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Sarah Smethurst’s Class Summary for October 15

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Deciphering Faulkner: Class Summary Essay

The Sound and the Fury: June 2, 1910

Class began with that ever-treasured opportunity—extra credit. After discussing the opportunity and the details of the hypertext edition specific to this section, we jumped right in. After a discussion of Benjy’s use as a narrative prosthesis, we discussed Quentin’s section, finding several points we could agree on. Faulkner lets us into Quentin’s head and uses the pioneering (and frustrating) stream of consciousness style to give us insight into a mentally disabled brain that we lack in the more obviously disabled Benjy’s narrative. We see his failed life, his confused sexuality, and his complicated and possibly fictionalized relationships in much sharper focus than the well-meaning but unreadable Benjy’s reading of events.

Because Benjy’s beginning narrative is so crucial to the rest of The Sound and the Fury, we spent the first part of class (re)iterating our small group discussion of the previous class. Dr. Foss (re)presented the question of whether Faulkner cares about Benjy as more than a narrative device, and whether he is a sympathetic character or simply a perpetuation of a derogatory stereotype. Despite protestations that devoting much space, especially prime opening chapter space, to a disabled character was an act of service, we were forced to consider that the time was spent (re)inforcing a stereotype. The fact remains that Benjy does little to make himself a sympathetic character—we get a lot of characterization and events through him, but little emotional language or an experiential lens at all. He doesn’t have much of his own voice, and instead speaks through others’ dialogue, despite the section being technically grounded in his consciousness. Besides all that, there are major doubts as to the accuracy of Benjy’s disability, which can be infantilizing and extremely limiting.

Finally, we reached the topical portion of the class—small group discussion on the next section of the book, as narrated by Quentin. Dr. Foss presented to us several questions about how we read Quentin’s character and possible disability (and how that comments on Benjy’s disability), how to explain the narrative (switches in style of stream of consciousness), and the roles of other characters in his life. As usual, my group didn’t manage to get to most of the questions, but we covered what we could.

First, we deviated long enough to discuss the parentage of Ms. Quentin (is she Quentin’s child? is that possible?). This theme of possible incest would show up in later classes, and appears to be an unusual textual fixation of my group. We then discussed whether or not Quentin was disabled himself, conjecturing that though he may “pass” in society as sane, he had many mental and emotional disabilities of his own. We pointed to the past issues and traumas in his life, and also to the imagery and symbolism in the section (the use of clocks and fixations on time). Quentin has obsessions and fixations that are debilitating, not to mention the clear anxiety, depression, and (planned) suicide.

Despite the common disability (though in different forms), we found many differences between Quentin and Benjy. Their perceptions of the world are different—Benjy’s is neutral or even removed, and Quentin has an overwhelmingly negative perspective. The stream of consciousness style gets ever stranger when Quentin is the narrator, and we covered the differences and similarities in style., especially the mid-sentence time and scene changes present in Quentin’s text. We also discussed how Benjy merely observes the outside world around him, placing no filters or biases on the action, while Quentin takes it all in and combines it with his own emotion. Thus, he is susceptible to what others think about him and is sensitive to teasing, especially about his sexual orientation.

We could draw little conclusions about Quentin’s sexuality from the text. It was unclear whether certain comments meant that Quentin was really gay, or whether he was simply representing or internalizing the teasing of classmates and others around him. We also questioned the reliability of Quentin as a narrator, proposing that it was possible and even probable for him to lie in his section, whether intentionally or not. It made us doubt the crucial section regarding Caddy as we looked for meaning in Quentin’s obsession with her. We divined that whether they really had sex or not did not matter as much as the fact that Quentin believes that they did. Most of his interactions with Caddy could conceivably be a figment of his altered imagination, but so long as he believes they occurred, they have a huge impact on his life and mental health. We would have delved much deeper into this topic but Dr. Foss ended class at this point. Perhaps we should have saved the incest discussion and devoted more time to the loaded relationship between Caddy and Quentin.

Benjy may or may not be a sympathetic figure, but the mind that we really get into in The Sound and the Fury is Quentin’s. Although Quentin is a supposed to be a more normal narrator, he suffers from a disability that rivals Benjy’s, which affects his interpersonal relationships, his sexuality, and the unique voice in the section entitled “June 2, 1910.” The last comment of class was a question highly relevant to this issue and posed by Dr. Foss—who, in this text, is the Sound, and who is the Fury? He suggests that it is Benjy who provides the Sound, and Quentin who fully supplies all the Fury the text needs.

919 words

Written by sarahsmile

October 20th, 2010 at 3:24 am

Meg’s Formal Blog Post on the Sound and The Fury

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“She didn’t mean that that’s the way women do things it’s because she loves Caddy
The street lamps would go down the hill then rise toward town I walked upon the belly of my shadow. I could extend my hand beyond it.feeling Father behind me beyond the rasping darkness of summer and August the street lampsFather and I protect women from one another from themselves our women Women are like that they dont acquire knowledge of people we are for that they are just born with a practical fertility of suspicion that makes a crop every so often and usually right they have an affinity for evil for supplying whatever the evil lacks in itself for drawing it about them instinctively as you do bed-clothing in slumber fertilising the mind for it until the evil has served its purpose whether it ever existed or no”

In The Sound and the Fury, Quentin Compson acts as ‘other.’ Stuck in the old, formal ways of the South, he is unable to cope with the changing social views and moral decay around him. He is further complicated by his sister, Caddy, who, because her sexual promiscuity, is also unable to fit into the antiquated Southern world that he would like to keep. In this section of text, Quentin derisively splits the genders, forcing Caddy and women into an ‘other’ role by making the masculine dominant and the feminine submissive (and therefore, victimized). By identifying himself with men and alienating Caddy, Quentin is able to assume roles for both himself and Caddy that identify with an antiquated Southern viewpoint—he becomes martyr, and she victim of her own nature.

In this section, Quentin immediately begins placing himself above Caddy. He first begins separating the genders. The mother and Caddy have their own sentences, and are purely emotional. They deal with love. Furthermore, the sentence is an allowance; he and his Father are simply shrugging off the emotions of women. After these sentences come, “Father behind me” and “Father and I.” Both sentences are fairly physical. They designate their gendered roles—the men to “protect” and the women to be protected. Quentin further separates the genders by intellect. Men “acquire knowledge” and learn. Women, however, “are just born,” which implies animalization. Women merely react; they can’t help themselves. The several mentions of “fertility” also imply a naturalness that gives way to instinct. This allows Quentin to place Caddy in his world; women are weak and can be manipulated. They act on instinct and so if they have an “affinity for evil,” it makes sense that Caddy would be promiscuous, despite the fact that she should be an upstanding, moral, Southern Belle.

The dominance of the masculine is also stressed in this section because it is the masculine voice that the reader hears. Theirs are the opinions that are bestowed; Caddy and the other women are never allowed to speak for themselves, and so they seem further subjugated by their silence.

By making Caddy the ‘other’ in the section—making her a victim of her own evils, Quentin is able to give her a place within his world. All women are immoral. They are instinctual and it is up to the Southern gentleman to protect them from that. Furthermore, because Quentin is the other, stronger gender, that which is physical but intelligent, Quentin is also able to place himself within the old Southern world. He takes on the role of chivalric martyr. By accusing himself of incest, he protects Caddy from herself.

Written by Meg

October 15th, 2010 at 10:28 am

Katherine Sullivan’s Formal Post on William Faulkner’s The Sound and the Fury: June Second, 1910

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In this story, the lives of two brothers are shaped by one unstoppable force: time.  When analyzed with the first section of The Sound and the Fury (April Seventh, 1928) the second section brings many underlying themes to the clear vision of the reader. The Sound and the Fury: June Second, 1910 is narrated by Benjy’s older brother, Quentin.  A thorough analysis of the two brothers (and their accompanying texts) will reveal that they are surprisingly similar in their perceptions of the world and their obsessions.

June Second, 1910 opens with Quentin in his bed at Harvard, keenly listening to the ticking of the watch his father gave him, trying to divine the exact time without looking at the watch’s face.  This anxious obsession with time serves as a defining characteristic of Quentin throughout the section in which he narrates.  The reader experiences his world through the acute, measured passage of time as he frequently reassures himself that it is “quarter past,” “half past,” or “quarter ‘til,” even when he is unsure of the numerical hour itself.  Through this section, we learn that Quentin’s obsession with time has always been part of how he perceives the world, even counting the seconds and minutes in school until the bell would ring.  In my interpretation of the second section, Quentin’s obsession with time shows his intense desire to control some significant force in his life to oppose his father’s demanding decisions and his restrictive familial obligations.

Like Quentin, Benjy is also obsessed with the passage of time, not necessarily in the exact, scientific manner of his brother, but in much more relative terms.  When compared to the second section, Benjy’s narration is punctuated with instances of fascination with the passage of time, not his brother’s controlling, anxious approach.  Benjy perceives the world as a series of objects being either present or absent. In my interpretation, this is how he measures time. This can be seen in how Benjy remembers eating soup in the kitchen, as a repetitive series of the bottom of the bowl either being visible or not. In this scene, he does not focus on the conversation around him, or the actions of the other characters, he only focuses on time ticking away by the absence or presence of objects.  This event is not unique in Benjy’s section, as he perceives many situations in this way.

In this intertextual reading of the first and second sections of The Sound and the Fury, it can be seen that both brothers measure the events and memories in their lives by the passage of time, be it free-form and visually-based in the case of Benjy, or regulated and numerical in the case of Quentin.

Written by Katherine Sullivan

October 15th, 2010 at 9:56 am

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