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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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11,534130233 (4)2 / 626
Title:El ruido y la furia (The Sound and the Fury) (Spanish Edition)
Authors:William Faulkner
Info:Alfaguara (2010), Paperback, 328 páginas
Collections:LEIDO, Your library

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)

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English (120)  Dutch (2)  Spanish (2)  French (2)  Danish (1)  Swedish (1)  Portuguese (1)  Catalan (1)  All languages (130)
Showing 1-5 of 120 (next | show all)
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 |
Wow, this was rough. I met someone that said this book was transformative for him and Faulkner is his favorite author. I really wish I could understand that, I mean really understand his experience reading it. I'm going to have to do research tonight before book club tomorrow to even be able to discuss it. And it's only been about 30 years since I have had to do that! Really shows me where my weakness is in terms of grasping literature. I understand, or at least I think I do, most of what occurred in the novel, but the style is beyond me - I don't know why it was presented this way, or what the significance is. Off to learn something! ( )
  MaureenCean | Feb 2, 2016 |
My favorite Faulkner novel. It's not an easy read, but once you make it through the first section (told by the "idiot"), it becomes more accessible. Some of the passages in this book are just simply stunning! My advice for your first read: just keep going - it'll make sense later. If you want to read something a bit more accessible, tackle Faulkner's _Light in August_ or _Absalom, Absalom!_. Faulkner on Benjamin [the "idiot"] character in the novel (in the Appendix to _The Portable Faulkner_): "...Gelded 1913. Committed to the State Asylum, Jackson, 1933. Lost nothing then either because, as with his sister, he remembered not the pasture but only its loss, and firelight was still the same bright shape of sleep." ( )
  dbsovereign | Jan 26, 2016 |
What is so wonderful about Faulkner is his ability to get inside the minds of his characters and really make us feel their world and their experiences. It isn't pretty in there: we have four different characters here, and from the white family we have an overt racist and misogynist; a sensitive character overcome by depression; and a developmentally delayed third son. The daughter's voice is only heard through their memories and that of the fourth character: the black servant who tends to be ignored, but who hears and sees a great deal. Faulkner is one of our first great writers to tell us about race and gender relations in the United States, and for that, he may be hard to read. ( )
  heathrel | Dec 24, 2015 |
Only read this novel when you'll have the patience and fortitude to get through its challenging opening chapter. The second chapter is somewhat easier, the 3rd easier than the 2nd, and the fourth most like any other novel you might read. This gradual easing rewards patience, and will tease you into reading the novel again once you've grasped the whole. There is plenty of help to be had: it has been studied to death, which is little wonder since it so clearly invites study by presenting itself as an unravelling puzzle. The technique is intriguing, but I was preparing to dismiss it as a gimmick if I wasn't convinced there's a good story at the heart of it. Having finished it, I think that may be the wrong way to measure it.

The Compson's predicament comes slowly into focus, conveying emotions more clearly than the facts. We get three successive narrators who can't clearly perceive or deal with the reality of their lives, all wearing blinders of different fashions. Only in the last chapter do we finally get a more objective image of what all this looks like from the outside. Turning the story inside out demonstrates there's nothing shallow about the inner workings of these characters that we'd otherwise be too quick to judge and summarize in flatter terms - not even poor Benjy, who would scarcely have seemed to warrant attention at all. William Faulkner writes like a James Joyce who is willing to explain himself, and he's worth listening to. ( )
1 vote Cecrow | Dec 7, 2015 |
Showing 1-5 of 120 (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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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)

» see all 6 descriptions

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