Tuesday, November 17, 2009

Conrad in the Congo

The selected letters in route to the Congo are Conrad’s letters to his cousins, uncle, and aunt expressing his love and devotion to them, as well as describing his travels.

-Reminds his uncle that he will never forget the love and kindness he received from him while in Cracow.

-Conrad refers to himself as an affectionate relation and servant to both his uncle and aunt.

-Signs his letters as Konrad Korzeniowski or simply Conrad (real name is Józef Teodor Konrad Nalecz Korzeniowski)

-Has an immense amount of gratitude for the goodness showed to him by others.

-Intense emotions of gratitude, love, and devotion.

-Appears excited and anxious for his trip.

-Recognizes “the wickedness of the world” yet he is able to be optimistic and positive within it.

-His world is busy and chaotic before his trip with goodbyes and packing.

-Feels uneasy that 60% of the Company’s employees return to Europe before their 6 months’ service is completed.

-“I have no longer been interested in the goal to which my road leads.”

-Change of emotions towards his journey.

-Finds his tenderness as his uncle as a weakness.

-Wishes for letters from family and friends to make his existence more bearable. Needs communication and connections to prevent his loneliness.

Wednesday, November 4, 2009

Just a flower?

Faulkner always communicates more than what he actually writes. After in-depth analysis of this piece of literature, it is apparent that every word, every phrase, every sentence is meticulously written in order to give the story a deeper meaning. To truly understand Faulkner is to understand the fact that the written text is only half of the story. This observation is evidenced by the flower within the final lines of the book. While riding in the carriage with Luster, Benji (like Kevin I prefer the name Benji) holds a flower in his hand. He is described as untroubled, seemingly content. But when Luster decides to take a different route; chaos erupts. Benji starts to cry, Jason hits both Luster and Benji, and Jason reprimands Luster for his silly error. After Luster gets back on the familiar track, Benji is calm again yet his flower is broken, lying limp in his hand. The flower represents Benji, a broken individual; one that is incapable is truly enjoying the world around him. Despite the flower being broken, he returns to the state he had previously been in and completely unaware of his self. It has been previously stated that Benji is much smarter than others assume, but can Benji even comprehend his personal situation? If not, is it better that he doesn’t?

There are many different interpretations to what the broken flower represents. What do you think the flower symbolizes? It is merely just a flower?

More than Words

Are words more than merely words? Words communicate thoughts, concepts, emotions, and within Faulkner’s, The Sound and the Fury, the use and repetition of words communicate much larger ideas outside of what the text itself merely communicates. The specific and meticulously thought-out word choice, as well as the number of times words are used within the novel are incredibly important. As already known, every comma, word, and type of syntax used has a vital purpose. This depth of detail within Faulkern’s writing is one of the many reasons as to why he is such a great writer. Why within the Benji section the word “fire” and “mirror” and used constantly? Why does the word “shadow” omnipresent in the Quentin section? Faulkner always has a purpose behind it his words. Robert Martin in his work, The Words of “The Sound and the Fury,” explains that the reader must tirelessly attempt to find more within the text. It is the reader’s obligation and responsibility to find the meaning between the lines and behind the words.

In the Benji section, the words fire and mirror are used multiple times to portray the inner thoughts and personal experiences of Benji. The fire obviously calms Benji. Luster and various members of the Compton clan used fire to hush and silence him. Fire is more than just fire to the simple mind of Benji. Fire is concrete, physically visible, and simple to understand. Within a world that is too complicated and abstract for Benji to grasp, fire sheds light upon his understanding. In addition to the use of fire, the word mirror is used multiple times within this section. The mirror represents Benji’s frame of reference. He cannot voluntarily interact to a certain degree in the world he lives in, yet the mirror is the concrete frame in which he can see. Both of these words and the repetition of these words emphasize the fact that Benji is often in the dark and cannot act within the world he lives in.

Similar to the Benji section, Quentin’s section is dispersed with the word “shadow”, which communicates the personal inner struggle that he is constantly fighting with. Quentin’s shadow is often mentioned and almost becomes a character of its own, detached from him. The troubled young man is constantly try to hide from his shadow, to run away from his shadow, to trick his shadow – he is trying to get away from himself. Quentin is not capable of accepting himself; coming to the conclusion that he cannot be perfect, and understanding that disorder will always exist. By not being able to live with his shadow, Quentin concludes he is not able to live with himself.

By understanding the meaning behind Faulkner’s words and use of words, The Sound and the Fury, becomes similar to a foreign language, which requires the reader to decode. While reading, the reader must think out-of-the-box, look for details, and attempt to understand the mind of Faulkner. Benji’s understanding of his world is difficult to grasp without the use of the word fire and Quentin’s personal struggle is emphasized through his personal struggle with his shadow. Without this analysis, these in-depth conclusions would never have been made. So after reading pages of The Sound and the Fury, and proudly stating you have understood all of the text; think again because there is so much more. (564)

The Words of "The Sound and the Fury"

Author(s): Robert A. Martin

Source: The Southern Literary Journal, Vol. 32, No. 1 (Fall, 1999), pp. 46-56

Published by: University of North Carolina Press

Stable URL: http://www.jstor.org/stable/20078252