The masterpiece of Nobel Prize winner William Faulkner, and perhaps the greatest novel about the decline of the Southern aristocracy, now in Penguin Classics for the first time, with a new introduction by Ayana Mathis, the New York Times bestselling author of The Twelve Tribes of Hattie
One of The Atlantic’s Great American Novels of the Past 100 Years
A Penguin Classics Deluxe Edition, with flaps and deckle-edged paper
The Sound and the Fury traces the downfall of the aristocratic Compson family in their fictional home of Yoknapatawpha County, Mississippi. Here the landed gentry of the Reconstruction-era South still cling to their obsolete constructs of race, class, and sex for salvation from financial and personal ruin. In kaleidoscopic prose, Faulkner relates the Compson siblings’ tales of their own demise: Benjy, the brother whose mental disability blends the past with the present; Quentin, who is consumed by his obsession with his family’s honor; Jason, whose blind rage inflicts itself upon the rest of the household; and the elusive sister, Caddy, whose tragic exile from the family sets in motion their fall from grace. The Sound and the Fury brings to life Faulkner’s South as a land of poverty and decadence, of gallantry and greed, that reveals the rich cultural and historical context in which it was written. What Faulkner once considered his “most splendid failure” was also his favorite of his novels and is now one of the cornerstones of American literature.
“Astounding . . . Fiercely singular . . . With every new reading, it rewards my devotion by revealing some previously unseen nuance. . . . It is evergreen, as relevant today as when it was published nearly one hundred years ago. . . . It is beautiful. . . . Faulkner’s beauty is formidable, pugilistic even, it irrupts into our senses and sensibilities. . . . To read Faulkner is to grapple with the endlessly reverberating history described in his pages. . . . [His is] a voice that cuts through the detritus of false narrative, false history, false senses of self. A voice that tells us about who we are and who we have been, and warns us about where we are headed.” —Ayana Mathis, from the Introduction
The masterpiece of Nobel Prize winner William Faulkner, and perhaps the greatest novel about the decline of the Southern aristocracy, now in Penguin Classics for the first time, with a new introduction by Ayana Mathis, the New York Times bestselling author of The Twelve Tribes of Hattie
One of The Atlantic’s Great American Novels of the Past 100 Years
A Penguin Classics Deluxe Edition, with flaps and deckle-edged paper
The Sound and the Fury traces the downfall of the aristocratic Compson family in their fictional home of Yoknapatawpha County, Mississippi. Here the landed gentry of the Reconstruction-era South still cling to their obsolete constructs of race, class, and sex for salvation from financial and personal ruin. In kaleidoscopic prose, Faulkner relates the Compson siblings’ tales of their own demise: Benjy, the brother whose mental disability blends the past with the present; Quentin, who is consumed by his obsession with his family’s honor; Jason, whose blind rage inflicts itself upon the rest of the household; and the elusive sister, Caddy, whose tragic exile from the family sets in motion their fall from grace. The Sound and the Fury brings to life Faulkner’s South as a land of poverty and decadence, of gallantry and greed, that reveals the rich cultural and historical context in which it was written. What Faulkner once considered his “most splendid failure” was also his favorite of his novels and is now one of the cornerstones of American literature.
Praise
“Astounding . . . Fiercely singular . . . With every new reading, it rewards my devotion by revealing some previously unseen nuance. . . . It is evergreen, as relevant today as when it was published nearly one hundred years ago. . . . It is beautiful. . . . Faulkner’s beauty is formidable, pugilistic even, it irrupts into our senses and sensibilities. . . . To read Faulkner is to grapple with the endlessly reverberating history described in his pages. . . . [His is] a voice that cuts through the detritus of false narrative, false history, false senses of self. A voice that tells us about who we are and who we have been, and warns us about where we are headed.” —Ayana Mathis, from the Introduction
