An experimental novel, documenting the tribulations of the Compson family, in early 20th Century Kentucky. In a very avant-garde way, the novel deploys stream of consciousness writing to present the story through deeply personal and emotive perspectives.
The structural freedom is not just used as a consistent stylistic choice for the author, but rather as a means of imbuing the prose with emotional strength. In one chapter, the prose varies between organized and disorganized to match the point-of-view character’s own composition. When he’s captured by his own emotions, the prose becomes very free, almost as if spilling out of him, but when he’s composed and in control of himself, the prose is rigid and clearly structured. In another chapter, the disconnectedness and confusion serves to illustrate the childlike way another character views the world, with events that he can’t make sense of being presented in a confused way to us.
At times, the writing can feel cryptic. Figuring out what’s happening, who’s talking, or how the characters relate to each other is difficult. This puzzle-solving is part of the enjoyment of the novel, at least at times.
Another mode of enjoyment is letting yourself be transported by the narration, accepting that you may not understand anything, and just letting yourself watch what’s being shown in front of you. At its best, the novel has a cinematic quality to it. Images, events flow in front of you, and you see flashbacks as naturally occurring thoughts, like cuts in a movie.
At its worst, the novel is just plainly difficult, and confusing. My biggest criticism is that the underlying story feels a bit weakened without the extraordinary presentation. The appendix lays out all the facts in front of you. When presented plainly, the story seems a bit underwhelming ; if you present any story as a sequence of facts, it always seems underwhelming. The beauty of this novel is in its presentation. While trying, it is worth the reward of working with it.