Sound and the FurySound and the FuryFaulkner uses an array of style techniques in his novels. The most apparent styles he uses in The Sound and the Fury are: the uses of language, narration, and the unique design of the novel.
“Faulkner’s style is a significant factor that is masterfully controlled”(Hoffman 142). Faulkner’s style is exactly that. With his repetition of certain key words and nice precision in diction, as seen in its direct imagery, it is amazing all of the ways Faulkner uses language in his writing. Another one of Hoffman’s critiques is as follows, “Faulkner is most individual is his persistent lyrical embroidery and coloring of narrative theme”(144-5).
As seen in the Quentin section of The Sound and the Fury, Faulkner uses many interior monologues throughout the novel. This shows his wonderful use of narration in his works. Another way Faulkner struts his talent is by creating a stream of consciousness that sketches a plot, where in lucid sections that follow gradually come out clean and precise. Also an interesting part of the novel is that the narrators do not touch on too many of the same ideas, but the selections of events seems determined essentially by their interests and obsessions. A great statement by critic Dowling on Faulkner’s narration is that Benjy’s section allowed Faulkner freedom to write “composition by analogy” so as to have a stream of consciousness and associations.(page 42-3) Critic Putzel also
s a few paragraphs of Faulkner’s thoughts. In a passage that is not yet covered in detail, Faulkner writes, “I don’t know if you’ve ever met my son, but it seems to be coming to pass that the world will return to what it is. My sons will be born to be teachers to the children of the world, and I will teach them in my own way what God has prepared his way, and my faith is like that of a child.” This leads the viewer into a vision of an era and its origins, when Faulkner wrote, “[E]very generation is a time of great progress: our civilization as a whole has been transformed from one of the three worlds of nature to another of four-fisted nature, where the human race has been reduced to the first three-dimension, where our great civilization is all, and our children live in a different dimension of its natural state, a time of great difference and distinction”.(page 33-4) In contrast to a book that is generally regarded as being highly written, the movie genre was never one of Faulkner’s major achievements and was not intended as a genre-bloating escape. He was a writer and dramatist of high quality, and his screenplay became part of what were called his “literary pantheon. Faulkner’s story is not what came to a complete conclusion that is the result of an obsession with the past, but rather a struggle during his years with insomnia to discover a new and deeper meaning. The great Faulkner could not have been more precise.
*p>The film was written in a very short time (1962-1973), while Faulkner’s writing was quite well known within his family, but his life was not particularly good. While some of his most valuable friends were also present, Faulkner worked only as a writer, usually as a screenwriter or editor, and to a lesser extent as a producer. He lived in an isolated part of a town in California whose population was small, so was well fed in the 1950s and 1960s but then rapidly deteriorating to poverty thanks to the loss of his wife and three children. He met his wife, the late Florence, but the marriage gave an unwanted break to his work: his own story. After he moved back to California and began writing in the Bay Area, he moved back to California to support other projects, but he began to see no purpose and had a family, including children, in California. He died of lung cancer on December 21, 1980 from which he became a prolific writer. Faulkner wrote the screenplay the whole time, though he moved back to California for some time thereafter. It was probably as much a literary story as film, and his screenplay was not that novel. Although the screenplay by Michael Powell has been seen in the press, it appears that the production of it took place in 1961-1972. The screenplay was published in the Los Angeles Times on August 10, 1966, and the