The Sound and the Fury
The first main point that Cleanth Brooks makes is that
the story is told through one obsessed consciousness after
another. Brooks response to this is that the “readers
movement through the book is a progression from murkiness to
increasing enlightenment, and this is natural since we start
with the mind of an idiot, go on next through the memories
and reveries of the Hamlet-like Quentin, and come finally to
the observations of the brittle, would-be rationalist
Jason.”1
His second main point is that each section with the
brothers represents their different conceptions “of love
they imply.”2 Benjys being the most simple childlike form,
Quentin love being most complex with his sister and Jason’s
not having any love for anything except when it is strictly
business.
The finale main point he makes is the brothers and
Dilseys relationship with time. Brooks says Benjy has no
more sense of time than an animal has. Quentins obsession
with his past makes him resent the future. As for Jason “he
is only concerned with something that has to be done and is
incapable of any real living.”3 On the other hand Dilsey has
no oppressed feelings about time.
All of these elements, love, time and stream of
consciences give us, as Brooks states, “the brothers status
as human beings.”4 Through each character we see the stream
of consciences marking memories with each person. With this
stream of consciences comes the complex kind of love each
one has towards another. We see this kind of love from a
maternal instinct to an obsession and finally to a self
gratifying cold hearted point of view. The perspective of
time, each Compson had, relays to us what state of mind each
one was in. The more we read into the book the more time
becomes relevant to us until we come to Dilseys section were
she says “I’ve seed de first en de last.”5 Which means that
the Compsons time has come to an end.
To summarize this article Brooks sees Benjys stream of
conscience as a vivid stream of the senses. He sees Benjys
conception of love as simple like a child seeking a maternal
love. Benjys perception of time tells Brooks that he “is
locked almost completely into a timeless present.”6 His
brother Quentin is filled with a low self esteem and can not
get over the failures of his family. He has an obsession
with his sister that is not about love but possession of her
virtuousness. He is infatuated with time because he can’t
posses it. Brooks describes Jason as someone who is out only
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The two characters come to the realization that they do share a brotherly bond, and that the narrator cares deeply for his brother even after all the time apart. The narrator says, “I don’t give a damn wh...
In the first two lines, an aural image is employed to indicate a never-ending anger in the girl's father. Dawe uses onomatopoeia to create a disturbing and upsetting description of his enraged "buzz-saw whine." An annoying, upsetting sound, it gives the impression of lasting ceaselessly. His anger "rose /murderously in his throat." Because "murderously" begins on a new line, a greater emphasis is placed on it and its evil and destructive connotations. An image of a growling lion stalking its prey is evoked in the reader, as it threateningly snarls from its throat. The girl is terrified as it preys on her persistently "throughout the night." Furthermore, because there is no punctuation, these few lines are without a rest, and when reading out aloud, they cause breathlessness. This suggests that the father's "righteous" fury is ceaseless and suffocating the girl.
It is fitting to discuss the recollection of the past in an age advancing to an unknown futurity and whose memories are increasingly banished to the realm of the nostalgic or, even worse, obsolete. Thomas Pynchon and William Faulkner, in wildly contrasting ways, explore the means by which we, as individuals and communities, remember, recycle, and renovate the past. Retrospection is an inevitability in their works, for the past is inescapable and defines, if not dominates, the present.
Kurt Vonnegut's novel Slaughterhouse-Five; or The Children's Crusade: A Duty-Dance with Death is, as suggested by the title, a novel describing a crusade that stretches beyond the faint boundaries of fiction and crosses over into the depths of defogged reality. This satirical, anti-war piece of literature aims to expose, broadcast and even taunt human ideals that support war and challenge them in light of their folly. However, the reality of war, the destruction, affliction and trauma it encompasses, can only be humanly described by the word “war” itself. Furthermore, oftentimes this term can only be truly understood by those who have experienced it firsthand. Therefore, in order to explain the unexplainable and humanize one of the most inhumane acts, Vonnegut slants the hoarse truth about war by extrapolating it to a fantasy world. Through this mixture of history, reality and fantasy, Vonnegut is able to “more or less” describe what he believes truly happens in war yet, at the same time, reveal a greater truth about humanity's self-destructive war inertness. Vonnegut's use of fantasy in Slaughterhouse-Five unveils mundane war misconceptions as it rallies action against war through a comparison and contrast between the Tralfamadorian world and philosophy and Billy Pilgrim's existence and war experiences.
demonstrates how the characters of the book are reckless and view love as something that can
In this historical and culturally divided book, Jill Lepore examines and tries to define the King Philips War and how people wrote about it. At the beginning of the colonies it was a start of a “New England" and after the King Philip’s War with all of the religious conflicts and war stories, a new American identity was born. Throughout this book she tells gruesome tales about murders, massacres, and battles. Even thought his book jumps a lot in chronically order she successfully tells the tales for both sides pretty accurately. I enjoyed reading some parts of this book. Especially the beginning and the middle because I thought the End dropped off and slowed down.
There exists no power as inexplicable as that of love. Love cannot be described in a traditional fashion; it is something that must be experienced in order for one to truly grasp its full enormity. It is the one emotion that can lead human beings to perform acts they are not usually capable of and to make sacrifices with no thought of the outcome or repercussions. Though love is full of unanswered questions and indescribable emotions, one of the most mystifying aspects of love is its timeless nature. Love is the one emotion, unlike superficial sentiments such as lust or jealousy, which can survive for years, or even generations. In the novel The Gargoyle, the author, Andrew Davidson, explores the idea of eternal love between two people, a union that spans over centuries spent both together and apart. Davidson, through the use of flashbacks, intricate plot development and foreshadowing, and dynamic characterization, creates a story that challenges the reader’s preconceived notions regarding whether eternal love can survive even when time’s inevitable grasp separates the individuals in question.
More than two thousand years ago, a Chinese strategist known as Sun Tzu wrote one of the enduring classics of military theory. Most likely written during a period of Chinese history referred to as the ‘Warring States’ period, Sun Tzu’s The Art of War has continued to be studied by military strategists for millennia. Even today, The Art of War is required reading for Naval Officer Candidates. At nearly the same time in the fourth century B.C., the Greek city-states were facing invasion from the mighty Persian army. Vastly outnumbered, the Greeks eventually triumphed by defeating their enemies at Plataea, but not before fighting one of history’s greatest military stands at Thermopylae. By using Sun Tzu’s classic text to analyze the battles of Thermopylae and Plataea, it is possible to gain a better understanding not only of the battles themselves, but also of the reasons why The Art of War has remained such an influential and respected text over the centuries.
War is the epitome of cruelty and violence, an experience that can prove maddening and strip away some of the most intrinsic characteristics of humanity. Kurt Vonnegut’s experiences as a prisoner of war during World War II inspired his critically hailed novel Slaughterhouse-Five (1969), in which characters continually search for meaning in the aftermath of mankind’s irrational cruelty ("Kurt Vonnegut: 1922-2007" 287). Both the main character, Billy Pilgrim, and Vonnegut have been in Dresden for the firebombing, and that is what motivates their narrative (Klinkowitz 335). In his anti-war novel Slaughterhouse-Five, Kurt Vonnegut expresses the adverse emotional effects of war through the psyche of Billy Pilgrim.
William Faulkner uses multiple narrators throughout The Sound and the Fury to depict the life of Caddy Compson without telling the story from her point-of-view. Benjy, a mentally disabled 33 year old, Quentin, a troubled and suicidal Harvard student, and Jason, a racist and greedy man, each give their drastically different sides of Caddy’s story to create an incomplete chronicle of her life. Faulkner’s first chapter explores Caddy’s life through the silent narrator Benjy. As a result of Benjy’s inability to talk, much of how he describes the world is through his heightened sensory awareness. Benjy constantly repeats the fact that, which, to Benjy, symbolizes Caddy’s innocence (Faulkner 6). Later in the novel when, Benjy realizes that Caddy has lost the innocence Benjy once idolized and loved (Faulkner 40).
Unending exchange of bullets coming from rifles of the soldiers, a mother lamenting for the death of her young boy who goes to war, and great toll of loss life both of the soldiers and civilians- all these are not enough to describe the horrors brought by the war, but, these are enough to illustrate the price, expensive price, paid in war.
...e complete without the care and heartache handed them by the families they gain and lose throughout the courses of their short lives. Woolf states it perfectly, realizing that “life is but a procession of shadows, and God knows why it is that we embrace them so eagerly, and see them depart with such anguish, being shadows... Such is the manner of our seeing. Such the conditions of our love” (Woolf, 96). Jacob is only partially loved and cared for by his mother, and therefore carries this half-affection into his social interactions, eventually regretting the supremely human act of falling in love. Likewise, Chris is two completely different people between Margaret and Kitty– loving and content with Margaret, once he is returned to reality he becomes one of the “brittle beautiful things” that Kitty so loves to have in her presence, a mere shadow of his soul (West, 6).
War has the capacity to foster love while equalizing social status. The novels The English Patient by Michael Ondaatje and A Town Like Alice by Nevil Shute substantiate the fact, through fiction, that during war-time men and women who are not of the same station in life can find an incomparable love with one another. Each novel also gives evidence of love igniting during war and surviving the trials of time and distance. Hana and Kip from The English Patient and Jean and Joe both go through these trials and tribulations associated with love and war. Whether that love is doomed for failure or a future together forever…it never dies.