From the Modern Library’s new set of beautifully repackaged hardcover classics by William Faulkner—also available are Snopes, As I Lay Dying, Light in August, Absalom, Absalom!, and Selected Short Stories
The Sound and the Fury, first published in 1929, is perhaps William Faulkner’s greatest book. It was immediately praised for its innovative narrative technique, and comparisons were made with Joyce and Dostoyevsky, but it did not receive popular acclaim until the late forties, shortly before Faulkner received the Nobel Prize for Literature.
The novel reveals the story of the disintegration of the Compson family, doomed inhabitants of Faulkner’s mythical Yoknapatawpha County, through the interior monologues of the idiot Benjy and his brothers, Quentin and Jason. Featuring a new Foreword by Marilynne Robinson, this edition follows the text corrected in 1984 by Faulkner expert Noel Polk and corresponds as closely as possible to the author’s original intentions. Included also is the Appendix that Faulkner wrote for The Portable Faulkner in 1946, which he called the “key to the whole book.”
William Faulkner was born in New Albany, Mississippi, on September 25, 1897. He published his first book, The Marble Faun (a collection of poems), in 1924, and his first novel, Soldier's Pay, in 1926. In 1949, having written such works as Absalom, Absalom!, As I Lay Dying, Light in August, and The Sound and the Fury, Faulkner was awarded the Nobel Prize for Literature. He also received the Pulitzer Prize for two other novels, A Fable (1954) and The Reivers (1962). From 1957 to 1958 he was Writer-in-Residence at the University of Virginia. He died on July 6, 1962, in Byhalia, Mississippi.
Biography
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.
小说名字取自《麦克白》第五幕第五场,“人生如痴人说梦,充满着喧哗与骚动,却没有任何意义。”( “Life ... is a tale told by an idiot, full of sound and fury, signifying nothing”.) “傻瓜”(idiot)的概念,在这里却值得玩味。原本第一章的叙述者班吉(Benjam...
评分 评分俾斯麦(Otto von Bismarck)说过:“法律好比香肠,最好别管怎么做出来的。”(Laws are like sausages, it is better not to see them being made. )翻译也一回事。读者拿到手的是成品(product),而对于译者来说,似乎永远是半成品。译者与原著交互的过程(process)中,到...
评分我之前说过这本书真是作者、读者和译者都辛苦的小说,阅读难度不小。 不过期末美国文学论文刚好研究是这书的叙事技巧,查了蛮多资料看了好多文献,就把其中有助于一般读者理解小说的部分摘出来翻译并解释一下吧。 1. 喧哗与骚动(the sound and the fury)书名来源于莎翁戏...
这本厚重的作品,初翻开时,扑面而来的是一种近乎粗粝的真实感,仿佛直接被拽入了一个支离破碎的灵魂世界。叙事结构如同迷宫般复杂,时间的线索被反复打乱、重组,初读之下,确实需要极大的耐心去适应这种非线性的叙事脉络。我记得在第三个叙事视角转换时,我几乎需要停下来,拿出笔在纸上梳理人物之间的关系和事件发生的时间点。作者对南方衰落贵族家庭内部那种根深蒂固的、近乎病态的依恋与疏离描摹得入木三分。特别是对某些角色心理活动的捕捉,那种近乎呓语式的、内在独白的长篇倾泻,让人不寒而栗,深刻体会到他们被困在自身精神牢笼中的那种无助与绝望。书中对细节的把握令人惊叹,无论是炎热天气下空气中弥漫的尘土味,还是旧家具散发出的霉味,都通过文字鲜活地呈现在读者面前。它不是一本让人轻松阅读的书,更像是一次精神上的马拉松,要求你全身心地投入去拼凑那些碎片化的信息,最终才能窥见全貌,体会到那种无可挽回的悲剧宿命感。这本书的语言本身就是一种艺术,充满了象征意义和潜台词,读完后需要很长时间才能从那种压抑的氛围中抽离出来,回味那种文字力量的巨大冲击。
评分坦白讲,我是在朋友的极力推荐下硬着头皮开始读的,之前对这种经典文学敬而远之。这本书的篇幅和其著名的难度让我望而却步。然而,一旦我投入进去,发现它远比想象中要“人性化”得多,尽管这种人性被扭曲到了极致。书中对几个核心人物的心理刻画,简直是教科书级别的。特别是那种围绕着某个核心创伤不断循环往复的思维模式,让人感同身受那种被困住的感觉。它不像很多小说那样提供一个明确的道德指南,相反,它把人物置于一个道德的灰色地带,让你去理解他们,而不是评判他们。这种对复杂人性的包容性,让我感到非常触动。我尤其欣赏作者在处理不同角色叙事声音时的功力,每一种声音都有其独特的节奏和世界观,即便内容是重复的,但通过不同的过滤镜呈现出来,所产生的侧重点和情感重量是完全不一样的,这种技巧运用得炉火纯青,绝非一般作者能企及的水平。
评分老实说,我对这类文学作品通常抱持着一种敬而远之的态度,总觉得它们过于晦涩,充满了故作高深的意味。然而,这次阅读体验却出乎我的意料。起初,我几乎被那些冗长、充满意识流技巧的句子绊倒了,感觉像是在泥泞中跋涉,每一步都很费力。但是,一旦我调整了阅读的节奏,开始不再强求理解每一个词的字面意思,而是去感受那种情绪的流动,情况就完全不同了。那些看似混乱的内心独白,实际上揭示了一种比清晰叙事更为深刻的心理真实——生活在那种环境下的人,思维本身就是断裂的、充满矛盾的。书中的环境描写,尤其是那种南方特有的、沉闷而又充满腐朽气息的氛围,被烘托得淋漓尽致,让人仿佛能闻到夏日午后那种令人窒息的热浪。我认为,这本书的伟大之处在于它没有提供简单的答案或道德评判,而是将一个家族的沉沦,通过最直接、最原始的视角,赤裸裸地呈现在我们面前,留给读者巨大的解读空间。
评分对于偏爱情节驱动型小说的读者来说,这本书初看起来可能会让人感到沮丧。它几乎完全是内在驱动的,是对人物内心世界和精神状态的极度细致的剖析。我记得有那么一章,几乎完全由内部的、不受控制的想法和对过去的回忆组成,外界发生的事情几乎可以忽略不计。这迫使我必须跳出传统阅读的舒适区,学会与作者共享那种近乎迷失的体验。作者对于“沉默”的描绘尤其出色,那些没有说出口的话语、那些被压抑的欲望和怨恨,比任何激烈的争吵都更具杀伤力。它探讨的不是简单的家庭矛盾,而是更深层次的:身份的迷失、尊严的消亡,以及被时间遗忘的痛苦。阅读的过程像是在剥洋葱,一层层剥开,直到露出核心那种酸涩的、无法回避的真相。这是一部需要“心领神会”的作品,而不是仅仅用“眼睛看”的作品。
评分这本书读起来的体验,与其说是在“阅读”,不如说是在“经历”。我发现自己越来越沉迷于追逐那些若隐若现的线索,试图在不同的声音中辨认出谁是谁,他们真正想要表达的是什么。它挑战了我们作为读者对“故事”的基本期待——清晰的开头、发展和结局。在这里,故事本身就是一场坍塌,你只能在废墟中寻找构建起过去的碎片。特别是其中一个视角的叙事,那种近乎原始的、对世界缺乏基本理解的表达方式,极具震撼力。它不是在“讲述”悲剧,它就是悲剧本身在说话。我必须承认,有些段落我需要反复阅读,不是因为语言不通,而是因为情绪过于强烈,我需要时间来平复自己才能继续深入。这本书的结构设计,本身就是对主题——时间流逝、记忆的不可靠性、以及某种注定的失败——最好的隐喻。它像一首不和谐的交响乐,充满刺耳的噪音,但当你捕捉到其中隐藏的旋律时,那种震撼是无与伦比的。
评分and he every man is the arbiter of his own virtues but let no man prescribe for another mans wellbeing and i temporary and he was the saddest word of all there is nothing else in the world its not despair until time its not even time until it was
评分and he every man is the arbiter of his own virtues but let no man prescribe for another mans wellbeing and i temporary and he was the saddest word of all there is nothing else in the world its not despair until time its not even time until it was
评分and he every man is the arbiter of his own virtues but let no man prescribe for another mans wellbeing and i temporary and he was the saddest word of all there is nothing else in the world its not despair until time its not even time until it was
评分and he every man is the arbiter of his own virtues but let no man prescribe for another mans wellbeing and i temporary and he was the saddest word of all there is nothing else in the world its not despair until time its not even time until it was
评分and he every man is the arbiter of his own virtues but let no man prescribe for another mans wellbeing and i temporary and he was the saddest word of all there is nothing else in the world its not despair until time its not even time until it was
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