The Sound and the Fury

The chapter is presented through the fragmented, sensory-driven consciousness of Benjy, a thirty-three-year-old man with the mental capacity of a child. The narrative shifts fluidly between his present experiences on April 7, 1928, and various memories of his childhood. In the present, Benjy is cared for by Dilsey and Caddy, while being teased or bullied by Luster and his brother Jason. The household is permeated by tension, centered around their mother's illness and the volatile relationships between the siblings—Caddy, Quentin, and Jason. Benjy's world is defined by sensory anchors, particularly smells and the presence of Caddy, who serves as his primary emotional support. The narrative reveals a family in decay, marked by the father's cynicism, the mother's guilt and illness, and the children's internal conflicts, all while the servants, particularly Dilsey, provide the only consistent stability and care.

On June 2, 1910, Quentin Compson, a Harvard student, navigates a fragmented day defined by an oppressive obsession with time and family honor. The narrative shifts fluidly between his present in New England and memories of his Southern upbringing. Quentin struggles with the cynical philosophies of his father—who viewed time as a 'mausoleum' and victory as an illusion—and his fixation on the perceived impurity of his sister, Caddy. Throughout the day, Quentin interacts with his roommate Shreve, a guide named Deacon, and a young Italian girl whom he attempts to help, leading to his brief arrest for suspected kidnapping. His psychological distress peaks during a confrontation with Caddy and her lover, Dalton Ames, where Quentin is physically overpowered. The chapter concludes with Quentin in a state of psychological collapse, meticulously preparing himself and his belongings, including leaving his watch in Shreve's drawer, as he moves toward a planned end to his suffering.

On April 6, 1928, Jason Compson manages a household and business defined by volatility, resentment, and financial manipulation. The chapter depicts Jason's aggressive attempts to control his family, specifically his niece Quentin and his estranged sister. Jason engages in physical and psychological warfare with Quentin over her truancy, while simultaneously extorting money from his sister in exchange for brief access to her daughter. Between these domestic conflicts, Jason navigates his role at Earl's store and engages in risky cotton market speculations via the telegraph office, reflecting his obsession with financial gain and social standing. The narrative reveals a deep-seated family dysfunction, where the mother attempts to maintain a facade of respectability while Jason views his relatives as burdens or tools for profit. The day culminates in Jason's rage as he pursues Quentin, who flees the house in a Ford with an unknown man, reinforcing Jason's belief that 'blood always tells.'

On April 8, 1928, the Compson household is defined by bleakness and dysfunction. Dilsey, the indomitable center of the home, manages the daily chores and the needs of the family, including the cognitively disabled Benjy and the mischievous Luster. Tension peaks when Jason discovers a broken window in his room and finds a metal box with a broken lock in Quentin's empty room, leading him to report a robbery to the law. It is later revealed by Luster that Quentin escaped through the window the previous night. On Easter Sunday, Dilsey finds spiritual catharsis during a powerful sermon by Reverend Shegog, contrasting with the coldness of the Compson estate. Mrs. Compson remains secluded in bed, convinced her daughter Caddy has committed suicide, while Dilsey maintains hope. Jason travels to Mottson to recover three thousand dollars he believes his niece stole, resulting in a violent confrontation with an old man at a traveling show. Upon returning to Jefferson, Jason violently assaults Luster and Benjy after Luster makes a wrong turn while driving Benjy to the graveyard.

The 'Editor’s Note' serves as a critical apparatus for a new edition of William Faulkner's 'The Sound and the Fury'. The editor explains the methodology used to establish the text, which involved comparing the holograph manuscript, the carbon typescript, and the 1929 Cape & Smith first edition. The primary goal was to align the text with Faulkner's 'final intentions,' though the editor admits that the absence of setting copies or galleys makes absolute certainty impossible. Consequently, the carbon typescript generally serves as the base text unless the 1929 edition provides a compelling alternative. The note concludes with two tables (Table A and Table B) that provide a selective sampling of textual variations between the new edition and the first edition, and between the new edition and the carbon typescript, respectively.

This text serves as a scholarly apparatus for 'The Sound and the Fury,' detailing the novel's publication history and providing critical annotations. It outlines the timeline from Faulkner's initial writing in 1928 under the title 'Twilight' to its eventual publication by Jonathan Cape and Harrison Smith in October 1929. The text highlights editorial conflicts regarding the use of italics to denote time shifts and explains the basis for the 'New, Corrected Edition' prepared by Noel Polk, which prioritizes the 1928 carbon typescript. The latter half of the chapter consists of a series of explanatory notes by Joseph Blotner, clarifying dialect (e.g., 'projecking'), mythological references (e.g., the swine of Euboeleus), historical events (e.g., the removal of Choctaw Indians), and literary allusions (e.g., Sir Walter Scott and Henry Fielding).

This brief introductory note explains the origin and placement of the Appendix to 'The Sound and the Fury'. Faulkner provided this new section in 1946, claiming it served as the 'key to the whole book'. The text details the publication history, noting its appearance in 'The Portable Faulkner' and the Modern Library's dual edition. It highlights a discrepancy in placement, as Faulkner originally intended for the Appendix to be the first section of the novel, though it was later moved to the end. The note also mentions the scholarly debate regarding whether the Appendix is an integral part of the novel or a separate fictional entity, similar to other Compson family stories, and identifies Noel Polk as the editor of the current text based on Faulkner's carbon typescript.

The Appendix provides a genealogical and historical chronicle of the Compson family from 1699 to 1945, tracing a trajectory of systemic decline. Beginning with Scottish refugees and gamblers, the family rose to brief political and social prominence in Mississippi after Jason Lycurgus acquired land from the dispossessed Chickasaw king Ikkemotubbe. This 'principality' gradually eroded through military failure, financial mismanagement, and personal tragedy, culminating in the suicides and disappearances of the later generations. The narrative concludes with the final dissolution of the family unit: Jason IV commits his brother Benjamin to an asylum, and Caddy's daughter steals Jason's money to flee. Interwoven with this decline is the story of a librarian's failed attempt to rescue Caddy, and a contrasting depiction of the black characters—such as Dilsey and her descendants—who, unlike the Compsons, are characterized by their endurance.

The 'Reader's Guide' serves as a critical companion to the novel, providing a series of ten analytical questions designed to guide the reader through the complex narrative structure and thematic depths of 'The Sound and the Fury'. It explores the significance of the title's origin in Shakespeare's Macbeth, the use of the stream-of-consciousness technique, and the specific roles of the narrators—Benjy, Quentin, and Jason. The guide highlights the central, though silent, role of Caddy Compson and the moral grounding provided by Dilsey. Furthermore, it prompts reflection on the novel's non-linear chronology, the psychopathology of the Compson family, and the broader philosophical questions regarding time, consciousness, and the meaning of existence.

This biographical chapter provides an overview of the life and career of William Cuthbert Faulkner (1897–1962). Born in Mississippi, Faulkner was heavily influenced by his great-grandfather, a Civil War veteran and author. His early adulthood was marked by academic indifference, a failed attempt to enlist in the U.S. Army, and a period of pretending to be English to join the RAF in Canada. After early struggles with poetry and several rejected manuscripts, Faulkner began publishing novels, including 'The Sound and the Fury' and 'As I Lay Dying'. Despite initial mediocre sales and periods where his work was out of print in the U.S., he gained international acclaim and was eventually recognized as a genius, culminating in the 1949 Nobel Prize for Literature. The text details his personal life, including his marriage to Estelle Oldham and the loss of his first daughter, as well as his professional ventures into screenwriting for MGM and Warner Brothers.

This section consists of a series of critical testimonials and tributes to William Faulkner from prominent contemporary authors. Ralph Ellison highlights Faulkner's role as a great Southern artist who explored universal human nature and moral problems. John Steinbeck emphasizes Faulkner's awareness of human strength, weakness, and the role of fear in writing. Robert Penn Warren praises the technical and philosophical superiority of Faulkner's work, citing its originality and tragic intensity. Finally, Eudora Welty asserts that Faulkner's fiction serves as a direct vessel for his heart and soul, remaining accessible to the reader.

This section, titled 'Academic Resources for Educators', serves as a promotional and informational appendix for university and college instructors. It highlights the commitment of Vintage Books and Anchor Books to publishing intellectually significant works and enduring classics, listing several renowned authors such as William Faulkner, James Joyce, and Toni Morrison. The text directs educators to Random House's Academic Resources website, which offers a searchable database of over 5,000 academic titles, teacher's guides, and information on requesting desk and examination copies. It concludes with contact information for the Vintage/Anchor Academic Marketing department in New York and a reference to a separate resource site specifically for high school teachers.

This chapter serves as an introductory guide for readers approaching the works of William Faulkner. It highlights the diversity of his linguistic style, ranging from biblical poetry to coarse dialect, and emphasizes his deep understanding of the human condition. The text explains that while much of Faulkner's fiction is rooted in the fictional Yoknapatawpha County and the complex, segregated social landscape of the American South, his work transcends regionalism by addressing universal themes of fear, joy, and confusion. The author discusses specific narrative techniques used in novels such as 'As I Lay Dying', 'The Sound and the Fury', and 'Light in August' to illustrate how Faulkner explores memory, prejudice, and the nature of classic tragedy. Ultimately, the chapter encourages readers to engage with Faulkner through his language, characters, and stories, suggesting that his work remains relevant as classic literature because it addresses enduring human needs and experiences.