The Compson family, Benji a man of innocence has kin of ignorance and self-centeredness, they will have terrible awakenings in this story this family tragedy of an American household, the fall of the Compsons during the era of the 1910-1930's.This novel was published in a turbulent time when America was going through some changes in October 1929 the month and year of the Great Stock Market Crash.William Faulkner uses an unconventional way to tell this tale of his that has some truth in that there was a Compson family back in the day. He manipulates viewpoints and has a way to leave the reader pondering over the different narratives meaning and on the unresolved dilemmas and occurrences. This can for a first-read provide an experience of being a hard read, but once you understand who the narratives are and get round the language used I have discovered now how this is for me, after a second and third read, a work of a genius.Four parts/chapters, four different narratives back and forth during different years all involving the Compsons demise.The first narrative is from the viewpoint and consciousness of the disadvantaged Benj or Benjamin his birth name that he mother insists him to be called by. The second narrative is from the life of Quentin brother of Benj, Caddy and Jason. He's the fortunate one to be Harvard taught but unfortunate in other ways of which I will divulge into when I dissect these chapters soon.The third narrative is from the viewpoint of Jason brother of Caddy, Benj and Quentin. He is now a self made man in a time where the doors of commerce and investment have opened to foreigners and he's lucky enough to be in ownership of a motor vehicle.The last and fourth narrative comes from some important characters to the Compson family and I would say their saving grace and backbone, the home helps Luster and Dilsey. His ending of his novel with these characters and the importance they had in keeping some sanity in the Compson home in some ways disproves the fact that he was a racist. The title name to this novel can be traced back to a scene from Macbeth “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." Faulkner Discussed this novel in Japan 1955 mentioning its significant beginnings.. "And then the idea struck me to see how much more I could have got out of the idea of the blind self-centeredness of innocence typified by children, if one of those children had been truly innocent, that is, an idiot. So the idiot was born, and then I became interested in the relationship of the idiot to the world that he was in but would never be able to cope with and just where could he get the tenderness, the help, to shield him in his innocence. I mean 'innocence' in the sense that God had stricken him blind at birth, that is, mindless at birth." Part 1 April seventh 1928Benji and Caddy where the closest kin and Luster the help second. Benji felt comfort and loved her company and innocence. Caddy is very important to Benji but as she looses her innocence and leaves the nest he feels very isolated and emotionally at unease when thinking of her.He is disadvantaged in understanding of matters logically but on the sight and smell side of understandings he is more superior probably than any other Compson. Benji in someway is reminiscent of the character in Mice of men by Steinbeck. Faulkner has successfully made a heartfelt connection starting this epic story with Benji and hooked us on course with the fate of Benji and those around him.Luster is another important part of Benji's life and safety. Benji is 33 years old but functions like that of a child of 4, Luster is a black male, a home help half his age and half his size but manages to take care of him in all ways and manners. He spoon feeds him and calms him, at times guilty of teasing him about the absence of Caddy.Benji innocence and his wiser character is that he does not treat or regard Luster in anyway different due to race unlike the whole Compson family throughout the novel who use words that are best left unrepeated. He is no angel Benji and can be self-centered but all he did I am sure was not by a conscious choice, he was born this way unlike the rest of the kin who chose their paths and behaviors. These two characters Benjamin and Luster are memorable and will be forever remembered from the pages of literature. "'Dilsey,' Caddy said, 'Benjy's got a present for you.' She stooped down and put the bottle in my hand. 'Hold it up to Dilsey now.' Caddy held my hand, and Dilsey took the bottle. 'Well, I declare,' Dilsey said. 'If my baby ain't give Dilsey a bottle of perfume. Just look here, Roskus.' Caddy smelled like trees. 'We don't like perfume ourselves,' Caddy said. She smelled like trees.""It was two now, and then one in the swing. Caddy came fast, white in the darkness. 'Benjy,' she said, 'how did you slip out? Where's Versh?' She put her arms around me, and I hushed and held to her dress and tried to pull her away. Caddy and I ran. We ran up the kitchen steps, onto the porch, and Caddy knelt down in the dark and held me. I could hear her and feel her chest. 'I won't,' she said. 'I won't anymore, ever. Benjy. Benjy.' Then she was crying, and I cried, and we held each other. 'Hush,' she said. 'Hush. I won't anymore.' So I hushed, and Caddy got up. And we went into the kitchen and turned the light on, and Caddy took the kitchen soap and washed her mouth at the sink, hard. Caddy smelled like trees."“I got undressed, and I looked at myself, and I began to cry. ‘Hush,’ Luster said. ‘Looking for them ain’t going to do no good. They’re gone.” Part 2 June second 1910This narrative was more flowing in that there was not as much dialogue as the first and easier to read. It had very dark parts and one part in a way presented some dark humor for me.This was Quentin's time to take us into the Compson threshold and his turbulent goings on. Here he feels jealousy and at a disadvantage even though he was the one to be lucky enough to be educated at Harvard at the expense of his mother selling of Benji's plot of land. He feels envy over his sister’s marriage and experiences of love and sex. He feels emptiness even when he tries to do a good deed he finds himself in trouble. For instance, he tries to help a girl he meets in a bakers shop that he thinks is lost find her way home. This young girl can't speak his language and so he has trouble in finding her house. In end his find himself accused my the girls father and the law of snatching her and it all felt quite a funny situation to me, but to him it just added to his downward spiral. When you hear if his dissatisfaction you can't help not remembering Gatsby from the Great Gatsby by Fitzgerald in a way this novel has maybe some strange likeness maybe to that story also, in that they are both dissatisfied and self-centered households. "Because women so delicate so mysterious Father said. Delicate equilibrium of periodical filth between two moons balanced. Moons he said full and yellow as harvest moons her hips thighs. Outside outside of them always but. Yellow. Feet soles with walking like. Then know that some man that all those mysterious and imperious concealed. With all that inside of them shapes an outward suavity waiting for a touch to. Liquid putrefaction like drowned things floating like pale rubber flabbily filled getting the odor of honeysuckle all mixed up.""Caddy you hate him don’t you she move my hand up against her throat her heart was hammering there poor Quentin her face looked at the sky it was low so low that all smells and sounds of night seemed to have been crowded down like under a slack tent especially the honeysuckle it had got into my breathing it was on her face and throat like paint…. I had to pant to get any air at all out of that thick gray honeysuckle yes I hate him I would die for him I’ve already died for him I die for him over and over again every time this goes when I lifted my hand I could still feel crisscrossed twigs and grass burning into the palm poor Quentin.”“Nonsense you look like a girl you are lots younger than Candace colour in your cheeks like a girl A face reproachful tearful and an odour of camphor and of tears a voice weeping steadily and softly beyond the twilit door the twilight-coloured smell of honeysuckle. Brining empty trunks down the attic stairs they sounded like coffins French Lick. Found not death at the salt lick.” Part 3 April sixth 1928This narrative is that of Jason the brother of Benji, Caddy and Quentin.He's a self made man but can't help being dissatisfied at his not being liked by his father he talks of his brothers Quentin being his fathers favorite and the only one sent to Harvard and then amounting to nothing. He also can't stand the responsibility that he now has over the Compson family as his father passed away and he has sole financial responsibility of them. He can't stand his nieces idleness and disregard for education and responsibility and in away hates and is envious of her freedom and love life.He talks of his enragement over her companionship with a man with a red tie, this man works in the circus.This niece Quentin is the daughter of the once innocent Caddy who lost it all to an unnamed father.Jason talks of his displeasure of the foreign investors on American soil and of his business climb and possibly downfall.This was all relevant to what was really happening during to the year of publication of this novel when there was a great economic crash. Part 4 April eighth 1928This narrative comes from that not of kin but the home help two very important backbones of this collapsing entity the Compsons. Faulkner choosing to have these important black people end his grand story who where not that regarded as important by many in the America of that time was very significant.You see again the important role Luster has with Benji and taking care of him and feeding him. Luster also refers to the incident in the opening chapter where he was looking for his quarter to go to a show and this was the day after that where he was questioned about his laziness and waking up late due to being out late to the show.Luster and Benji takes us through their outing on their horse Queenie into town that proves to be an adventure that they would probably not repeat.Jason also has some viewpoint in here on the pursuit of something missing. "Dilsey opened the door of the cabin and emerged, needled laterally into her flesh, precipitating not so much a moisture as a substance partaking of the quality of thin, not quite congealed oil. She wore a stiff velvet cape with a border of mangy and anonymous fur about a dress of purple silk, and she stood in the door for a while with her myriad and sunken face lifted to the weather, and one gaunt hand flac-soled as the belly of a fish."I can now say that this novel has proved to be a great journey and demanded my deep thought and attention and that it started from being a slightly confusing read during my first read to a memorable great read in my second and third read and audiobook re-covering of its great heartfelt and meaningful story.A family tragedy, a plight of human endeavor, a passage of time of downfall and a dark stain in history orchestrated in wonderful prose by a grand storyteller who makes you wonder at the beauty and power of innocence and kindness and the importance of family stability.A scholarly work on this novel Man, Time and Eternity by Cleanth BrooksGives a good understanding and explanation of this story, I have included some important observations in excerpts below."The states of consciousness of the three brothers provide three quite different modes of interpretation. Consider them, for a moment, under the rubric of poetry. Benjy's section is filled with a kind of primitive poetry, a poetry of the senses, rendered with great immediacy, in which the world—for Benjy a kind of confused, blooming buzz—registers with great sensory impact but with minimal intelligibility. Quentin's section is filled with poetry too, though his is essentially decadent: sensitive but neurotic and hopeless, as it rings sadly through a series of dying falls. Entering Jason's section, we have no poetry at all, since Jason, the "sane" man, has consciously purged himself of every trace of this perilous and impractical stuff. With the last section we again encounter poetry, but of a more usual kind, especially in those passages which Dilsey's reaction to the Easter service; and here it is neither primitive nor decadent, but whole, complex, and mature.We can look at the four sections in quite another way, noticing what different conceptions of love they imply. Benjy represents love in its most simple and childlike form. His love for Caddy intense and unreflective . . . . Quentin's love for Caddy isconscious, formal, even abstract....He is not really in love with his sister's body, only in love with a notion of virginity that associates with her....In contrast with this incestuously Platonic lover, Jason has no love Caddy at all, and no love for anyone else...The relationship he desires is a commercial one: you know where you stand; there is no romantic nonsense about it. Jason, if he could, would reduce all relationships to commercial transactions.Another way in which to contrast the first three sections is to observe the different notions of time held by the Compson brothers.Benji…is locked almost completely into a timeless present. He has not much more sense of time than an animal has, and therefore he posses not much more freedom than an animal does…Quentin’s obsession with the past is in fact a repudiation of the future. T amounts to the sense of having no future…Jason, by insisting on seeing time only with regard to something to be done, is incapable of any real living…Jason is so committed to preparation for the future that he is almost enslaved as are his brothers. …To Dilsey neither the past nor the future nor the present is oppressive, because to her they are all aspects of eternity, and her ultimate commitment is to eternity.The downfall of the house of Compson is the kind of degeneration, which can occur, and has occurred, anywhere at any time.The real significance of the Southern setting in The Sound and the Fury resides, as so often elsewhere in Faulkner, in the fact that thebreakdown of a family can be exhibited more poignantly and significantly in a society which is old-fashioned and in which the family is still at the center. The dissolution of the family as an institution has probably gone further in the suburban areas of the small towns of California and Connecticut than it has in the small towns of Mississippi. For that very reason, what happens to the Compsons mightmake less noise and cause less comment, and even bring less pain to the individuals concerned, if the Compsons lived in a more progressive and liberal environment. Because the Compsons have been committed to old-fashioned ideals—close family loyalty, home care for defective children, and the virginity of unmarried daughters-the breakup of the family registers with greater impact.The decay of the Compsons can be viewed, however, not merely with reference to the Southern past but to the contemporary American scene. it is tempting to read it as a parable of the disintegration of modern man. Individuals no longer sustained by familial and cultural unity are alienated and lost in private worlds. One thinks here not merely of Caddy, homeless, the sexual adventuress adrift in the world, or of Quentin, out of touch with reality and moving inevitably to his death, but also and even primarily of Jason whom the break up of the family means an active rejection of claims and responsibilities and, with it, a sense of liberation..."Check out these videos/audio speech ofWilliam Faulkner at the University of VirginiaWilliam Faulkner Nobel Prize speechWilliam Faulkner 1952 Ford Foundation OmnibusWilliam Faulkner – a short bioFaulkner on The Sound and the FuryThere is also a movie adapted from this novel.. First read, small review==Faulkner's writing i found very disorientating. I really wanted it to work but i think the language used added to the hardness for the story to flow easily for me. http://more2read.com/review/the-sound-and-the-fury-by-william-faulkner/
(Reprinted from the Chicago Center for Literature and Photography [cclapcenter.com]. I am the original author of this essay, as well as the owner of CCLaP; it is not being reprinted here illegally. Sorry -- because of Goodreads' word-count limitations, the last paragraph today got cut off!)The CCLaP 100: In which I read for the first time a hundred so-called "classics," then write reports on whether or not they deserve the labelBook #22: The Sound and the Fury, by William Faulkner (1929)The story in a nutshell:Published in 1929, right at the height of early Modernism's popularity, William Faulkner's The Sound and the Fury shares many of the same traits of other cutting-edge novels from the period; like Henry Miller's and Virginia Woolf's early work, for example, it too relies heavily on the then-new literary experiment known as "stream of consciousness," while like the work from that period by Ernest Hemingway and F Scott Fitzgerald it concerns itself mostly with the youth of the so-called "Jazz Age" or "Lost Generation," and how a rapidly changing American society was suddenly starting to see itself in the 20th century. So it might be surprising, then, to learn that the actual storyline of this book is quite a bit different than any of these others; instead of it being about jaded hipsters in big cities, Faulkner's tale is actually about a genteel family in the deep South, a highly dysfunctional family that is slowly falling into ruin among the spooky confines of their old plantation, a milieu that has become so popular over the years that it's now known as its own subgenre called "Southern Gothic."Specifically, the story concerns the badly-fated Compson family, once big muckety-mucks in Mississippi during the antebellum years (i.e. the years before the Civil War), now a loose collection of misfits and losers trying to hold on to whatever little still remains of the family's squandered fortune and dignity. There is the pessimistic, defeated patriarch, for example, the alcoholic sociopath Jason Compson III; there is the cringing nerd and traditional dandy son Quentin; there is his brother Jason, bitter and miserly and ready to screw over anyone around him in order to secure his own financial future; there is their sexually promiscuous sister Candace (or "Caddy"), mother of an illegitimate child who is eventually shunned by the dupe who had been tricked into marrying her; there is the violent, retarded man-child Benjamin, deeply autistic and prone to physical attacks whenever his daily routine is interrupted in even the slightest way; and then there is Dilsey Gibson, the black matriarch of the former-slave, now-servant family that oversees and maintains the crumbling estate, pretty much the only sane one out of the whole bunch. The book itself, then, is an experimental look at a thirty-year period of this family and all the terrible, terrible, terrible things that happen to all of them; the novel is written in four parts, each from the viewpoint of a different character, each of them freely hopping back and forth in time without letting the reader know when it's doing so.The argument for it being a classic:Although living a fascinating life himself*, the main argument for The Sound and the Fury being a classic seems to be the actual book, not necessarily the author; because this is yet again another one of those revered books from the early Modernist period, one of those novels that fans call an unabashed masterpiece and shining example of the best this medium has to offer. Because the fact, fans claim, is that Faulkner actually succeeds at two wildly different things here, a microcosm for why his entire ouevre is so loved in the first place; he not only tells a powerful, dark, sweeping tale of history and culture, a withering look at a defeated people in the years immediately after they were defeated, but does so using a mastery over and playfulness of language that had barely ever been seen in literature before, certainly barely ever seen again. So in other words, argue its fans, it's what we call a "seminal" project, one of the first projects in a particular artistic medium to show what exactly can be done with that medium artistically, when the artist is determined and the audience savvy enough to follow along. As a result, then, it was books like these and the others mentioned above that finally led the general public to consider the novel format capable of legitimate art, of legitimate greatness, versus it mostly being thought of before these years as primarily a medium for mindless popular entertainment. (Think of how we today perceive videogames; that gives you a good idea of how most people perceived novels before the rise of early Modernism and authors like Faulkner.)The argument against:Of course, as I've mentioned here before, this entire series of developments can be flipped on its head if you want; you could argue, for example, that it was precisely authors like Faulkner and precisely books like The Sound and the Fury that ultimately ruined the novel format, that turned it into the elitist artsy-fartsy academically-obsessed pursuit it now is. It was these exact authors who first stood up in public and said that novels could be works of art too, just like any painting or epic poem; but the necessary second half of such a statement, of course, is, "And oh yeah, you're going to have to go to college and academically study these books, if you want to understand what we're arguing. That's what we mean, after all, when we say these books are legitimate works of art -- we mean that they're deep and complex enough that college students can actually analyze them, that professors can actually base entire classes off them." And thus slowly over the next 50 years, along with such things as the rise in popularity of literary awards, the explosive growth of American college graduates and the like, did all this morph into what's been the reality of the literary world since the rise of postmodernism in the '70s; a world where you must own a Masters of Fine Arts before most publishing companies will even take you seriously, a world where novels are becoming less and less relevant to the general population by the day.My verdict:So let me admit, I have a terrible confession to make today; that out of the 22 books I've now reviewed for this essay series, this is only the second I wasn't able to actually finish (the other being the 2,200-year-old Republic by Plato). And the reason I couldn't finish it, frankly, is exactly for the Modernist stream-of-consciousness style that it's so well-known for -- because frankly, although I think the style has its strengths when used with a light touch, I also think it's a hacky unreadable mess when delved into with too much gusto, exactly what so many of the early Modernists did in their misguided zeal to just do anything new they possibly could. For example, take this paragraph from the book that I picked out just a moment ago, literally by flipping to a random page:"Tell and be damned then see what it gets you if you were not a damned fool you'd have seen that I've got them too tight for any half-baked Galahad of a brother your mother's told me about your sort with your head swelled up come in oh come in dear Quentin and I were just getting acquainted talking about Harvard did you want me cant stay away from the old man can she..."Yeah, now imagine 300 pages of that. Although I applaud the early Modernists for embracing all the experimental things they did, for wanting so passionately to break out of that flowery, narrative mindset that so dominated the Victorian era right before theirs, I think it's also important to admit that many of these experiments have turned out to be clunkers over time, that the 75 years that have passed since that time period have given us lots and lots and lots of chances to hone and refine such literature. Now, I can see why some people go so nuts for this book like they do, because let's remember that there are still a ton of people who love Faulkner's work with the burning glare of a thousand suns; for example, I loved quite a bit just part 1 of The Sound and the Fury, narrated from the viewpoint of the violently autistic Benjy, because in that case his disability mixed with this experimental writing style meshes really well. A little of this stuff goes a long way, though, which is possibly why Faulkner is actually a lot more well-known for his short stories than his full-length novels; I could see this style, for example, being exactly perfect for a 30- or 40-page story, especially while imagining Faulkner later in life and more on top of his form**. This is just not the case, though, with The Sound and the Fury, or at least in my opinion; it's definitely a historically important work, and Faulkner definitely an author any smart book-lover should be acquainted with, but I'm just not sure I would call this particular novel a must-read for the entire general population. Although the author gets a "yes" from me today regarding the question of classics, the book itself unfortunately does not.Is it a classic? No*For those who don't know, Faulkner had one of those personal lives that have since become synonymous with romantically tragic artists; lifelong alcoholic, bitter screenwriter in 1940s Hollywood, tortured genius whose talent was not generally recognized until well into his later years. Also for those who don't know, the prestigious PEN/Faulkner Award is not just named for him, but was actually founded and funded by him, using the money he received in 1949 for winning the Nobel Prize. It's for all these reasons and more that Faulkner's personal life is as famous and studied as his actual work.**It's important to remember, of course, that The Sound and the Fury was...
What do You think about The Sound And The Fury (1990)?
Jefferson, Mississippi 1910-1928. This is a story of an American family's economic and social status' decline and fall. The Compson family used to be rich right after the Civil War but due to alcoholism (Mr. Compson), hypochondria (Mrs. Caroline Compson), suicide (the eldest son Quentin), promiscuity (the only daughter Candance or Caddy), greed (the second son Jason) and idiocy (the youngest son Maury, Benjamin, Benjy), the family got disbanded by death and separation.This is the hardest book I so far read this year. The story is told in four chapters with each chapter having its own narrator and arranged not in chronological order. Chapter 1 of the 33-y/o retarded Benjy, speaking on April 7, 1928, uses mostly stream-of-consciousness narrative style as he barely could speak. His narrative is also hard to follow as it jumps from one time to another and one event to another based on what is going on in his mind. It's good that my edition is a 2nd-hand and the previous owner meticulously put the dates when those phrases or sentences in italics are supposed to be happening. Chapter 2 is that of 38-y/o Quentin talking on June 2, 1910 when he was supposed to be a 20-y/o Harvard student. His narrative started as plain and easily understandable even if it is still peppered with stream-of-consciousness sentences. But when Caddy became pregnant, he became crazy and that led to his suicide. From that time when he became crazy to his suicide, I had to read very very slow to understand what he was saying to the point that my neck got spasm resulting to lactic acid accumulation that resulted to headache, stiff neck, blurring vision and radiating sensation from neck to the upper arm. I had all those usual symptoms of a heart attack that yesterday, I even went to Clinica Manila for my vision to be checked and the medical internist told me to refrain from reading a lot.Chapter 3 is the only linear straightforward narrative and it is that of the 2nd son and his mother's favorite, Jason speaking on a Good Friday, April 8, 1928 or the day after Benjy's Chapter 1. Jason was the one who took over after running the family, what's left of it, after the suicide of Quentin, death of Mr. Compson and departure of Caddy to another town to join her second husband, Herbert. Chapter 4 is that of Dilsey, the black mayordoma of the family. It is the only part where there is no first person narration and the only part where there is no "insanity" as Dilsey is not only sane but her faith is strong and she is governed by her values. There are so many things I would like to say about this book especially on the writing style. It is very distinct and I have not seen anything like this. It is darker, a lot darker compared to for example, One Hundred Years of Solitude by Gabriel Garcia Marquez. The use of stream-of-consciousness is very effective. In fact, even if the narrations are fragmented and convoluted, one can still manage to put the pieces together and understand the plot. William Faulkner is really a brilliant writer. Brilliancy which is incomparable and unbeatable even by the current generation of writer. His voice is really distinct and his style truly and forever will be his own.
—K.D. Absolutely
This was the only book that I could not finish in my life. Well, by saying 'finish' I'm flattering myself, what I mean is more like getting past more than a few pages. I thought 'What is this drivel?' and then I felt incredibly stupid and ashamed but...no, thanks.
—Cliff
****Review for the Celebrity Death Match ****The Grapes of Wrath (10) versus The Sound and the Fury (23)Benjy:Through the ropes, into the ring, I could see them hitting. They were coming towards where I was and I went along the side. Then came Dilsey and I went along the side. “Don’t you gone on moanin’ like that! I says to missus Compson, I says. If that boy Benjy don’t fight in the celebritay death match revew to’no-ment and done win the belt for mista Faulkna’ I swear, I will beat that boy silly!” I fell out of the ring. The ground was cold and dark. Then I was pulled up. It was Caddy. She smelled like leaves. “Hey girl! You best get that blubberin’ mess up he’a or I swears I will beat you too!” She looked at me and then the bright warm went to the dark cold. I was in the ring again and it was the dark cold and then I could hear Caddy’s voice right before the man in the black stripes began to scream into his stick.Quentin:Mother swore I had to be with my sister not the sister, not the sister. I was incestuous. I was the christ figure that had no sister when we all went down the match. Father gave me this watch the foolish delusion of mankind’s folly. A worthless mechanism of metal and ticking segregating our lives into arbitrary delineations of moments measured only by the beat of my pulsing heart. Caddy was the watch, I am effluvium of transpiring events leading into this foolhardy vision of the father and said that I had to be ringside by nine o’clock I arrived at nine oh one. This arbitrary limelight that shines down on Benjy and then Caddy (the seeming manifestation of my deepest anguish (that the incest only reinforced (on the day that father drank too much (he didn’t just beat my mother) into my translucent brain) comes out now) looks back at me.) that bitch. no not a bitch. only a sister. Then I pulled out the amber tube of pills and slapped the remaining contents down into my destitute stomach.Jason:That Caddy is a whore.Referee:“Well, it looks like the entire Sound and the Fury team is too busy obsessing over family member, Caddy Compson. Looks like we may have a win by default. Here to represent The Grapes of Wrath we have................... the slowly crawling turtle! Looks like he’s moving his way across the ring. There he goes! Foot by excruciating foot! Can he make his way across to defeat the opposition? Wait......... ooooooooooooooooooooohhhhh! There goes Jason on a drunken tirade again! Looks like he is now beating Benjy into a stupor. And................... yes it looks like in a fit of sobbing and screaming Benjy has fallen on, and crushed the turtle. Winner goes to................ the Sound and the Fury!
—Stephen M
