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Review of the Sound and the Fury by William Faulkner (1929)

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Time Magazine Top 100 Novels

Book 85: The Sound and the Fury by William Faulkner (1929)

This is a series of reflections reading through Time Magazine’s top 100 novels as selected by Lev Grossman and Richard Lacayo published since 1923 (when Time magazine was founded). For me this is an attempt to broaden my exposure to authors I may not encounter otherwise, especially as a person who was not a liberal arts major in college. Time’s list is alphabetical, so I decided to read through in a random order, and I plan to write a short reflection on each novel.

The Sound and the Fury is the second William Faulkner book I have read and reviewed, and it was even less enjoyable than A Light in August. Both books tell ugly stories using ugly language with occasional moments of poetic prose. I listened to an audiobook of this which was even more disturbing than reading this book full of unlikeable characters continually arguing with one another. Especially in the initial chapter when you are hearing through the ears of ‘Benjy’ and it switches back and forth from his memories as a young child to his confusion as a thirty-three-year-old man with childlike emotions, I found myself wondering what I was listening to. The novel is historically situated in a time where the views on race, sex, religion, and society are very different from our current era. In Faulkner’s other work I reviewed there were times I could fall into Faulkner’s poetic use of prose, but in the Sound and the Fury the only scene where the transcendent language overcame the harsh, ugly, argumentative language was in the final chapter during the Easter service. The story is tragic as the family at the heart of the story disintegrates in its dysfunction, but I had a difficult time having any empathy for any of the Compson family.

If William Faulkner’s intent in the Sound and the Fury was to induce disgust, then he was successful. The language of the American South from the 1910s and 1920s is jarring to an educated ear a century later and I often found this ugly language resonating in my head long after I removed my headphones. This book made me viscerally angry, and I was sorely tempted to not finish it. Perhaps it, like Flannery O’Connor’s work, presents an uncomfortable mirror to the world of my grandparents whose prejudices echo in both spoken and unspoken ways in our own but there was none of the artistry of Flannery O’Connor. I am glad that there are no other works by William Faulkner on this list, because I have no interest in reading anything by him in the future. I have never been as happy to reach the conclusion of a book.

Review of Light in August by William Faulkner

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Time Magazine Top 100 Novels

Book 49: Light in August by William Faulkner

This is a series of reflections reading through Time Magazine’s top 100 novels as selected by Lev Grossman and Richard Lacayo published since 1923 (when Time magazine was founded). For me this is an attempt to broaden my exposure to authors I may not encounter otherwise, especially as a person who was not a liberal arts major in college. Time’s list is alphabetical, so I decided to read through in a random order, and I plan to write a short reflection on each novel.

Light in August deploys a combination of poetic and banal language to tell an ugly story with a series of characters who for their own reasons are unable to exist within the confines of their society. There is something that reminds me of the writing of Flannery O’Connor in the way Faulkner uses beautiful language combined with the simple speech of the characters in his stories that is authentic to their education and station. There are many times where the language and the assumptions of the American South in the 1930s, when the novel is written and set, are jarring to the ears of a modern hearer, but the novel is historically situated in a time where the views on race, sex, religion, and society are very different from our current era. At times I could fall into Faulkner’s poetic use of prose, and he is truly gifted as a wielder of the English language, but each of the characters is unlovable in their own ways. Whether it is the indomitable Lena who refuses to give up her search for Lucas Burch/Joe Brown who is the father to the child she carries, Joe Christmas whose birth and life seems to be overshadowed by a questionable birth and lineage and a grandfather who views his divine calling as bringing about the destruction of his grandson, or Gail Hightower the disgraced minister who lives in the shadow of his grandfather who died in the Civil War.

Light in August is a work of art but like all art its reception is subjective. The world of the 1930s American South at times seems like an alien world for its strangeness and prejudices. There are times where the work seems dystopian and none of the characters, except perhaps Byron Burch, attempt to be heroic. For me the prose is gifted but the story is plodding and the characters seem to fit into a deterministic pattern based upon their inherited flaws. I can appreciate it as a classic but it was hard to hear the speech of the 1930s South, especially towards Black Americans, and not cringe at the way the derogatory terms for Black Americans continued to echo in my head even after putting the book aside. Perhaps it, like Flannery O’Connor’s work, present an uncomfortable mirror to the world of my grandparents whose prejudices echo in both spoken and unspoken ways in our own.