week of presentations to our honors English class with a group. We spent the whole year on it and I developed a deep love for the book and for the process of decoding a complicated book.

I periodically like to reread it and this time it was a beautiful edition that Folio Society recently printed that has the color coded type for the first section. The first section is Benjy's version of events. He is a 33 year old man with a mental disability who can't talk. His section moves frequently back and forth in time and this book uses 14 different colored inks to delineate the 14 different memories/time periods he comes in and out of. The colored ink is effective (and beautiful), but I'd definitely recommend reading in natural, bright light or some are hard to differentiate.

Every time I read this, I read it a little differently. This time I was particularly struck by the way Faulkner silences Caddy and her daughter Quentin, giving the male brothers their say and not giving her a chance to tell her side of the story. This is effective because it reflects her life, but it still makes me mad. I also noticed, probably because of the colored ink, that though all three brothers spend a lot of time mentally in the past, Benjy can completely immerse himself in each incident. Quentin, on the other hand, mingles past and present and various past events simultaneously, creating an even harder reading experience than Benjy's chapter. And Jason . . . oh Jason. Such a jerk, but actually a little funny too, in a brutal sort of way. "Once a bitch, always a bitch, I say".

In addition to the colored ink, this book has excellent end notes that help describe the plot and themes. Highly recommended! ( )
1 vote japaul22 | Jul 28, 2016 |
ugg, my first Faulkner book. I think people think its brilliant just because its so crazy. ( )
  sydsavvy | Apr 8, 2016 |
It was a hard book to read at some points, but I absolutely loved the story. Will be reading more Faulkner soon! My mom asked me "Why are you reading Faulkner in the summer?" I did not know what she meant (and neither did she since she hasn't read him either), but I can see how his writing has a reputation making people stay away from the books (unless made to for school) and why this book is often on the "Top Ten Hardest Books to Read" lists. ( )
  imagine15 | Mar 15, 2016 |
CAUTION: MAY CONTAIN SPOILERS

The first three chapters of the novel consist of the convoluted thoughts, voices, and memories of the three Compson brothers, captured on three different days. The brothers are Benjy, a severely retarded thirty-three-year-old man, speaking in April, 1928; Quentin, a young Harvard student, speaking in June, 1910; and Jason, a bitter farm-supply store worker, speaking again in April, 1928. Faulkner tells the fourth chapter in his own narrative voice, but focuses on Dilsey, the Compson family’s devoted “Negro” cook who has played a great part in raising the children. Faulkner harnesses the brothers’ memories of their sister Caddy, using a single symbolic moment to forecast the decline of the once prominent Compson family and to examine the deterioration of the Southern aristocratic class since the Civil War.

The Compsons are one of several prominent names in the town of Jefferson, Mississippi. Their ancestors helped settle the area and subsequently defended it during the Civil War. Since the war, the Compsons have gradually seen their wealth, land, and status crumble away. Mr. Compson is an alcoholic. Mrs. Compson is a self-absorbed hypochondriac who depends almost entirely upon Dilsey to raise her four children. Quentin, the oldest child, is a sensitive bundle of neuroses. Caddy is stubborn, but loving and compassionate. Jason has been difficult and mean-spirited since birth and is largely spurned by the other children. Benjy is severely mentally disabled, an “idiot” with no understanding of the concepts of time or morality. In the absence of the self-absorbed Mrs. Compson, Caddy serves as a mother figure and symbol of affection for Benjy and Quentin.

As the children grow older, however, Caddy begins to behave promiscuously, which torments Quentin and sends Benjy into fits of moaning and crying. Quentin is preparing to go to Harvard, and Mr. Compson sells a large portion of the family land to provide funds for the tuition. Caddy loses her virginity and becomes pregnant. She is unable or unwilling to name the father of the child, though it is likely Dalton Ames, a boy from town.

Caddy’s pregnancy leaves Quentin emotionally shattered. He attempts to claim false responsibility for the pregnancy, lying to his father that he and Caddy have committed incest. Mr. Compson is indifferent to Caddy’s promiscuity, dismissing Quentin’s story and telling his son to leave early for the Northeast.

Attempting to cover up her indiscretions, Caddy quickly marries Herbert Head, a banker she met in Indiana. Herbert promises Jason Compson a job in his bank. Herbert immediately divorces Caddy and rescinds Jason’s job offer when he realizes his wife is pregnant with another man’s child. Meanwhile, Quentin, still mired in despair over Caddy’s sin, commits suicide by drowning himself in the Charles River just before the end of his first year at Harvard.

The Compsons disown Caddy from the family, but take in her newborn daughter, Miss Quentin. The task of raising Miss Quentin falls squarely on Dilsey’s shoulders. Mr. Compson dies of alcoholism roughly a year after Quentin’s suicide. As the oldest surviving son, Jason becomes the head of the Compson household. Bitterly employed at a menial job in the local farm-supply store, Jason devises an ingenious scheme to steal the money Caddy sends to support Miss Quentin’s upbringing.

Miss Quentin grows up to be an unhappy, rebellious, and promiscuous girl, constantly in conflict with her overbearing and vicious uncle Jason. On Easter Sunday, 1928, Miss Quentin steals several thousand dollars from Jason and runs away with a man from a traveling show. While Jason chases after Miss Quentin to no avail, Dilsey takes Benjy and the rest of her family to Easter services at the local church. ( )
  bostonwendym | Mar 3, 2016 |
I just could not get into this book. Faulkner employs his stream of consciousness writing and to me it comes out as jumbled thoughts of all the characters. The book was too hard for me to follow and wasn't interesting enough for me to keep my attention. ( )
  jtp146 | Feb 13, 2016 |
Showing 1-5 of 123 (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 (131 possible)

Author nameRoleType of authorWork?Status
Faulkner, Williamprimary authorall editionsconfirmed
Coindreau, Maurice EdgarTranslatorsecondary authorsome editionsconfirmed
Dewey, Kenneth FrancisIllustratorsecondary authorsome editionsconfirmed
Gardner, GroverNarratorsecondary authorsome editionsconfirmed
Kaila, KaiTranslatorsecondary authorsome editionsconfirmed
Minter, David L.Editorsecondary authorsome editionsconfirmed
Warren, Robert PennIntroductionsecondary authorsome editionsconfirmed
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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."
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(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 7 descriptions

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