You are born, and you embark on this journey of trying various things. You don't know the reason why, yet you persist. At the same time, you are born along with a multitude of others, all intertwined. It's like having to move your arms and legs with strings that are also attached to all the other arms and legs. Everyone is trying, and they don't know why either. The strings seem to be in each other's way, similar to five or six people attempting to make a rug on the same loom, but each one wants to weave their own pattern into it.

You know that it can't really matter, or else the ones who set up the loom would have arranged things more effectively. And yet, it must matter because you keep on trying or are compelled to keep on trying. Then, all of a sudden, it's all over. All you have left is a block of stone with scratches on it, provided there was someone who remembered to have the marble scratched and set up or had the time to do so. The rain falls on it, and the sun shines on it. After a while, they don't even remember the name or what the scratches were trying to convey, and it doesn't seem to matter.

So, maybe if you could approach someone, the more of a stranger the better, and give them something - a scrap of paper, for example - something, anything. It doesn't have to mean anything in itself, and they don't even have to read it or keep it, not even bother to throw it away or destroy it. At least it would be something because it would have happened, and it would be remembered, even if only from passing from one hand to another, one mind to another. And it would be at least a scratch, something that might make a mark on something that was once for the reason that it can die someday, while the block of stone can't be because it never can become was because it can't ever die or perish.

What a powerful language. And Nikolaus Stingl's new translation is excellent. This Faulkner novel is often described as rather complicated, although hardly any reader questions the beauty of his language.

However, perhaps the German-speaking reader has it a bit easier here. Because even though the length of Faulkner's sentences is quite unusual in German, it may be even more difficult for native English speakers to struggle through paragraph-long sentences (and I'm talking about very, very long paragraphs!).

On the other hand, the novel reminds one of modern cinema and modern series: Motifs such as racism, violence, and American history are very familiar to us from Quentin Tarantino films (one of the characters in the novel is even called Quentin, but is not the namesake of Tarantino, as the director was probably named after a character from "Smoke Signals"); the series "True Detective," which is marked by fatalism and Southern States mysticism, often came to my mind when reading, and today's viewers of the better, innovative US series are also accustomed to frequent, deliberately confusing changes in time and perspective. Faulkner himself wrote screenplays, for example, the script for "The Big Sleep" based on Chandler. No wonder, perhaps, that film images go through my mind and I would describe the narrative style in some scenes as "filmic."

Even though Faulkner was influenced by his time, by Joyce and Proust, by ideas such as the use of "stream of consciousness" in literature, and was thus contemporary at that time, it seems to me that only today are many readers able to enjoy this novel as unreservedly as it deserves.

Just one small fly in the ointment: In a work as significant and complex as this, a foreword in the new edition would have been helpful, in which the narrative structure, the allusions to biblical and mythological figures, and the classification in the "Southern Gothic" movement could have been illuminated.

I had completely forgotten how much I truly enjoy Faulkner's writing. His style is so distinct, being both luxuriant and at times almost bordering on obscurity. Yet, it makes me marvel at what I am reading and struggle with rereading to unlock certain passages and ideas. He enables one to revel in the reading experience and then go back to appreciate even more what just occurred. For those new to Faulkner, I offer the advice of wiser Goodreads members who have said that it is often best not to try and decipher as you go along but to trust that all (or most) of it will come together in the end.

Absalom is told in a series of non-chronological flashbacks by a narrator recounting his own memory as well as that of others. It creates a multi-layered look at the American South through the tale of Thomas Sutpen. A recent article actually referred to this as a novel about "the American dream", and that notion has stayed with me as Sutpen relentlessly attempts to create a legacy from nothing. Fate, history, and perhaps unadulterated karma rear their heads, and we are left with a tale that is as much about humanity as it is about one man's attempt to impose his will upon a culture and nature changing before his eyes. In essence, the outline of the story is laid out in the first few pages, with subsequent chapters revealing and/or clarifying essential details, offering different pieces of a puzzle whose whole shows the hubris that allowed/allows us to believe we can and may control the lives of other humans.

WORDS I'M STILL TRYING TO LEARN FROM THIS BOOK: phaeton | scuppernong | octoroon | strophe/anti-strophe | chatelaine | portmanteau | schotische | faience | purlieu | virago | volte | lustrum | hoydem | lambence | viand | ukase | embusque | rubicund | puling | spavinating | coign | sybarite | lagniappe | nosegay | miscegenation | morganatic | catafalque

It is incredibly tempting to commence this review with one long, unbroken sentence. A sentence filled with an abundance of punctuation marks, yet lacking proper periods. Especially when dealing with words like "don't", one might be inclined to omit the apostrophe. However, I find refraining from using apostrophes to be incredibly difficult. Everything I've written without them just appears incorrect.

But this is a rather hypnotic writing style. After you've read it for a while, it starts to have a certain charm. To me, it sounds like the gallop of a horse. Although, I did find it slightly irritating that every single narrator (and there are at least four) has exactly the same long sentences and cadence. This does seem to stretch the bounds of credibility. Yet, once you get drawn into the writing, it becomes extremely hard to extricate yourself.

Note: The remainder of this review has been withdrawn due to the recent alterations in Goodreads' policy and enforcement. You can peruse the reasons behind my decision here.

In the meantime, you can access the entire review at Smorgasbook.

Absolutely magical... There are no words to describe the greatness of Faulkner.

It is a book that requires 110% of your attention. It makes you wonder again and again about your reading adequacy. It surpasses you and is a book that you will never forget.

Faulkner's works are like a complex and mysterious universe, full of profound themes, vivid characters, and unique narrative structures.

Each page seems to be filled with hidden meanings and emotions that are waiting for you to discover.

When you read his books, you are not just a passive reader but an active explorer, delving into the depths of his literary world.

His writing style is both beautiful and challenging, demanding your full concentration and engagement.

Whether it is the complex family sagas in "The Sound and the Fury" or the tragic love stories in "Absalom, Absalom!", Faulkner's works always leave a deep impression on the reader.

They make you think about life, love, death, and the human condition in a way that few other authors can.

In short, Faulkner's books are a must-read for anyone who loves literature and wants to experience the true power of the written word.

Always wary of knocking a classic, and there's no doubt this contains a powerful story of the American South and the hardships and trials of the people there.

However, unlike other Faulkner books I've read, I couldn't get past the dense writing, endless sentences and what seemed like a deliberate attempt to confuse the reader.

For example, who is narrating certain passages? Who are they talking about? The timeline jumps around constantly, making it difficult to follow the story.

In the Hemingway vs. Faulkner style rivalry, I definitely side with Hemingway after this book.

Hemingway's writing is简洁明了, while Faulkner's can be overly complex.

Won't give up on Faulkner though, as As I Lay Dying is still a masterpiece.

It explores themes of family, death, and the human condition in a profound and thought-provoking way.

Despite its flaws, it is a must-read for anyone interested in American literature.

The most difficult novel by Faulkner that I've read is truly a remarkable piece of literature. Despite its complexity, I found myself completely captivated by it. Loved it anyway, perhaps precisely because of its challenging nature. There's something about the way Faulkner weaves his words and constructs his story that keeps pulling me in.

Whatever the reason for my fascination, I know for sure that I'll be reading it again sometime in the future. It should be incredibly interesting to see how my reaction to it has changed half a century or so after the first read. Will I still be as enthralled? Will I notice new details and interpretations that eluded me the first time around? Only time will tell.

Faulkner's novels are known for their depth and intricacy, and this one is no exception. It requires careful attention and a willingness to engage with the text on multiple levels. But the rewards are well worth the effort. I can't wait to embark on this literary journey once again and discover all the hidden treasures that await me.

**Southern Crimes**:

For me, Yoknapatawpha is five words; war, madness, blood, sun, and mystery. Among the other works of Faulkner, this one is the most Faulknerian, that is, the most complex, the most poetic, and the most mysterious work I have read from him. Apart from the extraordinarily poetic prose and the amazing combinations, this work has a lot of intertextuality. From ancient times to Homer and then Shakespeare.

The story is about a charismatic, cruel, cold-blooded, profit-seeking, and mysterious person, and all kinds of fates of his surrounding people, which are full of misfortunes, are also involved in his actions.

The space of the novel is full of mystery, speculation, and ambiguity. It is as if the narrators fill the empty spaces with their imaginations, sometimes change their words, and then present them to the reader. It is as if the listener is in the presence of an expert, engaged in revealing an old and complicated but buried and forgotten case.

In other works of Faulkner, the listener does not know the complete story until the last moment and is still engaged in discovering new points until the last page. But in this one, in the very first chapters, the story is almost revealed, but the listener has to wait until the last pages to see how much of the information he has received from the book is true.
The first chapters of the novel, which contain many complex, poetic, and long sentences, are exactly what I wanted. The pleasure of the text. In the end, this pleasure of enjoying the words gradually faded away, and in its place, the feeling of discovering the depictions and crimes took over.
Although the main story is repeated several times, due to the complexity of the narration and the play with time, putting the events in a timeline is a difficult task, and it is one of the most difficult and risky books to recommend.
The interesting story, along with the flexible and complex mind of Faulkner and the excellent translation of Saleh Hosseini (I must emphasize, the excellent translation of Saleh Hosseini), made me engage with this work for about a month, enjoy it, and come to the conclusion more than before that Faulkner is my favorite writer.

Special thanks to my friends: Arman, Rouya, and Saeed.

P.S: The score I gave to the book was only because of comparing it with other books of Faulkner, and the relative decline that I had these days made me not enjoy it as much as I should have. But it had a lot of five-star potential. I hope to read it again one day, enjoy it more, and give it a higher score.

May 1401

I truly love, and I firmly believe that there is no substitute for what I feel. Something rather strange has occurred between him and my father. If my father's perception is correct, then it seems highly likely that I will never lay eyes on him again. However, if my father is in the wrong, then there is a glimmer of hope that he will either come to me or send for me. In this complex situation, I am determined that if it is possible for me to be happy, I will do everything in my power to achieve that state. On the other hand, if I must endure suffering, I am confident that I have the strength within me to bear it.

"I love, I will accept no substitute; something has happened between him and my father; if my father was right, I will never see him again, if wrong he will come or send for me; if happy I can be I will, if suffer I must I can." (121)

Some novels truly merit the investment of effort and patience.

At the outset, the thick blocks of text in Absalom, Absalom! seemed rather intimidating. Faulkner's paragraphs, and at times even his sentences, can extend over a page or two. I attempted to listen to it but frequently had to rewind.

Fortunately, the italics in the novel serve as useful signposts. For me, the optimal way to engage with this novel was to read the text while simultaneously listening to Grover Gardner's outstanding narration. This approach transformed the novel into a profound and immersive experience.

It was more challenging for me to attune to its rhythm compared to Faulkner's other novels. However, once I did, I became a captive reader. When read aloud, the sentences, which often come to a halt and then veer off in a different direction, make perfect sense. After all, people do communicate in such a manner.

The novel revolves around Thomas Sutpen and his ascent to wealth and power. Throughout the course of the story, the extreme immorality of his grand "design" is gradually unveiled. Faulkner is an astonishing storyteller, and I was completely engrossed.

Just like Shreve and Quentin, two of the narrators, I often found myself deeply immersed in the story. I could envision myself at Sutpen's plantation house, initially new and gleaming, but later decaying and shrunken. I could picture myself in Miss Rosa's darkened study, filled with swirling dust motes and the fragrance of wisteria.

The story is recounted multiple times, filtered through various characters and their misperceptions. Clues are scattered, facts omitted. I would think one thing was transpiring only to discover something entirely different the next time the story was told. The reading experience is multi-layered and constantly evolving.

So, yes, it is difficult - but it is worth every ounce of sweat and effort. It is truly a masterpiece!

This is not the masterpiece I expected. In no way does it reach the uproar and the mania.

I read the chapters alternately from the two editions, the one of Odysseus and the new one from Gutenberg. Both translations are very good and there were no substantial differences.

However, I still felt a certain lack of something. Maybe it was the excitement that I usually experience when reading a truly great work.

The story of Odysseus is indeed a classic, filled with adventure, heroism, and complex characters. But for some reason, this particular reading did not have the same impact on me.

Perhaps it was because I had read it before, or maybe my expectations were too high. Nevertheless, I still appreciate the beauty and significance of this ancient epic.

I will continue to explore different translations and interpretations, hoping to discover the true essence of Odysseus' journey.

In my reading career, there are two fundamental works, two "watershed" works after which it has been really difficult to go back to reading novels because everything is reevaluated after them.

One is Wallace's Infinite Jest, which I read a couple of years ago and is still alive within me, never completely silenced. The other is Faulkner's Absalom, Absalom! which in turn has been in perpetual motion for over 10 years (in this regard, it would be high time to reread the entire œuvre of Faulkner).

Absalom, Absalom! is a magnificent novel that oozes hatred, pathos, pain, and tragedy. With it, Faulkner once again shows us what can be done with the written word. He submerges us with a torrent of impetuous consciousness, uses extremely long sentences, sentences within sentences, but the whole is not just a mere lexical exhibitionism because behind his words are the flesh-and-blood characters, lost, desperate, deluded, assassins, victims, and executioners all at the same time, so real that one can almost participate in their pain.

Absalom, Absalom! is a reading that gives chills, in the true sense of the word, a peerless work.

The passages from the novel add depth and texture to the overall experience, allowing the reader to further immerse in the complex and profound world that Faulkner has created. They show the power of his language and the depth of his exploration of human nature and the human condition.

Overall, these two works have had a profound impact on my reading and have set a high standard for what a great work of literature can be.