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Goner Message Board / ???? / what book(no fucking plural!) are you reading?
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Posted: Jul 13, 2007 9:34 pm
Just finished Cloudsplitter- a historical fiction about the life of John Brown. Any of you familiar? He's so fucking interesting, I LOVE that book. Now reading Fathers and Sons by Pearl Buck. Easy, good summer reading for by the pool.
Posted: Jul 13, 2007 9:41 pm
reading is for girls.
Posted: Jul 13, 2007 9:42 pm
So, you must do a lot of it, then....
Posted: Jul 13, 2007 9:42 pm
hey, i know it wasn't a very succesful cap, but I sure had fun typing it.
Posted: Jul 13, 2007 10:12 pm
Henry Ford's The International Jew: The World's Foremost Problem
Posted: Jul 13, 2007 10:15 pm
It's a lot like Zen and the Art of Motorcycle Maintenance--heavy on the boring philosophizin', not so heavy on engines and transmissions and the like.
Posted: Jul 13, 2007 10:26 pm

I liked that one a helluva lot
Posted: Jul 13, 2007 10:28 pm

I liked that one a helluva lot

Yay! I'm glad someone else read it!! I've read it probably 3 times now, but I hadn't read it in a while, and being in the south I thought it would be time... Its a really great fucking book.. Have you read any other Russell Banks?
Posted: Jul 14, 2007 12:49 am
What is the scary book y'all are talking about?

I think they're talking about house of leaves.

I don't even remember what it was that scared me

I just (today) got to the part where the weirdo girl leaves with the baby puppy... and I won't give anything away... but I had to stop there. I'll go back to it. I started reading Geek Love, which is awesome so far.
Posted: Jul 14, 2007 3:24 am
final exits: an illustrated encyclopedia of how we die - michael largo
Posted: Jul 14, 2007 3:27 am | Edited by: Wire

Try "How we Die" by Sherwin Nuland and suicidemethods.net / "Suicide and Attempted Suicide" by Geo Stone


Yep, "House of Leaves"
I don't think I got that far with it.
I'm considering taking it out of the freezer and giving it another (fourth?) try.
Posted: Jul 14, 2007 3:52 am
If you're not reading the Bible, I don't care.
Posted: Jul 14, 2007 4:00 am

Try "How we Die" by Sherwin Nuland and suicidemethods.net / "Suicide and Attempted Suicide" by Geo Stone

Posted: Jul 14, 2007 5:40 pm

Yep, "House of Leaves"
I don't think I got that far with it.
I'm considering taking it out of the freezer and giving it another (fourth?) try.

I started reading it last June... and started over this month. I can say that although the footnotes and stuff seem to get more convoluted as it goes, it actually gets easier to read.
Posted: Jul 14, 2007 5:53 pm
Right now Im reading:
Atlas Shrugged by Ayn Rand
Lamb: The GOspel according to Jesus's best friend Biff
The Nasty Bits by Anthony Bourdain
Posted: Jul 14, 2007 9:37 pm
cloudsplitter is brilliant; one of john brown's homes still stands fully saved in west akron, down the road where i grew up. he slaughtered a lot of innocent women in kansas and yet...like miles davis, galileo, martin luther, jim brown, elizabeth cady satnton, my short list of heroes includes him, all flawed, rabid monomaniacs.

re banks: below delillo and mccarthy but above everyone else for me for living american authors.

i actually like his stories the best; they are collected in angel on the roof.

but sweet hereafter and affliction murder me emotionally and book of Jamaica is very very interesting.


dickhead cock fag who sucks dick

(aka as old man)
Posted: Jul 14, 2007 9:53 pm
If there are any F Scott Fitz lovers out there, you should read his bio, Some Sort of Epic Grandeur. Very looooong, but what an amazing life. Another great book is the Dawn Powell collection, At Her Best.
Posted: Jul 14, 2007 10:56 pm
Zen and the Art of Motorcycle Maintenance. Makes me want to buy the kawasaki for sale across the street and GTFO.
Posted: Jul 14, 2007 11:19 pm
I got a signed first edition of Kitchen Confidential.And wading thru The Sound and The Fury and besides not reading whilst smoking opium does anyone have any suggestions on how to get the jest of this book, the POV is screwy and i know that different POV are the deal with the book but fuck the second part june second 1910 is sending my mind into hurt.
Posted: Jul 14, 2007 11:35 pm
suggestions on how to get the jest of this book

i know unintentional typo but jest/gist is lovely and appropriate pun

try this and start over: after 100 pages it becomes clear, opium or no opium

the third section becomes real easy: keep asking yourself: what makes jason tick?

The Story
Section 1: "April Seventh, 1928."
Through the fence, between the curling flower spaces, I could see them hitting. They were coming toward where the flag was and I went along the fence. Luster was hunting in the grass by the flower tree. They took the flag out, and they were hitting. Then they put the flag back and they went to the table, and he hit and the other hit. Then they went on, and I went along the fence. Luster came away from the flower tree and we went through the fence and they stopped and we stopped and I looked through the fence while Luster was hunting in the grass.
from The Sound and the Fury

The first section is told from the point of view of Benjy Compson, a thirty-three-year-old idiot, and recounts via flashbacks the earliest events in the novel. As an idiot, Benjy is the key to the novel's title, which alludes to Shakespeare's tragedy Macbeth. For the most part, his language is simple—sentences are short, vocabulary basic. Reading this section is profoundly difficult, however, because the idiot has no concept of time or place—sensory stimuli in the present bring him back to another time and place in his past, instantly and without warning (except for a change in typeface from Roman to italic). Most of his memories concern his sister, Caddy, who is in some ways the central character in the novel. Benjy's earliest depicted memory, from 1898 (when Benjy was three years old), establishes the essence of her character—the children are ignorant of the death of their grandmother, "Damuddy," and Caddy is the only Compson child brave enough to climb the pear tree and look through the window at the funeral wake while her brothers stand below, gazing up at her muddy drawers, which were soiled earlier when they were playing in a creek adjoining the Compson estate.

Most of Benjy's other memories also focus on Caddy, who alone among the Compsons genuinely cared for Benjy. Key memories regarding Caddy include a time when she uses perfume (1905), when she loses her virginity (1909), and her wedding (1910). Benjy also recalls his name change (from Maury to Benjamin) in 1900, his brother Quentin's suicide in 1910, and the sequence of events at the gate which lead to his being castrated, also in 1910.

Reading Benjy's section is difficult, but it is not impossible. First, note that there are two characters named "Maury"—Benjy before 1900 and Mrs. Compson's brother, "Uncle Maury" Bascomb—and there are two Quentins—Benjy's suicidal brother and Caddy's illegitimate daughter. Second, you can get some sense of the time by noting who is taking care of Benjy. Three black servants take care of Benjy at different times: Versh when Benjy is a small child, T.P. when Benjy is approximately 15 years old, and Luster in the present, when Benjy is 33.
Section 2: "June Second, 1910."
When the shadow of the sash appeared on the curtains it was between seven and eight oclock and then I was in time again, hearing the watch. It was Grandfather's and when Father gave it to me he said I give you the mausoleum of all hope and desire; it's rather excruciating-ly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father's. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.
from The Sound and the Fury

The second section recounts the story from Quentin Compson's perspective. Even though the present-day of this section is almost eighteen years prior to the present-day of Benjy's section, it nevertheless follows roughly the chronological development of the novel, for while many of Benjy's recollections are of their early childhood, most of Quentin's flashbacks record their adolescence, particularly Caddy's dawning sexuality. Quentin's section takes place on the day he commits suicide, and in the present we follow his wanderings around Boston (he is a student at Harvard University) as he fastidiously prepares for death. Like Benjy, he too is obsessed with the past and frequently lapses into flashbacks. Unlike the fairly discrete narratives of Benjy's multiple memories, however, Quentin's are much more fragmentary—a repeated (and usually italicized) word or phrase early in his section often recurs later with greater detail and embellishment. Quentin's flashbacks also are much more intellectual than Benjy's. Whereas Benjy records mainly sensual impressions, Quentin more often delves into more abstract issues such as character motivation, guilt, honor, and sin.

He begins his section by contemplating time, even breaking the hands off his watch in a futile attempt to "escape" time. Another minor obsession Quentin has throughout his section is with shadows; the word "shadow" is repeated constantly throughout his section (thus recalling Shakespeare's image of a "walking shadow" in the soliloquy alluded to by the novel's title). Alone among the present-day Compsons, Quentin still feels pride in his family's noble and glorious past, but he recognizes that today nothing remains of that past; it is mere shadow, and he is merely a "poor player" strutting and fretting, powerless to achieve anything of serious importance. Part of Quentin's mental perturbation arises from his father's deep and unswerving cynicism and nihilism; much of his section is a sort of inner dialogue with his father, in which Quentin hopes to prove his father wrong. In fact, his suicide may be just that—his escape from time—for Mr. Compson has told Quentin that as time passes, Quentin will forget his horror, which is unacceptable to Quentin because forgetting would render his horror meaningless, and so he escapes time in the only way he can, by drowning himself.

The source of Quentin's horror is Caddy. Hearkening back to antebellum views of honor, Southern womanhood, and virginity, Quentin cannot accept his sister's growing sexuality, just as he cannot accept his father's notion that "virginity" is merely an invention by men. Most of his flashbacks concern directly his involvement in Caddy's sexual maturing, but ironically they depict also just how ineffectual Quentin is. In an attempt to restore "honor" to Caddy and to the Compson family, for example, he confronts Dalton Ames, who may be the man who impregnated Caddy, but Quentin is easily overpowered by Ames—and in the present, when he mistakes a fellow student for the adversary of his flashback, Quentin gets beat up. In another incident, Quentin proposes a suicide pact with Caddy, but ultimately he cannot go through with it.
Section 3: "April Sixth, 1928."
Once a bitch always a bitch, what I say. I says you're lucky if her playing out of school is all that worries you. I says she ought to be down there in that kitchen right now, instead of up there in her room, gobbing paint on her face and waiting for six niggers that cant even stand up out of a chair unless they've got a pan full of bread and meat to balance them, to fix breakfast for her.
from The Sound and the Fury

Section three is told by the third Compson brother, Jason, and is set on Good Friday. Unlike his brothers, Jason is much more focused on the present, offering fewer flashbacks, though he does have a few and he refers frequently to events in the past. The tone of Jason's section is set instantly by the opening sentence: "Once a bitch always a bitch, what I say." Jason is a sadist, and his grimly humorous section reveals just how low the Compson family has sunk—from Quentin's obsessions over heritage and honor and sin to Jason's near-constant cruelty, complaints, and scheming.

As earlier in the novel, this section reflects a rough chronological advancement—the focus now is not on Caddy herself (though she does appear in a few flashbacks and she often is the subject of Jason's pointed remarks) but rather on her daughter, Quentin, who came to live with the Compsons following Caddy's divorce and who is now, like Caddy in Quentin's section, entering into adult sexuality. Much of Jason's section is about his trying to track her down when she skips school to be with a man associated with the circus then in town, but for first-time readers of the novel, Jason's section is also probably when the difficulties of Benjy's and Quentin's sections begin to make sense. Among the "discoveries" here are that Quentin drowned himself (the suicide itself was not depicted in Quentin's section), that Benjy is a "gelding," that Caddy was divorced and that her daughter, also named Quentin, has come to live with the Compsons. Other things, too, are revealed more clearly: Mrs. Compson's hypochondria, Mr. Compson's alcoholism and nihilism, and especially, Jason's meanness and greed. For years, Caddy has been sending money to her daughter, and since Mrs. Compson has forbidden Caddy's name from being mentioned in the house, she has likewise forbidden her money. To overcome this hurdle, Jason gives Mrs. Compson duplicates of Caddy's checks (for Mrs. Compson to ceremoniously burn) while he cashes the actual checks and pockets the money, giving little or none of it to his niece.

Section 4: "April Eighth, 1928."
In the midst of the voices and the hands Ben sat, rapt in his sweet blue gaze. Dilsey sat bolt upright beside, crying rigidly and quietly in the annealment and the blood of the remembered Lamb.
from The Sound and the Fury

The fourth and final section is told from an omniscient viewpoint. It is sometimes known as "Dilsey's Section" because of her prominence in this section, but she is not the sole focus in this section—a long sequence follows Jason as he pursues his niece, who has stolen abo
Posted: Jul 14, 2007 11:35 pm | Edited by: michael baker
The fourth and final section is told from an omniscient viewpoint. It is sometimes known as "Dilsey's Section" because of her prominence in this section, but she is not the sole focus in this section—a long sequence follows Jason as he pursues his niece, who has stolen about $7,000 from him, to "Mottson."

The focus here is entirely upon the present-day, Easter Sunday, and to that end, all traces of Caddy, including her daughter and even the very mention of her name, have been removed. The two main narratives presented in this section are fairly straightforward: Jason's pursuit of his stolen money and his inevitable come-uppance when he insults the wrong man in Mottson; and Dilsey's attendance at an Easter church service, at which a preacher from St. Louis, Reverend Shegog, delivers a sermon which stirs in Dilsey an epiphany of doom for the Compson family. As she says, following the service, "I've seed de first en de last ... I seed de beginnin, en now I sees de endin."
The Courthouse in 1930
The Lafayette County Courthouse with Confederate Monument, 1930

As the novel ends, the two narratives again converge: Luster has secured permission to drive Benjy to the graveyard, and both he and Jason arrive at the courthouse square in Jefferson at about the same time. But Luster goes past a Confederate soldier on the "wrong" side, which causes Benjy to start crying. Jason approaches, hits Luster, and tells him to take Benjy home. And thus, the novel ends: "[Benjy's] broken flower drooped over Ben's fist and his eyes were empty and blue and serene again as cornice and façade flowed smoothly once more from left to right, post and tree, window and doorway and signboard each in its ordered place."

According to Faulkner, the story began with a vision of a little girl's muddy drawers as she climbed a tree to look at death while her brothers, lacking her courage, waited below:

I tried first to tell it with one brother, and that wasn't enough. That was Section One. I tried it with another brother, and that wasn't enough. That was Section Two. I tried the third brother, because Caddy was still to me too beautiful and too moving to reduce her to telling what was going on, that it would be more passionate to see her through somebody else's eyes, I thought. And that failed and I tried myself—the fourth section— to tell what happened, and I still failed.[1]

Faulkner added a fifth attempt to tell Caddy Compson's story in 1945, when he wrote an "Appendix" to the novel to be included in The Portable Faulkner then being assembled for Viking Press by Malcolm Cowley. "I should have done this when I wrote the book," Faulkner told Cowley. "Then the whole thing would have fallen into pattern like a jigsaw puzzle when the magician's wand touched it." In the Appendix, titled "Compson 1699-1945" (to resemble an obituary), Faulkner offers some additional glimpses into Compson family lore, both from the clan's aristocratic past and in the years following the dates in the novel.

Before Faulkner wrote The Sound and the Fury, he had written a book which he thought was to be the book that would make his name as a writer. He wrote his publisher, "I have written THE book, of which those other things were but foals. I believe it is the damdest best book you'll look at this year, and any other publisher." That manuscript was Flags in the Dust, and it would not be published until eleven years after Faulkner's death.

The discouragement of having Flags turned down, and then severely cut by his friend Ben Wasson into what would be published as Sartoris, apparently led Faulkner to begin writing a book entirely for himself, and publishers be damned. That book, originally titled "Twilight," was The Sound and the Fury. Later, Faulkner would say it was the novel he felt most "tender" toward because it had caused him "the most grief and anguish."
Structure, Technique, and Criticism

None of Faulkner's novels has generated as much critical response as The Sound and the Fury. Because of the sheer abundance of published criticism on the novel, not to mention the vastly divergent opinions and interpretations of the novel, any effort here at commentary on the novel must necessarily fall short.

Still, there are some things on which critics agree. Few dispute that the novel depicts a "tragedy," the decline of the Compson family. There is agreement too that much of the novel is told in a stream-of-consciousness style, in which a character's unadorned thoughts are conveyed in a manner roughly equivalent to the way our minds actually work. Themes critics continuously note in the novel are order, honor, sin. And nearly all critics consider it a technical masterpiece for the way Faulkner incorporates four distinct narrative modes in telling the story of a little girl with muddy drawers.

But as any great literary work should, The Sound and the Fury invites a number of approaches, methods, and philosophies to those who would interpret it. Nearly every reader agrees that Caddy Compson is a key, if not the key character in the novel, though critics differ in how prominent her role should be. Much has been made, too, of the religious backdrop of the story. The present-day setting of Easter has led some critics to question whether Benjy is some ironic modern-day Christ figure—his age (thirty-three), in particular, is suggestive of Christ at the time of his crucifixion. Still others view parallels between Dilsey and the "suffering servant" of Isaiah.
Posted: Jul 14, 2007 11:38 pm
sometimes questions are the answers

About The Sound and the Fury
The Sound and the Fury, published in October of 1929, was Faulkner's fourth novel--and clearly his first work of genius. Now considered to be one of the strongest American contributions to the fiction of high modernism, it has generated countless critical interpretations. In writing the novel, Faulkner experienced a creative absorption and passion that he was never to forget; he said of The Sound and the Fury, "It's the book I feel tenderest towards. I couldn't leave it alone, and I never could tell it right, though I tried hard and would like to try again, though I'd probably fail again."

The novel tells the story, from four different perspectives, of the disintegration of a Southern family. The father is cynical and passive, and though he clearly loves his children, he drinks himself to death; the invalid mother has no love for her children and continuously demands that she herself be taken care of; Benjy, the mentally retarded son of whom his mother is ashamed, is castrated after he begins to exhibit sexual behavior; Quentin, the neurotic and romantic son, goes off to Harvard to fulfill his mother's lifelong wish and commits suicide there; Caddy, the only daughter, becomes pregnant while still a teenager and quickly marries a man who turns her out of the house when he discovers that their child is not his; Jason, his mother's favorite, loses his chance at a lucrative job when Caddy's marriage fails and is reduced to supporting the family by working in a general store. Caddy's daughter--named after her brother Quentin--is brought up in the unhappy Compson household although everyone is forbidden to speak her mother's name. She has her revenge upon her uncle Jason when she steals the $7000 he has amassed by embezzling from his mother and from funds sent to Quentin by Caddy. The family is supported and cared for by a family of black servants, led and held together by the matriarch Dilsey.

Because of its experimental style, The Sound and the Fury presents a daunting challenge for readers. By 1929 Faulkner had given up trying to please publishers and reviewers, and, as the critic Albert J. Guerard has noted, now seemed "to write only for himself and a happy few." Traditional aspects of the novel like exposition, plot, and character development are cast aside in the attempt to find a narrative form that could represent the realities of mental chaos, the fluidity of time and memory, and the painful interweaving of separate selves in family life. Though at times Faulkner's material may seem so inchoate as to be barely containable within language at all, The Sound and the Fury attains heights and depths of expression that are truly breathtaking: it is an unforgettable work that richly rewards the reader's efforts.

For discussion: The Sound and the Fury

1. The novel's title is taken from a monologue spoken by Shakespeare's Macbeth, who has attained the throne of Scotland through murder and has held it through the most brutal violence and tyranny; at this point in the play he has just heard that his wife has killed herself. Sated with his own corruption and looking forward to his imminent defeat and death, he says: "Tomorrow, and tomorrow, and tomorrow/ Creeps in this petty pace from day to day,/ To the last syllable of recorded time/ And all our yesterdays have lighted fools/ The way to dusty death. Out, out, brief candle!/ Life's but a walking shadow, a poor player/ That struts and frets his hour upon the stage/ And then is heard no more. It is a tale/ Told by an idiot, full of sound and fury,/ Signifying nothing." Why do you think Faulkner chose a phrase from this passage for his title? How is this passage applicable to the novel? Do you find the novel as pessimistic and despairing as Macbeth's speech?

2. In The Sound and the Fury Faulkner makes use of the stream of consciousness technique, which was also used earlier in the 1920s in such experimental works as James Joyce's Ulysses and Virginia Woolf's Mrs. Dalloway. He further complicates matters for the reader by scrambling, as it were, the time frames referred to by the narrating consciousness of the opening section of the novel. How do you learn to find your way in Benjy's chapter? How many time periods are interspersed? What are some of the events Benjy is remembering? If Benjy is the "idiot" of Macbeth's speech, in what ways can he be seen, nonetheless, as both a sensitive and sentient observer of his family?

3. All of the novel's crucial events are registered in Benjy's section and are later recapitulated or expanded upon by other narrators, for Benjy is in many ways the central and most important narrating consciousness. Faulkner said of Benjy, "To that idiot, time was not a continuation, it was an instant, there was no yesterday and no tomorrow, it all is this moment, it all is [now] to him. He cannot distinguish between what was last year and what will be tomorrow, he doesn't know whether he dreamed it, or saw it." What are some of the effects of the opening section upon your experience of the Compson family story? Why would Faulkner choose Benjy to introduce the reader to his story? What is Benjy's importance in a novel that is dominated by memory rather than action?

4. Which characters, if any, serve as registers of emotional and moral value? In whom do we find love, honor, loyalty, strength? Is Jason the embodiment of the opposite traits? How does Caddy's daughter, Quentin, fit into the scheme of value here? What about Mrs. Compson? Do Benjy's perceptions function as a sort of touchstone for the reader?

5. Each of the four sections has a date rather than a chapter number. Note that three of the narratives take place on three sequential days in April of 1928 though they are not presented in chronological sequence. The second of the four, Quentin's narrative, is dated June 2, 1910--the day he drowned himself at the end of his first year at Harvard. With each section the narrative voice becomes more coherent, and we finish with a fairly straightforward and traditional third-person voice. Why do you think Faulkner has chosen to present things in this way and in this order?

6. What are the reasons for Quentin's decision to drown himself? Why does Faulkner choose to have Quentin narrate his own section, even though he has been dead for nearly eighteen years? What do you see as the meaning of his dual obsession with his sister's virginity and the loss of the family honor? Why does he attempt to make, in a crucial conversation with his father, a false confession of incest? Given Quentin's state of mind at the time, what do you think of Mr. Compson's response to him?

7. For her brothers, Caddy is the traumatic absence at the center of their experience. For Faulkner, Caddy was the image around which the novel took shape; she was "the sister which I did not have and the daughter which I was to lose," and it all began with the image of "the muddy bottom of a little doomed girl climbing a blooming pear tree in April to look in the window" at the funeral of her grandmother. While Caddy is presented as maternal, erotic, promiscuous, and imperious, she is also unknowable, given that she can only be glimpsed in the rather unreliable narrations of her brothers. Does she appeal to you as a sympathetic character? Is Caddy's fall the cause of the family tragedy or is she just another child-victim of the abdication of parental responsibility? Why do Caddy's brothers each have a narrative voice, while Caddy has none?

8. Jason is an embittered young man with a nasty sense of humor. Nonetheless, he is the querulous Mrs. Compson's favorite, the son upon whom she depends. He imagines people saying of his siblings, "one of them is crazy and another one drowned himself and the other one was turned out into the street by her husband..." [p. 233]. Do you think he succeeds in preserving the appearance of normality that is so important to him? How would you describe Jason's mode of thinking and reasoning? What are some of his activities and preoccupations? What is the effect of his narrative's mood and voice, following as it does upon Benjy's and Quentin's?

9. What role does Dilsey play in the novel? Why does the narrative of the fourth and final section focus upon her, and why do you think Faulkner chose not to give her a narrative in her own voice? What is the significance of the black community and its church in the final section? The novel ends on Easter Sunday; how does this turn to an overtly Christian context work for you as a reader?

10. The novel takes into its scope a number of serious philosophical and psychological issues--the meaning of time, for instance, and the psychopathology of the family--but it does not devote itself to a cohesive exploration of any of them. What, then, would you say this novel is "about"? Think again about the Macbeth quotation--life is "a tale told by an idiot, signifying nothing." What does Faulkner's tale, told four times, signify? What does it achieve? In what ways does the novel focus our attention upon the problem of representing consciousness realistically within the novel form? How does The Sound and the Fury change or affect your experience as a reader of novels?
Posted: Jul 14, 2007 11:39 pm
aulkner's The Sound and the Fury: Benjy's Sense of Time and Narrative Voice
Lesson One of the curriculum unit: William Faulkner's The Sound and the Fury: Narrating the Compson Family Decline and the Changing South

"Tomorrow, and tomorrow, and tomorrow
Creeps in this petty pace from day to day,
To the last syllable of recorded time,
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's just a waking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing."

—Macbeth V.v.

Introduction: A Tale Told by an Idiot
In Carolyn Denard's essay "The Long, High Gaze: The Mythical Consciousness of Toni Morrison and William Faulkner," she notes that Faulkner often gave

voice to the 'discredited' within the South - the alienated, the insane, the idiosyncratic - Ike, Benjy, Darl. These nationally and locally discredited get Faulkner's gaze... He does not simply praise these characters—the gaze is not applause; it is a sincere, lingering consideration of their place in the universe—how they fail and how they triumph, but always how they matter. (Kolmerten 22).

In the first chapter of William Faulkner's emotionally charged novel, The Sound and the Fury, Benjy Compson, the severely retarded son who narrates this section, matters in a most profound sense. It is through his voice—childlike, detached, and often disorienting—that readers are confronted with the reality of time as a recurring motif and how time affects and informs human experiences. It is through Benjy's voice and acute sense of order that readers are able to ascertain the nature of the Compson family decline, as we work to make meaning of a tale told by an individual for whom time as we know it is inconsequential. What does matter is Benjy's perception of order, sensation, and memory within the realm of present-day time. Benjy matters because in this novel, and in this first chapter, the reader is asked to grapple with questions of perception, history, and chronology.
Guiding Questions

* How does William Faulkner portray time in the first chapter of The Sound and the Fury?
* How does the use of time relate to the novel's form and content?

Learning Objectives

* Explore Faulkner's unique writing style and understand the relationship of form to content
* Discuss the use of time in Benjy's section (chapter one) of The Sound and the Fury

Background Information for the Teacher

* This lesson, part of a curriculum unit, covers chapter one of The Sound and the Fury. This opening chapter is the most difficult and many students may require some assistance and encouragement, for narrative time is structured by the mental shifts of Benjy, a mentally disabled member of the Compson family. The shifts in time sequence and stream-of-consciousness narrating force the reader to work at an interpretation of the text. Instead of a linear model, where a traditional plot unfolds, readers of The Sound and the Fury must begin to piece together the plot by first learning to understand Benjy's character. Benjy's needs, desires, and longings are what order his memories, rather than the traditional rule of the clock and calendar. Yet the novel can also be overwhelming in its emotional intensity, particularly as one moves beyond the first chapter. Thus, regardless of the novel's inherent complexities, it is imperative that student readers are able to move beyond their feelings and to articulate thoughtful and informed meanings for themselves through close reading of the text.
* William Faulkner on the Web (WFotW), available via EDSITEment reviewed Internet Public Library, offers a useful list of Benjy's attendants at various stages of his life. You might choose to share this with students to help them organize their timelines, an assessment activity suggested in the Assessment section below. As they read, suggest that students keep track of who is with Benjy—this will give students a useful tip for figuring out what memory or moment Benjy is remembering or experiencing.
* WFotW links to a hypertext version of The Sound and the Fury, available at The University of Saskatchewan. Decoding the role of sequential time in The Sound and the Fury is difficult for many students because of the nonlinear nature of Benjy's chapter. Although the novel unfolds more clearly with subsequent chapters and more lucid narration, it would be helpful for teachers to have on hand a chronological sequence of the events, for Benjy certainly does not remember them in this order. This hypertext provides visual aids for tracking Benjy's section.
o Color-coded chronological sequencing of Benjy's section and the 2-D (or3-D) Display of Time in the Novel, available through the "Visual Displays" section of the website. This graph shows that the current day and the events of Caddy's wedding, when extracted from Benjy's overall discourse in the novel, fall into a normal, chronological order. This shows students that the events of Benjy's day () and the events of Caddy's wedding day that he relates proceed in normal time. The confusion of Benjy's section, then, is sorting these events out of his overall narrative, and figuring out Benjy's shifts from one time to another.
o The "Visual Displays" section (third choice in right toolbar) experiments with different "views" of narrative time in Benjy's section—review these before assigning to students as visual aids, as they are not always immediately intuitive and may foster confusion rather than alleviating it. Also note:
+ Map of the Compson estate and Benjy's movements in his section
+ Proportional display of narrative time in Benjy's section
+ Sequential display of narrative time in Benjy's section

Preparing to Teach this Lesson

* Review the lesson plan and the websites used throughout. Locate and bookmark suggested materials and websites. Download and print out documents you will use and duplicate copies as necessary for student viewing.
* Students can access the novel and some of the activity materials via the EDSITEment LaunchPad.
* Review the curriculum unit overview and the pre-reading activities for students.
* Prepare the colored-ink activity by either creating a word-processing document with the relevant text (below), or by downloading and copying the Colored-Ink Exercise PDF file. If using the printed version, make sure students have a variety of highlighters or some other manner for marking up the document. See the exercise description below for more details.

Suggested Activities
1. Reading Benjy
2. Faulkner's Form, Benjy's Time

1. Reading Benjy
As noted by William Faulkner on the Web, Faulkner suggested that colored ink be used in Benjy's section to help differentiate the shifts in time. At the time, publishing in such a way was deemed unfeasible, but the concept remains useful as an exercise in reading Benjy's section. The exercise that follows will help students engage with and discuss the narrative shifts in Benjy's chapter. While the text is in "colored ink" here as a possible example, the students should only receive black ink that they will "color."

"Colored Ink" Exercise

Instructions for students: Review the following passage (you should already have read at least past this section of the novel prior to this exercise). Faulkner once said that he would like to use colored ink to detail different shifts of time and thought in The Sound and the Fury, particularly for Benjy's section. Read the passage, taken from the hypertext version of The Sound and the Fury, available through the EDSITEment reviewed Internet Public Library (the text corresponds to text from page 11 of the Norton Critical Edition, 2nd edition). Note any words or ideas that don't make sense to you. Then, using highlighters (if you are working on printed paper), or the Hightlighter Tool if you choose to copy the text to a word processing program, "color" the text in a manner that you think shows shifts in Benjy's perception of time, memory, or ideas. Once you are done, answer the questions that follow, explaining your choice by using evidence from the text.

"I is done it. Hush, now." Luster said. "Aint I told you cant go up there. They'll knock your head clean off with one of them balls. Come on, here." He pulled me back. "Sit down." I sat down and he took off my shoes and rolled up my trousers. "Now, git in that water and play and see can you stop that slobbering and moaning."

I hushed and got in the water and Roskus came and said to come to supper and Caddy said,

It's not supper time yet. I'm not going.

She was wet. We were playing in the branch and Caddy squatted down and got her dress wet and Versh said,

"Your mommer going to whip you for getting your dress wet."

"She's not going to do any such thing." Caddy said.


* Who are the characters in this section? What are their relationships?
* The chapter heading is April Seventh, 1928—is there a part of the passage above that could be considered this date (Benjy's "present")? If so, what are some indications of this?
* Does this passage represent "linear time" (meaning, in a progression from one earlier moment to one later moment)?
* How many historical moments or memories do you think Benjy is living (or reliving) in this short passage? How many did you mark with different colors? Explain your choices.

Students might choose to color their passage a variety of ways. One example of an answer follows:

The three moments in time are:

* The present (red) with Luster at the golf course, to
* the end of moment playing in the creek, when Roskus comes to get them for supper (the grandmother has died, but the children don't know that), preceding a slight shift back to
* the beginning of the moment when the children were playing in the creek, when Caddie first gets her britches wet. This progresses
Posted: Jul 14, 2007 11:40 pm
Lesson Two of the curriculum unit: William Faulkner's The Sound and the Fury: Narrating the Compson Family Decline and the Changing South

"I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it."

As in the Benjy chapter, Faulkner's presentation of time is unique and complex as the Quentin chapter symbolically opens with a description of Quentin's watch, which was given to him by his father. Describing Quentin's recollection of receiving this gift, Faulkner writes, "I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it." The watch (and time itself) continues to gain symbolic meaning throughout the chapter. When Quentin fails to carry on the family name, Faulkner ultimately reveals how the Old South at large was giving way to a very new South in the early 20th century. It is symbolic that time does not progress (i.e., that it is "clockless") in this chapter, because stunted time means that neither the Compson family nor the Old South will move successfully "as is" into the 20th century. As students explore Quentin's stream-of-consciousness revelations, they trace his mental breakdown that leads to his suicide, assuring the overall decline of the Compson family, for whom Quentin was meant to carry on the family's aristocratic standing within the changing South.
Guiding Questions

* How do Benjy's and Quentin's own sense of time differ?
* What does Quentin's relationship to and recollection of time suggest about his character throughout the June Second, 1910 chapter and his relationship to and role within the Compson family at large?

Learning Objectives

After completing this curriculum unit, students will be able to:

* Discuss the theme of time in The Sound and the Fury
* Describe and explain the function of stream-of-consciousness as a narrative technique

Background Information for the Teacher

* This lesson, part of a curriculum unit, will cover only chapter two, although students will be expected to read the entire novel closely.
* Like the 2-D Display of Time introduced at the beginning of the curriculum unit, this brief overview of Quentin's Chapter from the University of Mississippi will help students gain a better understanding of what happens in the Quentin chapter as they are reading that chapter for the first time.
* If necessary during the discussion of this chapter, explain to students that Quentin only claims to have committed incest as a way of "saving" Caddy—both saving her chastity and honor and saving her from having to marry Herbert Head after being impregnated by Dalton Ames.

Preparing to Teach This Lesson

* Review the curriculum unit overview and the lesson plan. Locate and bookmark suggested materials and other useful websites. Download and print out any documents you will use and duplicate copies as necessary for student viewing.
* Students can access the novel and some of the activity materials via the .EDSITEment LaunchPad for this unit (direct them to the section for this chapter).
* "Symbols as Time Triggers" Worksheet: hand out these worksheets as an active reading exercise before assigning the Quentin chapter for reading, and ask students to bring the completed worksheets to class. Students will refer to their worksheets during the small group exercise.

Suggested Activities
1. Symbols as Time Triggers
2. Narrative Structure: A Sign of Quentin's Mental State

1. Symbols as Time Triggers
As they prepare to read the Quentin chapter, ask students to chart time and time shifts by tracking on the "Symbols as Time Triggers" Worksheet, the key symbols that jumpstart Quentin's "process of fragmentary recollections." NOTE: hand out these worksheets as an active reading exercise before assigning the Quentin chapter for reading, and ask students to bring the completed worksheets to class. Students will refer their worksheets during the small group exercise below.

The worksheet is available as a PDF document or an online interactive chart. The symbols and their meanings are discussed below during the description of the group activity. Also ask students to read the first part of "On The Sound and the Fury: Time in the Work of Faulkner" by Jean-Paul Sartre, available via University of Saskatchewan's Department of English's Faulkner pages. Assign an excerpt up to the passage "The time of Benjy, the idiot, who does not know how to tell time, is also clockless."

In addition to discussing the key points learned from the lesson one, Faulkner's The Sound and the Fury: Benjy's Sense of Time and Narrative Voice, of this curriculum unit, refer specifically to the following passage from this essay:

"In the first chapter, Benjy's flashbacks are extended in length and triggered by external stimuli in the present and by sensory association....In the second chapter, Quentin's recollections are more abstractly associative than Benjy's—a thought, not only a sensation, will begin a labyrinthine process of fragmentary recollections, often abbreviated and intermingled with one another so that several can occur within the space of two or three lines of text."

Begin class by discussing the Sartre essay. Help students understand that Sartre is saying that Benjy's delves into memories when a word, a smell, or some other sensation triggers the memory (golfers yelling "Caddie/Caddy," for example). On the other hand, Quentin will have a thought, which spawns—like a hydra's head—other thoughts by association, all of which mingle and wind together. The following guiding questions are useful for discussing this article with students:

* What does Sartre mean by Faulkner's "technical oddity"?
* What does Sartre mean by suggesting that "nothing happens; the story does not unfold"?

Remind students, as they learned in Lesson One, that traditional chronological narrative, in which a plot unfolds as the reader progresses through the novel, is replaced by what Sartre defines as "clockless" time (in other words, time that stands still, in Faulkner's case, via the 'standing-in-place' narrative structure of stream-of-consciousness).
* What is another way to describe "clockless" time?

You can explain this notion by pointing out that in the Quentin chapter, for example, Quentin more or less could be narrating his story entirely via stream-of-consciousness without moving or progressing at all. Even when Quentin does move through time and space (e.g., helping the young girl find her way back home), he moves in circles without any clear direction, purpose, or progress.
* How does Quentin's broken watch symbolize "clockless" time?

Remind students that whereas Benjy's flashbacks are prompted by the golfers who say "caddie" (which sounds exactly like his sister's name: "Caddy"), for example, Quentin's memories, as Sartre suggests, are much more mentally prompted-often triggered by a handful of symbols that take on meaning throughout this chapter.

Now, break the students into four groups, and assign a symbol to each group. Each student should have marked several references to each symbol as they were reading the novel, so direct students to cite three group examples for their group to discuss in more detail. Visit each group during their analysis for directed teacher/small group discussions.

Watches/clocks. Explanatory Note: the watch/clocks keep bringing Quentin back to present time when Quentin engages in stream-of-conscious flashbacks.
Water. Explanatory Note: The regatta references indicate Quentin's present time vs. the rain references, which are part of Quentin's recollected/remembered time when he was at home with Caddy. Quentin's shadow Explanatory Note: The references to Quentin's shadow and his stepping on it indicate his obsession with death. A footnote in the Norton critical edition indicates that "In superstition, if you step on your own shadow, you will die." Quentin's references to his shadow bring him back to the present narrative time as he is running around Harvard and then the nearby town. Blood Explanatory Note: The blood references are both literal and figurative (i.e., "family blood"). By noting references, students will begin to notice Faulkner's many references to family blood/heritage/lineage, etc. Family blood is important, because blood, in The Sound and the Fury, ultimately is not thicker than water. Symbolically, Quentin commits suicide by drowning; literally, the Compson family ultimately breaks down. Students should recognize as well that Mrs. Compson and Jason are obsessed by family blood. Each group should respond to and discuss the following questions:

* What makes the image symbolic?
* Why and how does the symbol trigger time shifts throughout the chapter?
* What does the symbol suggest about Quentin's mental state?
* How does the symbol help to clarify this chapter's plot?

Have each group present their findings, recording important aspects on the board (it might help if you compile a list of possible findings on your own prior to class in order to supplement or confirm student findings; see explanatory notes above).

Conclude this activity by asking students the following questions:

* What effect does Quentin's suicide have on the Compson family at large?
* What do all of these symbols suggest about the Compson family?
* How does the declining Compson family reflect the changing Old South?

2. Narrative Structure: A Sign of Quentin's Mental State
Like the "Benjy Chapter," this chapter of the novel is written in the first person point of view. Students should have an understanding of first person after completing the curriculum unit pre-reading review of the definition of point of view/narrative voice. Students will analyze Faulkner's use of person, closely studying several key passages to investigate Quentin's mental state. Because Quentin engages in fragmentary stream-of-consciousness style, his "I" perspective is imbalanced and co
Posted: Jul 14, 2007 11:40 pm
Faulkner's The Sound and the Fury: Narration, Voice, and the Compson Family's New System
Lesson Three of the curriculum unit: William Faulkner's The Sound and the Fury: Narrating the Compson Family Decline and the Changing South
The third chapter of The Sound and the Fury is told from the perspective of Jason Compson, now the patriarchal head of the family, after his father's death, Quentin's suicide, and Caddy's abandonment of her own daughter (also named Quentin). Jason's new familial system is set against the backdrop of rapid and noticeable change throughout the South in the early 20th century: economic transitions (stock market vs. aristocratic wealth via land and slave holdings), technological shifts (fast cars vs. slow horse/buggies), and social changes (new roles for women and African Americans in the South). Alongside this modernization of society, Jason criticizes what he considers as Mrs. Compson's antiquated "system" of "flesh and blood" family obligations. As the head of the family, Jason is violent, mean, and greedy. His leadership does not bode well for keeping intact the remaining remnants of the Compson family, ultimately indicating the passing of both the Old South at large and its one-time aristocratic families such as the Compsons.
Guiding Question

* In what ways does Jason successfully and/or unsuccessfully try to create a 'new system' for the Compson family, of which he is now the symbolic head?
* In what ways is the Compson family representative of the Old South?

Learning Objectives
After completing this curriculum unit, students will be able to:

* Compare and contrast narrative speakers in The Sound and the Fury
* Discuss Jason as a representation of the Compson's changing family structure
* To describe Faulkner's "South" in the context of the historical South and understand how the South was changing socially and economically in the early 20th century

Preparing to Teach This Lesson

* Review the curriculum unit overview and the lesson plan. Locate and bookmark suggested materials and other useful websites. Download and print out any documents you will use and duplicate copies as necessary for student viewing.
* This lesson will cover only chapter three, although students will be expected to read the entire novel closely. If you are using this lesson as a stand-alone lesson, be sure to review with students Activity 1: Introduction to Faulkner's South from the Curriculum Unit Overview.
* Students can access the novel and some of the activity materials via the EDSITEment LaunchPad.

Suggested Activities
1. First-person Point of View: Compare and Contrast
2. Narrative Structure and Characterization
3. The Changing South

1. First-person Point of View: Compare and Contrast
Ask students to compare and contrast the use of first person point of view in the Benjy, Quentin, and Jason chapters. Teachers might consider assigning a one-page reader response paper due the first day of this lesson, so that students are prepared to discuss preliminary ideas in class. In class, students should begin by discussing their general response to this chapter. They most likely will begin to feel more grounded and comfortable discussing the novel's plot. Teachers can use the beginning of class discussion to ensure that students are on the same page in terms of the novel's basic plot. Drawing from students' initial reactions to the chapter and its narrative point of view, teachers might consider using some or all of the following questions to guide discussion:

* All three chapters so far use the first-person point of view. How is the use of the first person different in each chapter?
* Does Benjy's first-person narration reveal more about his own character or more about the Compson family?
* Does Quentin's first-person narrative reveal more about his own character or more about the Compson family (or both)?
* What about Jason's first-person narration?

As students begin discussing how each narrator differs, as well as the similarities they share, ask students to help complete the chart (available here as a PDF) on a black/whiteboard (save the completed chart for use in Lesson Four, where students will complete the chart by filling in the "Dilsey" section). Note: this chart can serve as an effective substitute for the reaction essay suggested above as an at-home exercise.

2. Narrative Structure and Characterization
Students will review several key passages from this chapter that help to describe Jason as a character in relation to the Compson family and its "new system." The focus of this activity is the relationship between narrative structure (form) and characterization (content).

Key passages include the following:

* I saw red. When I recognised that red tie, after all I had told her, I forgot about everything. I never thought about my head even until I came to the first forks and had to stop. Yet we spend money and spend money on roads and dam if it isn't like trying to drive over a sheet of corrugated iron roofing. I'd like to know how a man could be expected to keep up with even a wheelbarrow. I think too much of my car; I'm not going to hammer it to pieces like it was a ford. Chances were they had stolen it, anyway, so why should they give a dam. Like I say blood always tells. If you've got blood like that in you, you'll do anything. I says whatever claim you believe she has on you has already been discharged; I says from now on you have only yourself to blame because you know what any sensible person would do. I says if I've got to spend half my time being a dam detective, at least I'll go where I can get paid for it.

Note to Teacher: This passage illustrates how Faulkner's noticeably shorter and direct sentences quicken the pace of the novel, reflecting Jason's own hot-headedness and fast-paced actions (symbolized by his car, and his obsession with it, and his seeing "red"). First ask students to think about the pacing and tone of the sentences - how does that shape Jason's character in their mind? Ask students to consider the symbolism of the color red itself (Jason's literal and figurative "I saw red," as well as the red family blood, etc).

* I'll be damned if they dont dress like they were trying to make every man they passed on the street want to reach out and clap his hand on it. And so I was thinking what kind of a dam man would wear a red tie when all of a sudden I knew he was one of those show folks well as if she'd told me. Well, I can stand a lot; if I couldn't dam if I wouldn't be in a hell of a fix, so when they turned the corner I jumped down and followed. Me, without any hat, in the middle of the afternoon, having to chase up and down back alleys because of my mother's good name. Like I say you cant do anything with a woman like that, if she's got it in her. If it's in her blood, you cant do anything with her. The only thing you can do is to get rid of her, let her go on and live with her own sort.

I went on to the street, but they were out of sight. And there I was, without any hat, looking like I was crazy too. Like a man would naturally think, one of them is crazy and another one drowned himself and the other one was turned out into the street by her husband, what's the reason the rest of them are not crazy too. All the time I could see them watching me like a hawk, waiting for a chance to say Well I'm not surprised I expected it all the time the whole family's crazy. Selling land to send him to Harvard and paying taxes to support a state University all the time that I never saw except twice at a baseball game and not letting her daughter's name be spoken on the place until after a while Father wouldn't even come down town anymore but just sat there all day with the decanter I could see the bottom of his nightshirt and his bare legs and hear the decanter clinking until finally T.P. had to pour it for him and she says You have no respect for your Father's memory and I says I dont know why not it sure is preserved well enough to last only if I'm crazy too

Note to Teacher: This passage reveals Jason's temper. His concern about not having on a hat is tied to his attempt at upholding the family's image and once good name. His reference to Quentin's (Caddy's daughter's) blood indicates his belief that Quentin inherited her mother's disrespect for the Compson name and social standing (albeit a declining standing). Jason's violence and meanness toward Quentin throughout this chapter suggests that he symbolically regards her as the embodiment of the decaying Compson family. Not only does she represent Caddy; she represents Quentin as well. The second paragraph suggests that Jason believes that he is the only hope for the family. This paragraph provides a clear summary of the novel's course of events, which most likely have been unclear until the Jason chapter, especially until this passage.

As you review these sample passages (and other key passages of your own selection), ask students the following questions about each passage:

* What 2-3 adjectives best describe Jason in this passage?
* What effect does Jason have at this point in the novel on the unfolding plot?
* What effect does Jason have at this point in the novel on the other characters?

Then lead a general discussion about this chapter, using the following guiding questions:

* What kind of new system does Jason envision for the Compson family?
* How does this system differ from the Compson family as presented by Benjy and Quentin?
* Does Jason succeed in creating this new Compson family system? Why or why not?

3. The Changing South
Not only does the Jason chapter reveal the final stages of the Compson's family's decline, but it also portrays the changing South-economically (stock market vs. aristocratic wealth via land and slave holdings); technologically (fast cars vs. slow horse/buggies); and socially (new roles for women and African-Americans in the South). Divide students into small groups to explore these topics (assigning two groups for each topic if necessary). Each group wi
Posted: Jul 15, 2007 3:23 am
I restarted Jonathan Lethem's "Fortress of Solitude," which I got about a third of the way through last year. Dude's prose can get a bit purple from time to time, but he gets it down right ...
Posted: Jul 15, 2007 3:56 pm
Heredity by Jenny Davidson, so far it's alright. I'm waiting for her phantom pregnancy by an 18th hoodlum skeleton to occur. I'll fill you all in as I know more.
Posted: Jul 16, 2007 6:12 pm
actually like his stories the best; they are collected in angel on the roof.

I really liked Rule of the Bone, and Trailerpark. I've read almost all of em, though....
Posted: Jul 17, 2007 9:50 am
I be reading Jon Savage's Teenage, which is a pre-history of (d'oh!) teenagers, starting in the late 19th Century and finishing in the 40's – very good it is, too... if you've read his England's Dreaming, or any of Michael Bracewell's stuff, then you'll dig it...

Oh, Carson McCullers! AWESOME! Flann O'Brien is funny as fuck...
Posted: Jul 17, 2007 3:01 pm
Jonathan Lethem's "Fortress of Solitude,"
thats a good book. motherless brooklyn by lethem is hilarious.

reading savage peace: hope and fear in america 1919 by anne hagedorn
Posted: Jul 17, 2007 3:14 pm
Flann O'Brien is funny as fuck...

as funny as funny gets

savage peace: hope and fear in america 1919 by anne hagedorn

soon very soon
Posted: Sep 16, 2007 12:37 am | Edited by: Parker
I don't remember which book scared me the most but Jack Ketchum's The Girl Next Door was a horrible read.I like dark, depressing and disturbing books but this one just made me feel real bad.I had to read it very fast because I couldn't stand feeling so sick, so disgusted and so sad.

Morning: Curzio Malaparte- Kaputt
Evening:Tom Piccirilli- A Choir Of Ill Children
I like both very much.
Posted: Sep 16, 2007 12:45 am
wisconsin death trip
Posted: Sep 16, 2007 12:53 am
wisconsin death trip

Posted: Sep 16, 2007 1:02 am
Shadow of the Dolls, a sequel to Valley of the Dolls based on original drafts by Jacqueline Susann.
Posted: Sep 16, 2007 1:37 am
Posted: Sep 16, 2007 3:02 am
the source: the untold story of father yod....
Posted: Sep 16, 2007 3:34 am
Fundamentals of EEG Technology Vol. 1 by Fay S. Tyner, John R. Knott & Brem Mayer, Jr.
Posted: Sep 16, 2007 4:03 am
the untold story of father yod....

TK sent me an LA Weekly with a cover story on this!!! I have it in my stack of "To Read" periodicals (which is getting out of hand).
Posted: Sep 16, 2007 7:03 am
I just read "Me Talk Pretty One Day" by David Sedaris. Had me lauging.
Posted: Sep 16, 2007 3:10 pm
He is coming here; has anyone seen him live? Is it reccommended?
Posted: Sep 16, 2007 5:17 pm
He is coming here; has anyone seen him live? Is it reccommended?

I've seen him, he was great! It's really funny watching him tell his own stories. I had heard him on NPR, but live was awesome.
Posted: Sep 16, 2007 10:58 pm
psychopathia sexualis. it's for one of my classes.
Posted: Sep 16, 2007 11:09 pm
psychopathia sexualis. it's for one of my classes.

Are the more detailed parts of the cases still in Latin?
Posted: Sep 17, 2007 1:50 am
i am reading the last harry potter book again
Posted: Sep 17, 2007 4:11 am
Yeah, go see david sedaris. He's hilarious, his books are hilarious, you will have a hilarious time.

Posted: Sep 18, 2007 6:01 am
Posted: Sep 18, 2007 7:10 am

Are the more detailed parts of the cases still in Latin?

nope. it's all translated now, except for some places where the latin words are medical terms that are pretty reasonably well known as to what they mean.
Posted: Sep 18, 2007 9:24 pm
Atomic and Molecular Orbital Theory by Peter Offenhartz. No seriously guys, it's out of control.
Posted: Sep 18, 2007 9:46 pm
i am reading the last harry potter book again
does he still die?
Posted: Sep 18, 2007 11:42 pm
"Legion of the Damned" , a somewhat obscure book written by a man from Memphis who served in the French Foreign Legion in the 1920's. Bennett J. Doty fought against Druse tribesmen in Syria and was later convicted of desertion . He came close to a firing squad but was saved by machinations by senators US senators from Tennessee. Doty later went to Spain during the civil war there and vanished during the fighting.
Posted: Sep 18, 2007 11:56 pm
i knew a kid in hike school with the last name doty.
Posted: Nov 21, 2007 5:41 am
I just read "Wicked" and I really wasn't that into it... but of course now I am surrounded by references to it. My friend in Tacoma I haven't seen in forever was reading it at the same time I was, Jeopardy had a question about it the other day, and now I see there's a broadway play. You guys read this? What'd ya think? I thought slow, choppy and at times, boring. But at the end it finally got good and then it was over.
Posted: Nov 21, 2007 1:07 pm
Thomas Mann: Buddenbrooks
Posted: Nov 21, 2007 2:35 pm
the caged lion
churchill, by manchester
Posted: Nov 21, 2007 3:15 pm
Child of God by Cormac McCarthy.
Posted: Nov 21, 2007 3:28 pm
Paul Ruscha, "Full Moon"
Posted: Nov 21, 2007 3:39 pm
oh and reading novels for a class this jan:

pudd'nhead stands (i mean) wilson
nigger (brad) of the narcissus
hard times
the awakening
red badge
billy budd
the egotist
jude the obscure
Posted: Nov 21, 2007 4:30 pm
I'm reading "Total War", a super dry recounting of every detail of WWII...it's about 960 pages.
Posted: Nov 21, 2007 4:32 pm
Moondog bio.

Just read Twain's Letters from the Earth.
Posted: Nov 21, 2007 4:33 pm
The New Kings of Nonfiction - had already read about half of what's included but still fun. I really wish people would stop using "Kings of" in titles.
Posted: Nov 21, 2007 4:34 pm | Edited by: michael baker
gosh i am so jealous

i went through 4 or 5 books about ww II after band of brothers

and all were long but that book's length scared me

even if the churchill book is about 2000 pages!!

how scary is bazooka up close?

how nice is the poster?
Posted: Nov 21, 2007 6:18 pm
just picked up Good-Bye to All That by Robert Graves. I'm a sucker for ww1 stuff. if you have never read Ernst Junger's Storm of Steel, I highly recommend it.
Posted: Nov 21, 2007 6:27 pm
Posted: Nov 21, 2007 9:25 pm
"The Sicilian" by Mario Puzo. Almost finished.
Posted: Nov 21, 2007 11:15 pm
Robert Graves is interesting. I just got his two books on greek mythology at the thrift store today. "The White Goddess" seems like an impenetrably obscure read, but I want to tackle it some day.
Posted: Nov 21, 2007 11:28 pm
chicago manual of style, pretty fucking dry.
Posted: Nov 21, 2007 11:41 pm
Best American Crime Reporting 2007
Posted: Nov 22, 2007 8:09 am
So, no one has read "wicked", the inside story of the wicked witch of the west??
Posted: Nov 29, 2007 5:21 am
The Guns of August by Barbara Tuchman
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