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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)

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11,900139221 (3.99)2 / 647
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)

  1. 20
    Beloved by Toni Morrison (Laura1124)
  2. 20
    Absalom, Absalom! by William Faulkner (LKAYC)
  3. 21
    More Than Human by Theodore Sturgeon (alaskayo)
    alaskayo: A sci-fi romp through--intentionally so--much of the same territory.
  4. 67
    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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English (128)  Spanish (3)  French (2)  Dutch (2)  Danish (1)  Swedish (1)  Portuguese (1)  Catalan (1)  All (139)
Showing 1-5 of 128 (next | show all)
Gave up after 93 pages. Read part one (75 pages) and was told it would get better and easier from there. It didn't.
  KerryD1971 | Nov 25, 2016 |
Faulkner's classic story of the dysfunctional Compson family is notoriously difficult to read, but that is a bit exaggerated. The opening section, narrated by the idiot brother Benji Compson (thus, "a tale told by an idiot") won't make much sense unless you understand he's talking about watching people playing golf at the beginning. It helped that I first read this in a college class with a Faulkner-obsessed professor who was excellent. In contrast, the Quentin Compson section of the book is the most compelling, readable thing I have ever read by Faulkner. Of course, to understand any of the complex family relationships, and the backwards and forwards in time of the book, it helps to have some sort of guide. It is also a good idea to read Absalom, Absalom! after this one. Bear with it. It is worth the trouble. ( )
  datrappert | Oct 24, 2016 |
Fuck this book. Fuck it right in the ear. It dragged, was completely uninteresting, had no intriguing characters...I just can't fathom how anyone can get any joy (or knowledge) out of this book. And the writing lacked any semblance of art.

"short, simplistic sentence." Blah said.
"Short simple reply" Blah said.
"A decent length sentence, but without any words that would increase brain capacity" Blah said.
-Moderately lengthed observation or description that fails to invoke the reader to think-

^This is the entire damn book. ( )
2 vote benuathanasia | Sep 10, 2016 |
I had no clue what was going on. Had to read about it on line just to know who was talking. ( )
  myojencards | Sep 5, 2016 |
Teška knjiga i za čitanje i što se tiče sadržaja. U prva dva poglavlja sam plutala nerazumijevajući što je misao a što riječ. Međutim postepeno su se kockice složile i dosta toga je postalo jasno. U središtu je obitelj Compson koja je disfunkcionalna a svaki član je priča za sebe. Vjerujem da je teoretičarima književnosti ova knjiga posebno zanimljiva zbog različitih tehnika pisanja koje su primjenjene. Meni, kao čitatelju iz hobija knjiga je bila zanimljiva mada sam neke dijelove morala pročitati više puta. ( )
  Dinci | Aug 16, 2016 |
Showing 1-5 of 128 (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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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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