To be frank, the pace of the story was a bit slow, and the relationship between Milton and Peyton really freaked me out to a great extent.

While I was engrossed in reading it, all I could do was complain and lament about the fact that the story seemed to be going nowhere and that all the characters were truly insufferable.

However, now that a considerable amount of time has elapsed since I read it, I can perceive the big picture a little more clearly.

This was not a terrible book by any means, but it is definitely one that demands a great deal of patience and mental stability.

As you read it, you can literally sense the intensity of Styron's depression, especially when you reach the chaotic 50-page segment that vividly describes Peyton's life and mental state towards the end of the book.

In conclusion, to summarize my feelings about it, I would say that I am glad I had the opportunity to read this book, but at the same time, I am also extremely glad that I will most likely never have to read it again.

It was an experience that had its moments of discomfort and unease, but it also provided some valuable insights into the human psyche and the power of literature to convey complex emotions.

Esteemed novelist and short story writer Richard Yates accomplished a remarkable feat by crafting a beautiful screenplay from Styron's brilliant, classic novel.

This was no easy task, considering the exquisitely written and subtle nature of the original work. I was truly in awe of the ways in which Yates managed to condense the story while still highlighting many of the nuances in the characterization.

However, the main issue was that when condensed into a long screenplay, the sadness of the essential story became overly dominant, and the tragedy of the lives depicted seemed too unrelenting. Styron's prose had added numerous layers to the story, endowing it with a richness that enabled the reader to endure the suffering of this ultimately dysfunctional family.

It is not surprising that, despite its extreme skillfulness, this screenplay was never made into a movie. The overwhelming sadness and tragedy might have been too much for audiences to bear, or perhaps there were other factors at play that prevented its adaptation. Nevertheless, Yates' effort in creating this screenplay is a testament to his talent and respect for Styron's work.

Another book from my stack of 'plan to read' titles.

The themes explored within are rather dark and depressing. It tells the story of a family striving to survive, yet ultimately being ripped apart by the vices of alcohol, adulterous behavior, and the tragic suicide of a pampered and beautiful daughter.

Despite the fact that a happy, or even a minimally satisfactory ending, failed to materialize, I found myself thoroughly enjoying the author's descriptive phrasing.

Phrases such as \\"gloves the color of house mice\\" and \\"she pouted professionally\\" added a unique and vivid touch to the narrative.

These descriptive elements allowed me to better envision the scenes and characters, enhancing my overall reading experience.

Even though the subject matter was沉重, the author's skillful use of language made the book a worthwhile read.

My goodness,

How good can a book truly be? It seemed like an eternity until the author penned another novel, "Sophie's Choice," which was of equally incredible magnitude but quite distinct. At least the story was a great deal different, perhaps the characters here were also similarly adrift in their lives. It was truly wonderful to discover that the author's superb writing skills allowed him to create an essential book that was both lyrical and had characters that one could strongly dislike and adore, or both. What a family! And what an incredible portrayal of its members!

This book is filled with so much internal and external fixation among its group of essentially dysfunctional family members. The characters are so complex and multi-faceted. I was emotionally affected by this book in a positive way. Can an excruciating read be a good thing? Yes! There are insufferable conflicts and seemingly unhealthy relationships among the characters that no other author I can think of could describe as vividly in words. Mr. Styron reminds us of the importance of striving to contemplate our relationships more selflessly to preserve the hope of others. I guess he is also telling us that people often can't or don't know they can do that, regardless of what has come before. This book is so vivid and picturesque, but what you see is both everything and nothing. Great fortune brought this book to me, and neither the wind nor self-destruction can take it away. This book is too poetically painful to read again immediately, but read it again I will.

This is an extremely rare occurrence: a highly exaggerated melodrama that manages to ascend to the level of art.

It doesn't truly conform to the Southern Gothic style in the vein of Faulkner and Flannery O'Connor. Instead, its style is more akin to that of Douglas Sirk's film "Written on the Wind," yet another classic American melodrama from the 1950s.

The story has its own unique charm and power, with vivid characters and a complex plot that keeps the reader engaged. However, one cannot overlook Styron's dated racial stereotypes, which unfortunately mar an otherwise excellent work.

If it weren't for these flaws, I firmly believe that this novel would be ranked among my all-time favorite American novels. It has the potential to be a masterpiece, but the racial issues prevent it from reaching that ultimate status. Nevertheless, it is still a remarkable work that showcases Styron's talent as a writer.

This is truly one of the finest and most captivating "unknown" novels that I have had the pleasure of reading.

The way in which the tension is masterfully controlled throughout the story, with scarcely any relief, brings to mind Dreiser's American Tragedy. That book, too, lingered in my thoughts long after I had turned the final page.

Styron's prose is both beautiful and profound, and his ability to probe deep into the psyches of all his characters is truly remarkable. It is the sort of book that consumes your thoughts during the day and leaves you eagerly anticipating the opportunity to return to it at night.

The vividness of the descriptions and the engaging nature of the narrative make it seem almost tailor-made for the big screen. It is truly astonishing that it has never been adapted into a movie.

This novel is undoubtedly a classic, and it has left me with an insatiable desire to explore more of Styron's works. Indeed, I can't wait to see what other literary treasures he has in store.

Tremendously poetic and grim.

This description seems to suggest a work that is filled with a certain beauty and darkness.

It might not be a suitable choice for those who are lonely alcoholics and are already contemplating suicide.

The combination of the poetic nature and the grimness could potentially have a profound impact on the reader, perhaps evoking strong emotions or thoughts.

However, for someone in a vulnerable state like a lonely alcoholic considering such a drastic act, it could potentially push them further into a downward spiral.

It is important to be cautious when choosing reading material, especially for those who may be in a fragile mental state.

Perhaps a more uplifting or hopeful work would be a better option for them, something that could offer some light and inspiration in their difficult times.

While this particular piece may have its own artistic merits, its suitability for a specific audience needs to be carefully considered.

I couldn't actually finish this overwrought Southern family angst novel.

There were just too many words, and it seemed as if the 26-year-old author was engaging in excessive self-reflection. He appeared to know less about life than he believed he did.

The entire narrative felt like a dated period piece. It was as if the story was stuck in a bygone era, lacking the freshness and relevance that modern readers might seek.

The characters and their problems seemed almost caricatured, rather than genuine and relatable.

Perhaps if the author had focused more on developing a tighter plot and more believable characters, the novel might have had a better chance of captivating its audience.

As it stands, however, it was a disappointment that failed to hold my interest beyond a certain point.

I can only hope that the author will learn from this experience and produce something more engaging in the future.

The South, as described in the quote, is a place with its cancerous religiosity, an exhausting need to prioritize manners over morals, and a negation of all ethos, being like a husk of a culture. This sums up my feelings towards the South and why I try to avoid novels set there. I thought I didn't want to read about racism against African Americans, but I've realized it's more than that. It's the South with all its tight appearances, fakery, religion, and the cycle of sin and guilt, along with the heat, the sun, yellowed leaves, insistent bees, worn-down tracks, and stagnant puddles. I simply don't like reading about it.

...yet so archetypical is this South with is cancerous religiosity, its exhausting need to put manners before morals, to negate all ethos-- Call it a husk of a culture.

The neuroticism and obsessiveness in the book set in the South are overwhelming. The characters whirl in their emotions, hating, blaming, and being consumed by their madness. This madness spreads within and outside the family, and our only tool, reason, is ineffective against it. The beautiful prose, which flows stream-of-consciously, can't save the story for me because I can't handle this neuroticism. I can't fault the book's technique, characterization, or plot, but it's just too much for me. And let's not forget how disturbing Milton's lust for his daughter is. I was sure there would be a rape scene somewhere.

Despite the beautiful prose, I can only give this book three stars because I can't take the neuroticism. After reading 400 pages of descriptive prose, including a 50-page paragraph, it's just too much. I spiral down with the characters until I'm half mad myself. -foams and dies-

When it was published in 1951, William Styron's debut novel caused quite a stir in my fair city.

Locals believed that some of their own had been thinly disguised and criticized for various vices such as snobbery, racism, inbreeding, drunkenness, and hypocrisy within its pages. The country club, shipyard, segregated social strata, university allegiances, streets, and local waters described in the book were all too familiar.

This made the book even more interesting to a journalist like me, who isn't a local but can pass for one. The longer I live here, especially on Hopkins Street where Styron's family lived, the more secrets I uncover.

Perhaps this is true of any place, with its own range of wrongdoings including alcoholism, adultery, incest, petty hierarchies, and public piety. It is indeed a better read when the characters aren't purely fictional.

Styron also has his admirers. There's a development in Newport News called Port Warwick, where the streets are named after some of his protagonists and a few American literary giants.

Given his youth when he wrote this and his use of techniques like flashbacks and stream-of-consciousness narrative with changing narrators, as well as the tough subjects he tackles, it's no wonder he has fans.

Styron fearlessly takes on weighty issues. He is known for delving into the dark side of the mind, as seen in his memoir "Darkness Visible".

However, his detailed description of Peyton Loftis' damaged psyche towards the end of the book goes on a bit too long for my taste.

Racism was and still is present in local society. Styron's black characters are often more sympathetic than those they serve, although the dialect used may hide this from modern readers.

The incestuous longings between father and daughter are never explicitly named, which might be too subtle for today's readers, considering the book was published in a more puritanical time.

Styron is a talented writer who gets the details right. His prose is filled with beautiful and thought-provoking passages.

For example, "He was too old, too weary for paradoxes. … The train would come after all, bringing with it final proof of fate and circumstance."

Or "the certainty of selfish men that they will never come by misfortune."

And "an old man in whom obscurity resembled solemnity often enough, and solemnity wisdom."

Styron's affinity for darkness will be explored further in his later works, not just in his memoir and letters but also in his fiction, especially "The Confessions of Nat Turner" and "Sophie's Choice". This debut novel serves as a great warm-up for those masterpieces.

William Styron’s debut novel, “Lie Down in Darkness,” offers a meticulous dissection of a family on the verge of disintegration. It strikingly resembles Faulkner’s works in both style and content, yet is quite distinct from my recollections of “Sophie’s Choice.”

This novel lacks any element of uplift or hope. The characters are battered, defeated, and self-destructive. On multiple occasions, I had the urge to reach out and give these parents a good slap. There are several characters whose lives have been ruined by excessive alcohol consumption, and the corruption of the human spirit underlying these familial relationships is palpable.

The hurt and damage run deep. “And who, finally, lest it be God himself, could know where the circle, composed as it was of such tragic suspicions and misunderstandings, began, and where it ended?” Indeed, the sadness, blame, and well-deserved recrimination are abundant.

The novel is also permeated with a sense of place. The summer is sweltering and humid, with sweat streaming down brows and the stench of alcohol and sweat lingering everywhere. This is the tidewater region, unmistakably Southern.

“You don’t have to be a camp-follower of reaction but always remember where you came from, the ground is bloody and full of guilt where you were born and you must tread a long narrow path toward your destiny. If the crazy sideroads start to beguile you, son, take at least a backward glance at Monticello.”

The book commences with the suicide of the Lortis’ young daughter, Peyton. As the story unfolds, we catch glimpses of the events that led her to this desperate act. Peyton is the only character who elicited any sympathy from me, and it is disheartening to know her ultimate fate and that she lacked the courage to leave her family behind. Her self-destruction occurs against the backdrop of the bombing of Hiroshima, leading me to wonder if Styron was deliberately juxtaposing the death of an individual with the deaths of thousands, and questioning the significance of either beyond the moment of occurrence.

Though I really struggled and made great efforts to get through this book (for which it deserves two stars), I have to admit that it is well-conceived and well-written.

However, it has a certain ponderousness that is common in some Southern novels. Due to this, I often found myself putting it down and picking up another book.

But then, as I reached the final fifty or so pages, my investment finally paid off, and I couldn't put it down anymore.

Starting with the death of young socialite Peyton Loftis (this is not a spoiler), the book alternates between the past and the present, revealing not a single likable character. I really wanted to shake them all.

But that would have been useless because they were all beyond shaking, even when they were young and just being formed.

For this, I give Styron a lot of credit --- his main characters are very real.

One of the hardest parts of the book for me was the racism. I expect it in older novels set in the South, but in this one, the racism didn't seem to be the characters' but rather the author's.

I know nothing about Styron and this issue, but the way he portrayed the black side characters, as if every one was a caricature --- while he spent so much care and gave his white characters great (albeit repulsive) depth --- made me dislike him as a person.

I guess this book also gets four stars because it made me think a lot about these issues.