HomeGroupsTalkZeitgeist
Hide this

Results from Google Books

Click on a thumbnail to go to Google Books.

El Ruido Y La Furia/ The Noise and the Fury…
Loading...

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
11,678133228 (4)2 / 632
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. 10
    Beloved by Toni Morrison (Laura1124)
  2. 10
    Absalom, Absalom! by William Faulkner (LKAYC)
  3. 10
    More Than Human by Theodore Sturgeon (rickyrickyricky)
    rickyrickyricky: A sci-fi romp through--intentionally so--much of the same territory.
  4. 66
    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)
Loading...

Sign up for LibraryThing to find out whether you'll like this book.

English (123)  Dutch (2)  Spanish (2)  French (2)  Danish (1)  Swedish (1)  Portuguese (1)  Catalan (1)  All languages (133)
Showing 1-5 of 123 (next | show all)
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 |
The four parts of the novel relate many of the same episodes, each from a different point of view and therefore with emphasis on different themes and events. This interweaving and nonlinear structure makes any true synopsis of the novel difficult, especially since the narrators are all unreliable in their own way, making their accounts not necessarily trustworthy at all times. Also in this novel, Faulkner uses italics to indicate points in each section where the narrative is moving into a significant moment in the past. The use of these italics can be confusing, however, as time shifts are not always marked by the use of italics, and periods of different time in each section do not necessarily stay in italics for the duration of the flashback. Thus, these time shifts can often be jarring and confusing, and require particularly close reading.

The general outline of the story is the decline of the Compson family, a once noble Southern family descended from U.S. Civil War hero General Compson. The family falls victim to those vices which Faulkner believed were responsible for the problems in the reconstructed South: racism, avarice, selfishness, and the psychological inability of individuals to become determinants. Over the course of the thirty years or so related in the novel, the family falls into financial ruin, loses its religious faith and the respect of the town of Jefferson, and many of them die tragically.

The reader may also wish to look in The Portable Faulkner for a four-page history of the Compson family. Faulkner said afterwards that he wished he had written the history at the same time he wrote The Sound and the Fury.


[edit] Part 1: April 7, 1928
The first section of the novel is narrated by Benjamin "Benjy" Compson, a source of shame to the family due to his mental retardation; the only characters who evidence a genuine care for him are Caddy, his older sister; and Dilsey, a matriarchal servant. His narrative voice is characterized predominantly by its nonlinearity: spanning the period 1898-1928, Benjy's narrative is a pastiche of events presented in a seamless stream of consciousness. The presence of italics in Benjy's section is meant to indicate significant shifts in the narrative. Originally Faulkner meant to use different colored inks to signify chronological breaks. This nonlinearity makes the style of this section particularly challenging, but Benjy's style develops a cadence that, while not chronologically coherent, provides unbiased insight into many characters' true motivations. Moreover, Benjy's caretaker changes to indicate the time period: Luster in the present, T.P. in Benjy's teenage years, and Versh during Benjy's infancy and childhood.

In this section we see Benjy's three passions: fire, the golf course on land that used to belong to the Compson family, and his sister Caddy. But by 1928 Caddy has been banished from the Compson home after her husband divorced her because her child was not his, and the family has sold his favorite pasture to a local golf club in order to finance Quentin's Harvard education. In the opening scene, Benjy, accompanied by Luster, a servant boy, watches golfers on the nearby golf course as he waits to hear them call "caddie" - the name of his favorite sibling. When one of them calls for his golf caddie, Benjy's mind embarks on a whirlwind course of memories of his sister, Caddy, focusing on one critical scene. In 1898 when their grandmother died, the four Compson children were forced to play outside during the funeral. In order to see what was going on inside, Caddy climbed a tree in the yard, and while looking inside, her brothers—Quentin, Jason and Benjy—looked up and noticed that her underwear was muddy. How each of them reacts to this is the first insight the reader has into the trends that will shape the lives of these boys: Jason is disgusted, Quentin is appalled, and Benjy seems to have a "sixth-sense" in that he moans (he is unable to speak using words), as if sensing the symbolic nature of Caddy's dirtiness, which hints at her later sexual promiscuity. At the time the children were aged 9 (Quentin), 7 (Caddy), 5 (Jason) and 3 (Benjy). Other crucial memories in this section are Benjy's change of name (from Maury, after his uncle) in 1900 upon the discovery of his disability; the marriage and divorce of Caddy (1910), and Benjy's castration, resulting from an attack on a girl that is alluded to briefly within this chapter when a gate is left unlatched and Benjy is out unsupervised. Readers often report trouble understanding this portion of the novel due to its impressionistic language, necessitated by Benjamin's retardation, and its frequent shifts in time and setting.


[edit] Part 2: June 2, 1910
Narrated by Quentin, the most intelligent and most tortured of the Compson children, the second part is probably the novel's finest example of Faulkner's narrative technique. In this section we see Quentin, a freshman at Harvard University, wander the streets of Cambridge, contemplating death and remembering his family's estrangement from his sister Caddy. Like the first section, the plot is not strictly linear, although the two interweaving storylines of Quentin at Harvard on the one hand and his memories on the other are clearly discernible.

Quentin's main obsession is Caddy's virginity and purity. He is obsessed with old Southern ideals of honor and therefore is extremely protective of womenfolk, especially his sister. Therefore, when Caddy engages in sexual promiscuity, Quentin is horrified. He turns to his father for help and advice, but cynical Mr. Compson tells Quentin that virginity is invented by men and therefore should not be taken seriously. He also tells Quentin that time will heal all. Quentin spends much of his day trying to prove his father wrong, but is unable to. Shortly before Quentin left for Harvard in the fall of 1909, Caddy became pregnant with the child of Dalton Ames who is confronted by Quentin. The two fight, with Quentin losing horribly and Caddy vowing to never speak to Dalton again for Quentin's sake. Quentin tells his father that they have committed incest, but his father knows that he is lying: "and he did you try to make her do it and i i was afraid to i was afraid she might and then it wouldn't do any good"(112). Quentin's idea of incest is wrapped around the idea that, if they "could just have done something so dreadful that they would have fled hell except us" (51), he could protect his sister by joining her in whatever punishment/hardship/retribution she would be forced to endure. In his mind, he felt a need to take responsibility for Caddy's sin. Pregnant and alone, Caddy then marries Herbert Head, whom Quentin finds repulsive but Caddy is resolute: she must marry before the birth of her child. Herbert however finds out that the child is not his and sends mother and daughter away in shame. Quentin's wanderings through Harvard, as he cuts class, follow the pattern of his heartbreak over losing Caddy. For instance, he meets a small Italian immigrant girl who speaks no English. He significantly calls her "sister" and spends much of the day trying to communicate with her, and to care for her by finding her home, to no avail. He thinks sadly of the downfall and squalor of the South after the American Civil War. Ultimately, Quentin, unable to cope with the amorality of the world around him, commits suicide by jumping off a bridge into the Charles River after loading his jacket with flat-irons.

While many first-time readers report Benjy's section as being difficult to understand, these same readers often find Quentin's section to be near impossible. Not only do chronological events mesh together regularly, but often (especially at the end) Faulkner completely disregards any semblance of grammar, spelling, or punctuation, instead writing in a rambling series of words, phrases, and sentences that have no separation to indicate where one thought ends and another begins. This confusion is due to Quentin's severe depression and deteriorating state of mind. The section is therefore ironic in that Quentin is an even more unreliable narrator than his brother Benjy was. Because of the staggering complexity of this section, it is often the one most extensively studied by scholars of the novel.


[edit] Part 3: April 6, 1928
The third portion is narrated by Jason, the middle child and Caroline's favorite. This section takes place the day before Benjy's section, on Good Friday. Of the three brothers who narrate a section, Jason's account is the most straightforward, reflecting his single-minded and calculated desire for material wealth. By 1928, Jason is the economic foundation of the family after his father's death. He supports his mother, Benjy, and Miss Quentin (Caddy's daughter) as well as the family of servants. This role has made him bitter and cynical, with little sign of the passionate sensitivity that defined his older brother or sister. He goes so far as to blackmail Caddy into making him Miss Quentin's sole guardian, then uses that role to steal the support payments that Caddy sends for her daughter.

This is the first portion that is narrated in a linear fashion. It follows the course of Good Friday—a day in which Jason decides to leave work to search for Miss Quentin (Caddy's daughter), who has run away again, seemingly in pursuit of mischief. Here we see most immediately the conflict between the two predominant traits of the Compson family (which Jason's mother Caroline attributes to the difference between her and her husband's blood): on the one hand, Miss Quentin's recklessness and passion, inherited from her grandfather and, ultimately, the Compson side; on the other, Jason's ruthless cynicism, drawn from his Mother's side. This section also gives us the clearest image of domestic life in the Compson household, which for Jason and the servants means the care of Caroline the hypochondriac and of Benjy.


[edit] Part 4: April 8, 1928
April 8, 1928, not coincidentally, was Easter Sunday. This section, the only without a single first person narrator, focuses on Dilsey, the powerful matriarch of the black servant family. She, in contrast to the declining Compsons, draws a tremendous amount of strength from herself and her faith, and thus stands as a proud figure amidst a dying family. It can be said that Dilsey gains her strength by looking outward (i.e. outside of one's self for support) while the Compsons grow weak by looking inward, thus imploding on themselves.

On Easter, she takes her family and Benjy to the 'colored' church for the Easter service. Through her we see, in a sense, the consequences of the decadence and depravity in which the Compsons have lived for decades. Dilsey is mistreated and abused, but nevertheless remains loyal. She, with the help of her grandson Luster, cares for Benjy, as she takes him to church and tries to bring him to salvation. The preacher's sermon inspires her to weep for the Compson family, reminding her that she's seen the family through its destruction, which she is now witnessing.

Meantime, the tension between Jason and Miss Quentin reaches its inevitable conclusion: the family discovers that Miss Quentin has run away in the middle of the night with a carnival worker, in the process breaking into Jason's hidden stash of cash in his closet and taking both her money (the support from Caddy, which Jason had stolen) and her money-obsessed uncle's life savings. Jason calls the police and tells them that his money has been stolen, but since it would mean admitting embezzling Quentin's money he doesn't press the issue. He therefore sets off to once again find her on his own, but loses her trail in nearby Mottson and gives her up as gone for good.

The novel ends with a very powerful and unsettling image. After church, Dilsey allows her grandson Luster to drive Benjy in the family's decrepit horse and carriage (another sign of decay) to the graveyard. Luster, not caring that Benjy is so entrenched in the routine of his life that even the slightest change in route will enrage him, drives the wrong way around a monument. Benjy's hysterical sobbing and violent outburst can only be quieted by Jason, of all people, who understands how best to placate his brother. Jason slaps Luster, turns the carriage around, and Benjy suddenly becomes silent. Luster turns around to look at Benjy and sees Benjy drop his flower. Benjy's eyes are "...empty and blue and serene again."

  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 |
Read this while at University and loved it! Tried it again 10 years later and just couldn't get into it. ( )
  tashlyn88 | Feb 5, 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
You must log in to edit Common Knowledge data.
For more help see the Common Knowledge help page.
Series (with order)
Canonical title
Original title
Alternative titles
Original publication date
People/Characters
Important places
Important events
Related movies
Awards and honors
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.)
Disambiguation notice
Publisher's editors
Blurbers
Publisher series
Original language
Information from the French Common Knowledge. Edit to localize it to your language.

References to this work on external resources.

Wikipedia in English (1)

Book description
Haiku summary

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 6 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

Quick Links

Swap Ebooks Audio
31 avail.
283 wanted
10 pay7 pay

Popular covers

Rating

Average: (4)
0.5 12
1 71
1.5 10
2 134
2.5 33
3 298
3.5 84
4 605
4.5 125
5 868

Audible.com

2 editions of this book were published by Audible.com.

See editions

Is this you?

Become a LibraryThing Author.

 

Help/FAQs | About | Privacy/Terms | Blog | Store | Contact | LibraryThing.com | APIs | WikiThing | Common Knowledge | Legacy Libraries | Early Reviewers | 105,353,769 books! | Top bar: Always visible