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El ruido y la furia (The Sound and the Fury)…

El ruido y la furia (The Sound and the Fury) (Spanish Edition) (original 1929; edition 2010)

by William Faulkner

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11,323121246 (4)2 / 612
Title:El ruido y la furia (The Sound and the Fury) (Spanish Edition)
Authors:William Faulkner
Info:Alfaguara (2010), Paperback, 328 páginas
Collections:Your library

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The Sound and the Fury by William Faulkner (1929)

  1. 10
    Absalom, Absalom! by William Faulkner (LKAYC)
  2. 10
    More than human by Theodore Sturgeon (rickyrickyricky)
    rickyrickyricky: A sci-fi romp through--intentionally so--much of the same territory.
  3. 00
    Beloved by Toni Morrison (Laura1124)
  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)

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English (113)  Dutch (2)  Danish (1)  French (1)  Spanish (1)  Swedish (1)  Portuguese (1)  Catalan (1)  All languages (121)
Showing 1-5 of 113 (next | show all)
The Sound and the Fury is a spectacular piece of literature. The writing style, described as "stream of consciousness" is riveting. I found myself reading it section by section, because it is easy to lose yourself in the constant flow of words. Each character, presented from different viewpoints, exist in a three-dimensional space that is rare in some literature these days. Faulkner allows them to flourish and develop themselves. It provides an honest, unflinching look into their lives, the love, the slow implosion and the resilience. You need patience to read this book, but in my opinion, it's worth it! ( )
  SimTheWriter | Aug 31, 2015 |
I don't know that I've been introduced to a more depraved fictional character than Jason Compson. This is going to require another read. I didn't quite get what was happening at the beginning during Benjy's chapter.
  beebowallace | Jul 7, 2015 |
Read in high school and hated it. I think I should give it another chance, or perhaps a different Faulkner novel? ( )
  Diamond.Dee. | Jul 3, 2015 |
This book was chosen for our latest bookclub read and I can see it putting a large nail in the coffin of the club. We have a system of members taking turns in choosing the books to read next and I thought something might be up when the member said he would email us with his selection. Difficult books can put people off, but I was fortunate in having read The Sound and the Fury previously and had been so fascinated by the style that I had re-read sections and had done a little research on it’s themes and ideas. My advice would be; don’t read this book without help. You will need a safety net to get through the first part and will be in danger of becoming entangled in that net during the second part. It is only when you get to part three that the narrative begins to make any sense, but for many people this will be far too late. The final part which eschews the stream of consciousness technique completely and is told in a more understandable authorial omniscience may be the one that a reader new to the book may wish to read first.

So why does this novel seem tantalisingly beyond comprehension on a first reading? It is not the vocabulary that is the problem, the reader understands the words well enough, (although they are more difficult for readers not familiar with language used in the Southern States of America). One feels that the way they are used within the sentences is obscuring the meaning, sometimes the reader feels he is on the verge of getting a grip on events, but like much of real life it just seems to slip through ones fingers. This is most evident in the the first section which takes the point of view of a 33 year old member of the Compson family, however Benji is mentally sub normal to the extent that he has not been able to learn to talk and has to be constantly supervised. He feels, sees, senses and for the most part hears things but they are scrambled in his mind, he has no sense of time and so his narrative is disjointed. Faulkner flits between a first person narrative as though Benji could reiterate his thoughts and accurate recordings of other characters speech and actions. Having no narrative to hold on to, the reader is left scratching for clues as to what is happening. It is a tour de force of of the stream of consciousness method, but can only be really appreciated when the narrative begins to make sense.

The second part is told in the first person by Quentin: one of Benjamin’s brothers, and while he is intelligent, (a student at university) he is going through his own personal crisis on a day that will end in his suicide. His thoughts are sometimes irrational, often jumbled and hopelessly obsessive.
While there are narrative events in this section of the book for example Quentins meeting with the young boys fishing from the bridge and his sojourn with the little girl who refuses to speak, his obsessive behaviour and his social ineptness in dealing with adult people make his section of the book almost as difficult as the first part. Faulkner adds to the confusion by writing some of this section without any punctuation. There are more clues in Quentin’s section and there are bits that are recognisably a narrative, but the reader is periodically thrown off the scent of the real story and is left once again with a visceral effect of being inside the head of a man suffering from an obsessive disorder.

The third part of the book is told from the perspective of the third brother Jason and he is totally self obsessed. He sees the dissolution of the once great Compson family firsthand and feels cheated by their failings; his inheritance is to work in a store (land was sold to fund Quentin’s education, but there is none left for Jason). He is mean spirited and unforgiving and resorts to cheating his niece out of her inheritance with no sense of shame or guilt. Parts of the story now come together, but there is much that is unexplained and while the narrative drive of this section can be followed easily enough, it only sheds a partial light on what has gone before.

The final section describes a day in the life of the family when Jason’s story reaches its conclusion and features the negro servant Dilsey who is the only recognisable “good” person in the novel. She works hard at keeping the family together despite suffering the racial abuse that is a matter of course for people in her position. There is no light-bulb moment at the conclusion to the novel, but there is enough to make this reader want to read parts of it again. Many readers will feel that they have missed much and the only way to piece it together is to backtrack; it becomes easier the second time around.

What stood out for me this time around was the obsessive nature of so many of the characters. Benjy is obsessive in a way similar to people suffering from an extreme compulsive obsessive disorder. Two of the female characters are obsessed by sex and promiscuity and Quentin’s and Jason’s obsessions have already been noted. It is though Faulkner is using the family to point out the dangers of a closed society and the inbreeding that can be the result; The Confederate South of America maybe?

I would have thought that many American readers would have studied The Sound and the Fury at school or college and so would have formed their opinions of it’s readability and been familiar with it’s themes. For new readers, take it from me, you need spoilers, as many spoilers as you can find.
I enjoyed my re-read of this classic five star novel, but I am wondering how many of my fellow book club members got through the first section. ( )
9 vote baswood | May 21, 2015 |
I have tried over and over on this one. I can't get there. Neither sound nor fury for me. ( )
  LauraCLM | May 7, 2015 |
Showing 1-5 of 113 (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 (137 possible)

Author nameRoleType of authorWork?Status
Faulkner, Williamprimary authorall 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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Through the fence, between the curling flower spaces, I could see them hitting.
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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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)

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