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The Sound and the Fury: The Complete, Definitive Edition (Vintage International) Kindle Edition
One of The Atlantic’s Great American Novels of the Past 100 Years
The Sound and the Fury is the tragedy of the Compson family, featuring some of the most memorable characters in literature: beautiful, rebellious Caddy; the manchild Benjy; haunted, neurotic Quentin; Jason, the brutal cynic; and Dilsey, their black servant. Their lives fragmented and harrowed by history and legacy, the character’s voices and actions mesh to create what is arguably Faulkner’s masterpiece and one of the greatest novels of the twentieth century.
“I give you the mausoleum of all hope and desire.... I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all of your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.” —from The Sound and the Fury
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From the Publisher
Editorial Reviews
Review
“No man ever put more of his heart and soul into the written word than did William Faulkner. If you want to know all you can about that heart and soul, the fiction where he put it is still right there.” —Eudora Welty
From the Inside Flap
From the Trade Paperback edition.
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Excerpt. © Reprinted by permission. All rights reserved.
Through the fence, between the curling flower spaces, I could see them hitting. They were coming toward where the flag was and I went along the fence. Luster was hunting in the grass by the flower tree. They took the flag out, and they were hitting. Then they put the flag back and they went to the table, and he hit and the other hit. Then they went on, and I went along the fence. Luster came away from the flower tree and we went along the fence and they stopped and we stopped and I looked through the fence while Luster was hunting in the grass.
"Here, caddie." He hit. They went away across the pasture. I held to the fence and watched them going away.
"Listen at you, now." Luster said. "Aint you something, thirty three years old, going on that way. After I done went all the way to town to buy you that cake. Hush up that moaning. Aint you going to help me find that quarter so I can go to the show tonight."
They were hitting little, across the pasture. I went back along the fence to where the flag was. It flapped on the bright grass and the trees.
"Come on." Luster said. "We done looked there. They aint no more coming right now. Les go down to the branch and find that quarter before them niggers finds it."
It was red, flapping on the pasture. Then there was a bird slanting and tilting on it. Luster threw. The flag flapped on the bright grass and the trees. I held to the fence.
"Shut up that moaning." Luster said. "I cant make them come if they aint coming, can I. If you dont hush up, mammy aint going to have no birthday for you. If you dont hush, you know what I going to do. I going to eat that cake all up. Eat them candles, too. Eat all them thirty three candles. Come on, les go down to the branch. I got to find my quarter. Maybe we can find one of they balls. Here. Here they is. Way over yonder. See." He came to the fence and pointed his arm. "See them. They aint coming back here no more. Come on."
We went along the fence and came to the garden fence, where our shadows were. My shadow was higher than Luster's on the fence. We came to the broken place and went through it.
"Wait a minute." Luster said. "You snagged on that nail again. Cant you never crawl through here without snagging on that nail."
Caddy uncaught me and we crawled through. Uncle Maury said to not let anybody see us, so we better stoop over, Caddy said. Stoop over, Benjy. Like this, see. We stooped over and crossed the garden, where the flowers rasped and rattled against us. The ground was hard. We climbed the fence, where the pigs were grunting and snuffing. I expect they're sorry because one of them got killed today, Caddy said. The ground was hard, churned and knotted.
Keep your hands in your pockets, Caddy said. Or they'll get froze. You dont want your hands froze on Christmas, do you.
"It's too cold out there." Versh said. "You dont want to go out doors."
"What is it now." Mother said.
"He want to go out doors." Versh said.
"Let him go." Uncle Maury said.
"It's too cold." Mother said. "He'd better stay in. Benjamin. Stop that, now."
"It wont hurt him." Uncle Maury said.
"You, Benjamin." Mother said. "If you dont be good, you'll have to go to the kitchen."
"Mammy say keep him out the kitchen today." Versh said. "She say she got all that cooking to get done."
"Let him go, Caroline." Uncle Maury said. "You'll worry yourself sick over him."
"I know it." Mother said. "It's a judgment on me. I sometimes wonder."
"I know, I know." Uncle Maury said. "You must keep your strength up. I'll make you a toddy."
"It just upsets me that much more." Mother said. "Dont you know it does."
"You'll feel better." Uncle Maury said. "Wrap him up good, boy, and take him out for a while."
Uncle Maury went away. Versh went away.
"Please hush." Mother said. "We're trying to get you out as fast as we can. I dont want you to get sick."
Versh put my overshoes and overcoat on and we took my cap and went out. Uncle Maury was putting the bottle away in the sideboard in the diningroom.
"Keep him out about half an hour, boy." Uncle Maury said. "Keep him in the yard, now."
"Yes, sir." Versh said. "We dont never let him get off the place."
We went out doors. The sun was cold and bright.
"Where you heading for." Versh said. "You dont think you going to town, does you." We went through the rattling leaves. The gate was cold. "You better keep them hands in your pockets." Versh said. "You get them froze onto that gate, then what you do. Whyn't you wait for them in the house." He put my hands into my pockets. I could hear him rattling in the leaves. I could smell the cold. The gate was cold.
"Here some hickeynuts. Whooey. Git up that tree. Look here at this squirl, Benjy."
I couldn't feel the gate at all, but I could smell the bright cold.
"You better put them hands back in your pockets."
Caddy was walking. Then she was running, her book-satchel swinging and jouncing behind her.
"Hello, Benjy." Caddy said. She opened the gate and came in and stooped down. Caddy smelled like leaves. "Did you come to meet me." she said. "Did you come to meet Caddy. What did you let him get his hands so cold for, Versh."
"I told him to keep them in his pockets." Versh said. "Holding on to that ahun gate."
"Did you come to meet Caddy," she said, rubbing my hands. "What is it. What are you trying to tell Caddy." Caddy smelled like trees and like when she says we were asleep.
What are you moaning about, Luster said. You can watch them again when we get to the branch. Here. Here's you a jimson weed. He gave me the flower. We went through the fence, into the lot.
"What is it." Caddy said. "What are you trying to tell Caddy. Did they send him out, Versh."
"Couldn't keep him in." Versh said. "He kept on until they let him go and he come right straight down here, looking through the gate."
"What is it." Caddy said. "Did you think it would be Christmas when I came home from school. Is that what you thought. Christmas is the day after tomorrow. Santy Claus, Benjy. Santy Claus. Come on, let's run to the house and get warm." She took my hand and we ran through the bright rustling leaves. We ran up the steps and out of the bright cold, into the dark cold. Uncle Maury was putting the bottle back in the sideboard. He called Caddy. Caddy said,
"Take him in to the fire, Versh. Go with Versh." she said. "I'll come in a minute."
We went to the fire. Mother said,
"Is he cold, Versh."
"Nome." Versh said.
"Take his overcoat and overshoes off." Mother said. "How many times do I have to tell you not to bring him into the house with his overshoes on."
"Yessum." Versh said. "Hold still, now." He took my overshoes off and unbuttoned my coat. Caddy said,
"Wait, Versh. Cant he go out again, Mother. I want him to go with me."
"You'd better leave him here." Uncle Maury said. "He's been out enough today."
"I think you'd both better stay in." Mother said. "It's getting colder, Dilsey says."
"Oh, Mother." Caddy said.
"Nonsense." Uncle Maury said. "She's been in school all day. She needs the fresh air. Run along, Candace."
"Let him go, Mother." Caddy said. "Please. You know he'll cry."
"Then why did you mention it before him." Mother said. "Why did you come in here. To give him some excuse to worry me again. You've been out enough today. I think you'd better sit down here and play with him."
"Let them go, Caroline." Uncle Maury said. "A little cold wont hurt them. Remember, you've got to keep your strength up."
"I know." Mother said. "Nobody knows how I dread Christmas. Nobody knows. I am not one of those women who can stand things. I wish for Jason's and the children's sakes I was stronger."
"You must do the best you can and not let them worry you." Uncle Maury said. "Run along, you two. But dont stay out long, now. Your mother will worry."
"Yes, sir." Caddy said. "Come on, Benjy. We're going out doors again." She buttoned my coat and we went toward the door.
"Are you going to take that baby out without his overshoes." Mother said. "Do you want to make him sick, with the house full of company."
"I forgot." Caddy said. "I thought he had them on."
We went back. "You must think." Mother said. Hold still now Versh said. He put my overshoes on. "Someday I'll be gone, and you'll have to think for him." Now stomp Versh said. "Come here and kiss Mother, Benjamin."
Caddy took me to Mother's chair and Mother took my face in her hands and then she held me against her.
"My poor baby." she said. She let me go. "You and Versh take good care of him, honey."
"Yessum." Caddy said. We went out. Caddy said,
"You needn't go, Versh. I'll keep him for a while."
"All right." Versh said. "I aint going out in that cold for no fun." He went on and we stopped in the hall and Caddy knelt and put her arms around me and her cold bright face against mine. She smelled like trees.
"You're not a poor baby. Are you. Are you. You've got your Caddy. Haven't you got your Caddy."
Cant you shut up that moaning and slobbering, Luster said. Aint you shamed of yourself, making all this racket. We passed the carriage house, where the carriage was. It had a new wheel.
"Git in, now, and set still until your maw come." Dilsey said. She shoved me into the carriage. T. P. held the reins. "Clare I dont see how come Jason wont get a new surrey." Dilsey said. "This thing going to fall to pieces under you all some day. Look at them wheels."
Mother came out, pulling her veil down. She had some flowers.
"Where's Roskus." she said.
"Roskus cant lift his arms, today." Dilsey said. "T. P. can drive all right."
Product details
- ASIN : B004JHYRT0
- Publisher : Vintage; 1st edition (May 18, 2011)
- Publication date : May 18, 2011
- Language : English
- File size : 2.4 MB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Enabled
- Word Wise : Enabled
- Print length : 386 pages
- Best Sellers Rank: #174,065 in Kindle Store (See Top 100 in Kindle Store)
- #200 in Classic American Fiction
- #506 in Classic Literary Fiction
- #1,216 in Historical Literary Fiction
- Customer Reviews:
About the authors
Born in 1897 in New Albany, Mississippi, William Faulkner was the son of a family proud of their prominent role in the history of the south. He grew up in Oxford, Mississippi, and left high school at fifteen to work in his grandfather's bank.
Rejected by the US military in 1915, he joined the Canadian flyers with the RAF, but was still in training when the war ended. Returning home, he studied at the University of Mississippi and visited Europe briefly in 1925.
His first poem was published in The New Republic in 1919. His first book of verse and early novels followed, but his major work began with the publication of The Sound and the Fury in 1929. As I Lay Dying (1930), Sanctuary (1931), Light in August (1932), Absalom, Absalom! (1936) and The Wild Palms (1939) are the key works of his great creative period leading up to Intruder in the Dust (1948). During the 1930s, he worked in Hollywood on film scripts, notably The Blue Lamp, co-written with Raymond Chandler.
William Faulkner was awarded the Nobel Prize for Literature in 1949 and the Pulitzer Prize for The Reivers just before his death in July 1962.
Photo by Carl Van Vechten [Public domain], via Wikimedia Commons.
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Customers consider this book a classic, praising its brilliance with the English language and complex narrative that opens up new secrets with each reading. The storyline receives mixed reactions, with some finding it fascinating while others struggle to follow the plot. Customers have mixed opinions about the readability, with some finding it easy to read while others describe it as difficult to understand. The emotional content and character development also receive mixed reviews, with some appreciating the stream of consciousness style while others find it convoluted, and while some get a sense of the characters, others find the relationships hard to follow. Customers find the book unentertaining.
AI-generated from the text of customer reviews
Customers appreciate the book's complexity, with one noting how it opens up new secrets with each reading, while another mentions its many interesting subtle clues.
"...of such action, the psychology of it, the nature of family attachment and family values, the nature of goodness and evil, the richness and..." Read more
"This is among the greatest, most mentally challenging, emotionally arresting novel I have ever read...." Read more
"...all is an incredible, sad and moving story that is unveiled little by little...." Read more
"...reader will still not know what is going on, but there are many interesting subtle clues about what might be going on that a very alert reader might..." Read more
Customers appreciate the book's classic status.
"A classic, but I prefer "As I Lay Dying"...." Read more
"Adore the original. It's a difficult but extremely rewarding journey...." Read more
"Does anyone really have to review this amazing ground-breaking classic?..." Read more
"Book is a classic and this print version is excellent size and easy to read" Read more
Customers have mixed opinions about the book's readability, with some finding it well written and appreciating its brilliance with the English language, while others describe it as a big difficult read that is hard to understand.
"...Benji has a limited vocabulary, but does respond to certain words, such as “caddie,” and also seems to understand elementary language...." Read more
"...Gratefully, there was enough linear narration that I grasped what was going on, and when reading it I employed an old high school trick: when I..." Read more
"...Perhaps this is the way the mind works, but it is tiresome to struggle through...." Read more
"...I had absolutely no clue what the heck was going on, the sentences were disjunctive, the thoughts scrambled, the characters were dropping in then..." Read more
Customers have mixed reactions to the emotional content of the book, with some finding it poignant and feeling various emotions, while others find the stream of consciousness style convoluted.
"...members of the Compson family—the good and faithful servant, compassionate, not sentimental, a woman who preserves her dignity despite the vicious..." Read more
"...thought before finishing the previous one has the effect of mental incoherence...." Read more
"...What touched me most about Faulkner is his talent for understanding the workings of the human psyche...." Read more
"...what the heck was going on, the sentences were disjunctive, the thoughts scrambled, the characters were dropping in then disappearing, it seemed to..." Read more
Customers have mixed opinions about the character development in the book, with some appreciating how they develop throughout the story, while others find them almost pointlessly odd and difficult to follow.
"...How on earth he was able to craft a fully credible, sympathetic character in Benjy (as opposed to a one-dimensional idiot) I'll never understand...." Read more
"...were disjunctive, the thoughts scrambled, the characters were dropping in then disappearing, it seemed to change time frames without any..." Read more
"...of no family in literature, American or otherwise, where the characters are more real...." Read more
"...The characters are veiled, shadowy and obscure. &#..." Read more
Customers have mixed opinions about the storyline of the book, with some finding it fascinating while others say it's hard to follow.
"...planted and cultivated in later chapters, but the foundation of the story is fairly well cemented...." Read more
"...have not spent any money or read this book if I knew what a depressing and awful novel it would turn out to be...." Read more
"...It is in Dilsey's section that the story finally comes together...." Read more
"...Still, underneath all is an incredible, sad and moving story that is unveiled little by little...." Read more
Customers have mixed opinions about the reading pace of the book, with some finding it slow to read, while one customer notes that it should be read slowly to understand the time shifts.
"slow read." Read more
"It is a recognized American masterpiece, but it should be read slowly to understand time shifts...." Read more
"...Read this slowly. Every scene is filled with symbolism." Read more
"...It is, by all accounts, very confusing with the jumps in time...." Read more
Customers find the book unentertaining and not worth their time.
"...Those thoughts and lives disorienting, desperate, hopeless and filled with dread...." Read more
"...but at a certain point it loses it's stylistic flare and becomes utter garbage. Here is a paragraph: "..." Read more
"...It's artsy I suppose but not an enjoyable read. I remember a Cormac McCarthy book with no punctuation, that was fun [sarc]" Read more
"...It's a fraud and a waste of time, and you almost have to pity the deluded mind that came up with it and had so little idea what they were doing...." Read more
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Top reviews from the United States
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- Reviewed in the United States on September 12, 2022The title of this work is taken from Shakespeare’s MACBETH:
“Life’s but a walking shadow,
It is a tale told by an idiot, full of sound and fury….”
___________
Who, When, Where?
The “who” of the story is the once prominent Compson family of Faulkner’s imagined Yoknapatawpha County in the state of Mississippi. The “when,” three consecutive days in April, 1928, culminating on Easter Sunday, 1928, and then June 2, 1910, the day of Quentin Compson’s suicide. The four sections of the novel are not sequential. That is, the first section is April 7, 1928, the second June 2, 1910, the third April 6, 1928, and the last section April 8, 1928. The 1928 action is all centered in Jefferson, Mississippi, while the June 2, 1910 section is set in Cambridge, Mass. and environs, where Quentin Compson would be finishing his first year at Harvard.
The last section is author observant (not omniscient). The other three sections are first person accounts. Faulkner employs the stream of consciousness technique for these three sections. Time, therefore, flows back and forth in the minds of the first-person informants. Much of the puzzlement this work produces results from the discontinuity of time and the switches in settings that result from “listening in” on the thoughts of the informants. The puzzlement is most trying in the first section, April 7, 1928, as the informant for the action is Benjamin “Benji” Compson, the family’s severely retarded, re-named, and nearly 33-year-old son. Benji has a limited vocabulary, but does respond to certain words, such as “caddie,” and also seems to understand elementary language. He appears not to articulate speech. He often focuses on colors, lights, smells, etc., and he is obviously very attached to his absent sister Caddy.
Besides Benji, the Compson family is populated by an alcoholic lawyer father, a neurotic self-centered and feckless mother, a villainous, sadistic and money-grubbing brother, the “fallen woman,” Caddy, Quentin the mentally ill brother (in love with his sister and perhaps the ideal of Southern womanhood, but who would not touch her himself and who cannot defend her from those who would take advantage), Quentin, the illegitimate daughter of Caddy whose father is unknown, and who absconds with a carnival man in the 1928 sections of the story, after having stolen money rightly belonging to her from her Uncle Jason. Finally, there is Damuddy, the maternal grandmother who dies in the Compson house as recollected in the first section of the story, and the in-and-out Maury, the maternal uncle who seems to live off the Compson family. The cast of characters also includes Negro servants, the most prominent being Dilsey, the matronly, dutiful “protectress” of all the weaker members of the Compson family—the good and faithful servant, compassionate, not sentimental, a woman who preserves her dignity despite the vicious racism that clearly lurks beneath the social surface. I see her as the only heroic individual in the story.
A funeral, a suicide, an assignation, a theft a marriage—much of the big action of this novel takes place in the background. Faulkner seems not to want that kind of action as a focus. Rather, he looks at consequences of such action, the psychology of it, the nature of family attachment and family values, the nature of goodness and evil, the richness and complexity of everyday life. Perhaps surprisingly, this novel is filled with subtle humor—amidst all the distress. Still there are many questions left unanswered in my mind. Perhaps I need another read.
Another read? That would be my third. I first read The Sound and the Fury as a college senior, in a class called The Experimental Novel—my last semester before going on to medical school. It was too much for me at that time. It didn’t stick. Perhaps one more read in my lifetime is in order. Because this is a classic.
lwl
- Reviewed in the United States on December 2, 2010The Sound and the Fury has been sitting on my bookshelf for some months now. I've always wanted to dip my toe into the pool of Faulkner, but have been intimidated by the unilateral criticisms that he's difficult to follow...that's an understatement; he's incredibly challenging. But his writing, when he's writing linear passages...the language is beautiful, sensual and heartbreaking. And even when he's throwing irregular timeframes around...the payoff is worth the initial confusion.
I agree with other reviewers that it helps to equip yourself with a 'cast of characters' for Sound and the Fury. I read every page of Benjy's section THREE TIMES (which, I've never done before) in order to grip fully what was happening. I also referred to Sparknotes (highly recommend) in-between re-readings for some insight into what I might've missed. Once you have the 'key' to unlocking the working of Benjy's mind, it is so much easier to follow.
The genius of the Benjy chapter, and why I believe Faulkner chose to lead with it (risking alienating many readers...which only makes him more of a literary giant in my book) is that events and characters are presented with almost absolute objectivity. Seeds are planted and cultivated in later chapters, but the foundation of the story is fairly well cemented. But also, because Benjy's general understanding of everything is so limited, there are plenty of surprises to come when other narrators allude to the same events and people. This detached glimpse into the life of the family over these decades makes it possible to feel more deeply about them later on.
The second chapter (Quentin) is the more confusing of the two, I believe, because of the heavy use of stream-of-consciousness. I'm not a fan of that device, with any writer. Gratefully, there was enough linear narration that I grasped what was going on, and when reading it I employed an old high school trick: when I come across passages in Shakespeare that I'm not understanding, I read through them quickly, refusing to dwell on the words, and usually come away with an understanding at least of the action. If that sounds pedestrian, well, maybe it is, but it works! (And liberates me to appreciate other passages of lyrical beauty which I CAN understand, not to mention the work as a whole).
The final two chapters are far more approachable, and I found Jason's character to be deliciously villainous and tragic.
What touched me most about Faulkner is his talent for understanding the workings of the human psyche. How on earth he was able to craft a fully credible, sympathetic character in Benjy (as opposed to a one-dimensional idiot) I'll never understand. His treatment of the black characters in the book, based on their speech patterns alone and heavy use of the "N" word could easily have thrown their characters into Uncle Tom territory. Instead, he treats them with respect, allowing some to be dignified and noble (Dilsey) and others simple and flawed (Luster), just as he does with the white characters (the juxtaposition between Caddy's empathy and her mother's narcissism...amazing).
There are some who believe a book should stand alone on its merits without the need for companion materials in order to understand it. For me, if having some "help" with a book empowers me to squeeze out the most juice, to come away from it with a richer understanding of its themes and appreciation for its complexity and beauty, I am all for it.
I probably won't be jumping headlong into "The Bear" anytime soon, because this was an intellectually exhausting read! But someday I'll return to Faulkner, because he's written what is now one of my favorite books of all time. It's truly a masterpiece.
- Reviewed in the United States on July 1, 2024The Sound and the Fury is hailed as an American Classic. I’m no judge on which books are deemed a Classic and which ones aren’t ….but, I was thoroughly confused when I began reading it and in my humble opinion, it’s not a Classic. Lucky, in this day of computers, I was able to search and find out what the hell Faulkner was talking about. I gave it four stars because it is an excellent book, just prepare yourself before hand on the writing style which is very unique.
Top reviews from other countries
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Antonio CalòReviewed in Italy on June 21, 2024
5.0 out of 5 stars FANTASTICO
Storia fantastica
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viorela hoffReviewed in Germany on January 22, 2025
5.0 out of 5 stars Buch
Die „Geschichte“ mit die Uhr ist die schönste
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Client d'AmazonReviewed in France on February 6, 2020
5.0 out of 5 stars Merci
Parfait comme neuf
- ErwinReviewed in Japan on April 11, 2025
5.0 out of 5 stars amazing
The packaging and design of this book are amazing. It strongly evokes a desire to read.
- book loverReviewed in the United Kingdom on November 20, 2014
5.0 out of 5 stars It is really best to go with the flow as another reviewer has ...
This is actually a testing narrative, or a series of narratives, particularly the second by Quentin I found, with the continual movement in time frames, but it is without doubt worth the effort to persevere as the book is a piece of creative genius the likes that one seldom has the privilege to read, and relates much to the sentiments of the passage from Macbeth from where the title of the book is taken. It is really best to go with the flow as another reviewer has suggested and appreciate the different narratives from three brothers caught up in one family's fall from grace in the American south with the ever present racial intolerance and the shame of one of the brother's mental incapacity and a sister's promiscuity - made more remarkable by the first narrative being the inward voice/observations of Ben, the brother with mental incapacity and the second narrative by Quentin, whose depression leads to suicide. The third narrative is by the more volatile brother who seeks redress for his lot in the family downfall and the events that unfold when his niece steals his ill begotten savings in the final part that moves from the individual's subjective perspective.