Author: William Faulkner
Translator: Jin-ho Gong
Publisher: Munhakdongne
460 pages | 210*140mm
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| >>>This book is written in Korean only. |
About This Book
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
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