The Sound and the Fury

[Anonymous No.11908991]

What does this cover represent?

[Anonymous No.11908995]

>>11908991
Someone struggling with the sound and the fury to signify more than nothing.

[Anonymous No.11909010]

No-Arms getting fucked by a shadow

[Anonymous No.11909014]

>>11908991
The shadowy background subconscious elements of ourselves and the societies in which we are born and raised contorting us into painful positions. Memory, mores, brute physical drives and incapacities conspiring mindlessly to hold us in place—but no matter how real and deeply felt the effects, how does one fight against a shadow?

[Anonymous No.11909028]

https://youtu.be/UO6wGt7xLLQ?t=15s

[Anonymous No.11909789]

>>11908991
A man arrested by his own shadow, that is, the lack of enlightenment caused by his being. He isn't lacking arms, they are being restrained. The Benjy character is cognizant, has emotions which his handicap prevents him from articulating. Jason experiences an unrequited love for his sister, he cannot act on the impulse manifest in his soul due to extenuating circumstances. Quentin becomes powerless after Caddie steals the money, Dilsey is steadfast in her duty towards the Compson's by a combination of loyalty, exhaustion, vague tradition and pity, perhaps even a touch of spite. The South must come to terms with its institution of slavery which though it had been abolished was still so fresh in the minds of the citizens their social development was inhibited, blacks and whites alike.

[Anonymous No.11909802]

>>11909789
my bad, Quentin loves Caddie, Jason comes to resent her, been a while since I read it.

[Anonymous No.11910672]

>>11908991
I see Jacob wrestling with the angel, am I retarded ?

[Anonymous No.11910735]

>>11909789
the man has some bitchtits seems to be

[Anonymous No.11911362]

>>11909802
Quentin loves her but not in a romantic way. I don't feel like one-sided platonic familial love should be referred to as "unrequited," that seems to imply romantic feelings.

[Anonymous No.11912642]

>>11909789
The literal is good but past that ehhh

[Anonymous No.11913335]

>>11909789
>The South must come to terms with its institution of slavery which though it had been abolished was still so fresh in the minds of the citizens their social development was inhibited, blacks and whites alike.
How does slavery fit into TSATF at all? Is this your own idea or something you read from some professor at liberal university #1-5533414?

[Anonymous No.11914664]

>>11913335
probably in the way that Jason slaps the driver at the end of the novel for taking a way that agitated Benjy, William Faulkner was born in 1897, a scant 30 years after the emancipation of the slaves and the end of the Civil War, that's one generation later, slavery and the war would likely have been in the memories of many citizens not to speak of the reconstruction efforts which would have been ongoing, you seem to think that events in 1865 were some long, distant, ancient history, if you can't extrapolate the material for yourself it may be best to take a course or two. Metaphor, simile, these ideas are taught to children.

[Anonymous No.11914713]

>>11913335
oh, and the men of the south being metaphorically castrated by the embarrassment of losing the war, things like that, yeah. Pleb.

[Anonymous No.11914779]

>>11914664
I hope your comparison between Jason slapping Luster and slavery isn't serious.

Faulkner obviously lived in a postbellum South (Reconstruction ended in the late 1870s) but it's fallacious to equate that with some sort of coverall influence of all the misdeeds of the South in all of his works, especially with slavery/race in The Sound and the Fury considering how obviously it is explored in his other works (notably Light in August and even Absalom, Absalom!).

In the absence of examples, it seems much more obvious to me that an infinitely greater influence on TSATF was more the direct result of the Civil War: the death, destruction, and defeat. More likely still, it was his contemporary perception of the South juxtaposed with the stories
of this death and destruction and defeat he heard from others. Slavery, if explored at all (and I'm having trouble thinking of any way in which it is substantially), seems much more of an afterthought. But hey, maybe I'm just a pleb

[Anonymous No.11914786]

>>11914713
What metaphorical castration are you referring to? The literal one Benjy, the idiot (and the pinnacle of Faulkner's southern man?) suffers for chasing after schoolgirls? Because that's the only castration in the novel

[Anonymous No.11916106]

this should have been the cover

[Anonymous No.11916296]

>>11913335
Faulkner himself said that the biggest problem that the family faced was that they were living like they were in the 1860s instead of the 1900s.

[Anonymous No.11916566]

>>11916296
I've heard that quote before but I've never seen evidence for it (Other than the exact same paragraph word-for-word in a couple non-academic and non-sourced articles).

But that's besides the point, because whether or not Faulkner said that, it's right, just not in the sense you might think so. In fact, that's the entire point of the novel. A family lives in a time where their lifestyle and values have become obsolete.

But the South in the 1860s was so much deeper than just "the South of the 1910s-1920s, except with slaves." Infinitely deeper, as deep as life is wherever you live today (except much more romanticized), and in all likelihood the loss of slaves was tertiary (though one of the causes) to the loss of the lifestyle and values, the dismantling of the aristocracy, and the physical destruction of the South, for which Reconstruction was like a band-aid on a gunshot wound.

Such slavery-centric views of the South (ie as if that's the only thing Southerners cared about or worried about after the Civil War) are ridiculous. It's like saying Germans were down after WWII not because they lost both the war and many brothers-in-arms and family members or because their country was razed to the ground, but because they wouldn't be able to finish killing all the Jews.

The Southerners were not depressed or shattered because they felt guilty about owning slaves or wanted to continue owning them. They were shattered because the way that they, their parents, their parents parents, and so on lived life a certain (very romanticized) way and, after the war, this way of life had simply ceased to exist or even be possible, as is made clear through the novel. That's the inspiration for The Sound and the Fury.

The Nazi analogy was sort of low-hanging fruit however (about as low as claiming all Southern works have something to do with slavery if they tackle the coping of the destruction of their aristocracy).

Another historical period that mirrors the American South much more closely than anything else I can think of (except for the slaves) is the period of Japan from the Meiji restoration through the end of the World War II. The striking similarities and comparisons here are endless, and even go into literature. Like Southerners, many Japanese faced crises relating to the obsoleting of their way of life. At first, this happened much more slowly and insidiously through the westernization of Japan (see: Soseki and Ogai), but eventually it came to a head with their defeat in WWII, as the South's did after their defeat in the Civil War. Japanese literature of this period is also strikingly similar to Southern Gothic literature: for example, Dazai's The Setting Sun is almost a Japanese mirror image of The Sound and the Fury thematically. The sentiments in the works of Kawabata, Dazai, Mishima, and other period Japs are the same sentiments Faulkner explored in The Sound and the Fury.

The slavery thing is misguided low-hanging fruit for TSATF.

[Anonymous No.11916571]

whiteboi getting BTFO

[Anonymous No.11916716]

>>11916566
To finish up, I don't think TSATF itself says anything about the normative value of the Old South or the new South, etc etc (though Faulkner definitely covers that in his other works). Much more than that, it explains the "reducto absurdum of all human experience". That is, the fact is that the passage of time brings on incredible despair and profound internal crisis (ie the incompatibility of old values with new values). Man should realize this and try to rise above it (or even just rise above his obsolete values), but in the end he is incapable despite knowing how much harm it does to him. It's simply the nature of man. That's why it's the 'reducto absurdum'.

[Anonymous No.11916735]

occam's razor for this would be that the cover is a guy in an uncomfortable position because a lot of people in this book find themselves in uncomfortable positions

[Anonymous No.11916753]

>>11916735

[Anonymous No.11916844]

>>11916753
dab on em

[Anonymous No.11916903]

>>11916716
>>11916566

well written anon. I enjoyed the read

[Anonymous No.11916974]

>>11908991
For all the larping Christians and know it all pseuds on this board I’m surprised that no one has given the correct answer: it is Jacob wrestling with an angel.

[Anonymous No.11917057]

>>11916903
Thanks anon

>>11916974
I could see this but it's not very definitive. Sort of the same as that anon above saying it's man wrestling with his shadow isn't it? Both could definitely fit thematically

[Anonymous No.11917446]

what is this webm