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The Sound and the Fury – William Faulkner – 1929
Easy to think of Benjy in “The Sound and the Fury,” hearing the golfers shout “Caddy!” and assuming they mean his sister, only here the word moves between languages, out of France via the transnational culture of the aristocratic court and into Italy.
The aim of this essay is twofold. The first part of the essay discusses the Bakhtinian concept of the grotesque body and its possible connections to the expression of senses in the American South. The second part of the essay shows how the concepts of grotesque and senses have become the literature-generating principles in the American South. Their analysis in the essay relies upon the characters of Caddy and Quentin Compson, Eula Varner Snopes and Linda Snopes Kohl, and nameless mulattas in Faulkner, The Sound and the Fury (1929), the Snopes trilogy (1940-1959), and Go Down, Moses (1942).
SparkNotes: The Sound and the Fury: Context
Faulkner’s stream of consciousness style is notoriously difficult for some readers. If you find yourself intimidated, then work up to it with one of Faulkner’s easier works such as As I Lay Dying. On the other hand, if you were brought up in the shade of the magnolias with Dixie playing in the background, but you find all the baggage that goes with it increasingly out of place, then you may discover that reading The Sound and the Fury is as easy as following the stream of your own thoughts. In my opinion it is the greatest American novel.
The Sound of and the Fury is a work about the American South in transition from its haughty past to a humble present, from a stratified society clinging to myth and memory to a formless culture whose currency of values and prejudices has become worthless. The tellers of the story are three brothers – one retarded, one neurotic, and one malignant. The subject of much of their thoughts is their sister, whose coming of age is a metaphor for the painful metamorphosis of their world.
The Sound and the Fury (2014) - IMDb
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