The Sound and the Fury
William Faulkner, 1929
Knopf Doubleday
448 pp.
ISBN-13: 9780679732242
Summary
First published in 1929, Faulkner created his "heart's darling," the beautiful and tragic Caddy Compson, whose story Faulkner told through separate monologues by her three brothers—the idiot Benjy, the neurotic suicidal Quentin and the monstrous Jason
The Sound and the Fury is made up of undifferentiated streams of consciousness that ultimately turn out to be the inner voices of a family's siblings. Its construction is so masterful that the last sentence refers the reader back to the first one, as any perfect work of art might do.
Sound has the earmarks of a modern psychological study, although the book was published in 1929. It is a dramatic and harrowing tale of the Compson family's pathology—primarily in the form of incest and incestuous thoughts. (From the publisher.)
Author Bio
• Birth—September 25, 1897
• Where—New Albany, Mississippi, USA
• Death—July 6, 1962
• Where—Byhalia, Mississippi
• Awards—Nobel Prize, 1950; 2 Pulitizer prizes; others
William Faulkner was born in New Albany, Mississippi, on September 25, 1897. His family was rooted in local history: his great-grandfather, a Confederate colonel and state politician, was assassinated by a former partner in 1889, and his grandfather was a wealth lawyer who owned a railroad. When Faulkner was five his parents moved to Oxford, Mississippi, where he received a desultory education in local schools, dropping out of high school in 1915. Rejected for pilot training in the U.S. Army, he passed himself off as British and joined the Canadian Royal Air Force in 1918, but the war ended before he saw any service. After the war, he took some classes at the University of Mississippi and worked for a time at the university post office. Mostly, however, he educated himself by reading promiscuously.
Faulkner had begun writing poems when he was a schoolboy, and in 1924 he published a poetry collection, The Marble Faun, at his own expense. His literary aspirations were fueled by his close friendship with Sherwood Anderson, whom he met during a stay in New Orleans. Faulkner's first novel, Soldier's Pay, was published in 1926, followed a year later by Mosquitoes, a literary satire. His next book, Flags in the Dust, was heavily cut and rearranged at the publisher's insistence and appeared finally as Sartoris in 1929. In the meantime he had completed The Sound and the Fury, and when it appeared at the end of 1929 he had finished Sanctuary and was ready to begin writing As I Lay Dying. That same year he married Estelle Oldham, whom he had courted a decade earlier.
Although Faulkner gained literary acclaim from these and subsequent novels—Light in August (1932), Pylon (1935), Absalom, Absalom! (1936), The Unvanquished (1938), The Wild Palms (1939), The Hamlet (1940), and Go Down, Moses (1942)—and continued to publish stories regularly in magazines, he was unable to support himself solely by writing fiction. he worked as a screenwriter for MGM, Twentieth Century-Fox, and Warner Brothers, forming a close relationship with director Howard Hawks, with whom he worked on To Have and Have Not, The Big Sleep, and Land of the Pharaohs, among other films. In 1944 all but one of Faulkner's novels were out of print, and his personal life was at low ebb due in part to his chronic heavy drinking. During the war he had been discovered by Sartre and Camus and others in the French literary world. In the postwar period his reputation rebounded, as Malcolm Cowley's anthology The Portable Faulkner brought him fresh attention in America, and the immense esteem in which he was held in Europe consolidated his worldwide stature.
Faulkner wrote seventeen books set in the mythical Yoknapatawpha County, home of the Compson family in The Sound and the Fury. "No land in all fiction lives more vividly in its physical presence than this county of Faulkner's imagination," Robert Penn Warren wrote in an essay on Cowley's anthology. "The descendants of the old families, the descendants of bushwhackers and carpetbaggers, the swamp rats, the Negro cooks and farm hands, the bootleggers and gangsters, tenant farmers, college boys, county-seat lawyers, country storekeepers, peddlers--all are here in their fullness of life and their complicated interrelations." In 1950, Faulkner traveled to Sweden to accept the 1949 Nobel Prize for Literature. In later books—Intruder in the Dust (1948), Requiem for a Nun (1951), A Fable (1954), The Town (1957), The Mansion (1959), and The Reivers (1962) -- he continued to explore what he had called "the problems of the human heart in conflict with itself," but did so in the context of Yoknapatawpha's increasing connection with the modern world. He died of a heart attack on July 6, 1962. (From the publisher.)
Book Reviews
The critics...now tell us that his style is florid, that his plots are hard to follow, that he sometimes shows bad taste in his choice of material.... On the other hand, I can think of no other living American author who writes with the same intensity or who carries us so completely into a world of his own. There is no American author or our time who has undertaken and partly completed a more ambitious series of novels and stories..... Faulkner has been writing a sort of human comedy that was partly inspired by his reading of Balzac.
Malcolm Cowley - New York Times (10/29/1944)
For all his concern with the South, Faulkner was actually seeking out the nature of man. Thus we must return to him for that continuity of moral purpose which made for the greatness of our classics.
Ralph Ellison
Faulkner...belongs to the full-dressed post-Flaubert group of Conrad, Joyce, and Proust.
Edmund Wilson
For all the range of effect, philosophical weight, originality of style, variety of characterization, humor, and tragic intensity [Faulkner's works] are without equal in our time and country.
Robert Penn Warren
Discussion Questions
1. The novel's title is taken from a monologue spoken by Shakespeare's Macbeth, who has attained the throne of Scotland through murder and has held it through the most brutal violence and tyranny; at this point in the play he has just heard that his wife has killed herself. Sated with his own corruption and looking forward to his imminent defeat and death, he says:
Tomorrow, and tomorrow, and tomorrow
Creeps in this petty pace from day to day,
To the last syllable of recorded time
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing."
Why do you think Faulkner chose a phrase from this passage for his title? How is this passage applicable to the novel? Do you find the novel as pessimistic and despairing as Macbeth's speech?
2. In The Sound and the Fury Faulkner makes use of the stream of consciousness technique, which was also used earlier in the 1920s in such experimental works as James Joyce's Ulysses and Virginia Woolf's Mrs. Dalloway. He further complicates matters for the reader by scrambling, as it were, the time frames referred to by the narrating consciousness of the opening section of the novel. How do you learn to find your way in Benjy's chapter? How many time periods are interspersed? What are some of the events Benjy is remembering? If Benjy is the "idiot" of Macbeth's speech, in what ways can he be seen, nonetheless, as both a sensitive and sentient observer of his family?
3. All of the novel's crucialevents are registered in Benjy's section and are later recapitulated or expanded upon by other narrators, for Benjy is in many ways the central and most important narrating consciousness. Faulkner said of Benjy, "To that idiot, time was not a continuation, it was an instant, there was no yesterday and no tomorrow, it all is this moment, it all is [now] to him. He cannot distinguish between what was last year and what will be tomorrow, he doesn't know whether he dreamed it, or saw it." What are some of the effects of the opening section upon your experience of the Compson family story? Why would Faulkner choose Benjy to introduce the reader to his story? What is Benjy's importance in a novel that is dominated by memory rather than action?
4. Which characters, if any, serve as registers of emotional and moral value? In whom do we find love, honor, loyalty, strength? Is Jason the embodiment of the opposite traits? How does Caddy's daughter, Quentin, fit into the scheme of value here? What about Mrs. Compson? Do Benjy's perceptions function as a sort of touchstone for the reader?
5. Each of the four sections has a date rather than a chapter number. Note that three of the narratives take place on three sequential days in April of 1928 though they are not presented in chronological sequence. The second of the four, Quentin's narrative, is dated June 2, 1910—the day he drowned himself at the end of his first year at Harvard. With each section the narrative voice becomes more coherent, and we finish with a fairly straightforward and traditional third-person voice. Why do you think Faulkner has chosen to present things in this way and in this order?
6. What are the reasons for Quentin's decision to drown himself? Why does Faulkner choose to have Quentin narrate his own section, even though he has been dead for nearly eighteen years? What do you see as the meaning of his dual obsession with his sister's virginity and the loss of the family honor? Why does he attempt to make, in a crucial conversation with his father, a false confession of incest? Given Quentin's state of mind at the time, what do you think of Mr. Compson's response to him?
7. For her brothers, Caddy is the traumatic absence at the center of their experience. For Faulkner, Caddy was the image around which the novel took shape; she was "the sister which I did not have and the daughter which I was to lose, " and it all began with the image of "the muddy bottom of a little doomed girl climbing a blooming pear tree in April to look in the window" at the funeral of her grandmother. While Caddy is presented as maternal, erotic, promiscuous, and imperious, she is also unknowable, given that she can only be glimpsed in the rather unreliable narrations of her brothers. Does she appeal to you as a sympathetic character? Is Caddy's fall the cause of the family tragedy or is she just another child-victim of the abdication of parental responsibility? Why do Caddy's brothers each have a narrative voice, while Caddy has none?
8. Jason is an embittered young man with a nasty sense of humor. Nonetheless, he is the querulous Mrs. Compson's favorite, the son upon whom she depends. He imagines people saying of his siblings, "one of them is crazy and another one drowned himself and the other one was turned out into the street by her husband..." [p. 233]. Do you think he succeeds in preserving the appearance of normality that is so important to him? How would you describe Jason's mode ofthinking and reasoning? What are some of his activities and preoccupations? What is the effect of his narrative's mood and voice, following as it does upon Benjy's and Quentin's?
9. What role does Dilsey play in the novel? Why does the narrative of the fourth and final section focus upon her, and why do you think Faulkner chose not to give her a narrative in her own voice? What is the significance of the black community and its church in the final section? The novel ends on Easter Sunday; how does this turn to an overtly Christian context work for you as a reader?
10. The novel takes into its scope a number of serious philosophical and psychological issues—the meaning of time, for instance, and the psychopathology of the family—but it does not devote itself to a cohesive exploration of any of them. What, then, would you say this novel is "about"? Think again about the Macbeth quotation—life is "a tale told by an idiot, signifying nothing." What does Faulkner's tale, told four times, signify? What does it achieve? In what ways does the novel focus our attention upon the problem of representing consciousness realistically within the novel form? How does The Sound and the Fury change or affect your experience as a reader of novels?
(Questions issued by publisher.)
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