The Sound and The Fury
The ostensible subject ofThe Sound and the Furyis 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 Furyis 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 isThe Sound and the Furythat secures his place in what Edmund Wilson called "the full-dressed post-Flaubert group of Conrad, Joyce, and Proust."--David Laskin--This text refers to an alternatePaperbackedition.