Critiques of Faulkner’s Sound and Fury Essay -- Faulkner’s The Sound a

Critiques of Faulkners Sound and FuryAfter recitation through a large chunk of lit crit, it seems clear to me how David Minter, editor of our edition, hopes to lineal the readers attentions. I was rather dumbstruck by the number of essays included in the criticism of this edition that felt compelled to discuss Faulkner and the writing of The Sound and the Fury evidently more than to discuss the text itself. Upon going back over the essay, I realized that Minters own contri plainlyion, Faulkner, Childhood, and the Making of The Sound and the Fury, is a prime example of such criticism of the text that focuses on the author, his universe of discourse of the text as a process, and the authors self-professed opinions of the text. I rent a number of problems with this idea. Although analyzing Faulkner and his process is not condemnable in of itself, it seems as though nearly every essay in this edition feels it needful to include a lengthy quote by Faulkner addressing either his hun ch of serve, his non-plan when writing the unfermented, or his deeming the novel a failure. After reading approximately these facts in essay after essay, one hopes Minter is satisfied in drilling them into the readers head. Another issue I shed with these inclusions is the relevancy of an authors statements concerning the writing process of a special(a) text after the text has been written. It seems that most of Faulkners comments about the novel and the writing process were recorded long after the fact, and I energise trouble believing his statements concerning his writing process after publication. It seems more plausibly that his repeated desire to emphasize Caddys positive character is a direct response to more negative receptions of the character upon the press release of the book. Re... ... wholly within the imaginations of her three brothers. For Benjy, she is a non-past memory for Quentin, her spoiled virginity haunts him (along with the honeysuckle he associates wi th her) for Jason, Caddy haunts in the form of the lost job and subsequent cloth loss. Thus she becomes in actuality triply phenomenally constructed, for not only does she exist solely within the imaginations of her brothers (in whatever form they are haunted by), but to a fault within the imaginations of Faulkner and the reader. Just as we are watching the watched watcher, readers conceive of Caddy solely through her watchers, the brothers, and their watcher, Faulkner. Caddy exists only in the imaginations of the three (brothers, Faulkner, reader), but she effectively and efficiently haunts them all, detached and delocated from her material physical structure into the phenomenal body of the imagination.