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Sanctuary (Englisch) Gebundene Ausgabe – 1958

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Gebundene Ausgabe, 1958
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Hardback, ex-library, with usual stamps and markings, in good all round condition.


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Von Ein Kunde am 27. Mai 1999
Format: Taschenbuch
While _Heart Of Darkness_ portrays the bleakness of the unchecked human spirit, it is Faulkner's _Sanctuary_ that places it squarely in our noses, our ears, our eyes as well as our hearts and souls. In this purely American novel we see not "adventurers" in Conrad's traditional sense, but American debutantes causually thrust into the orbit of the Memphis Prohibition underworld.
As in _Sound and the Fury_ Faulkner uses his "shadow of the branch" approach to the narrative keeping the reader guessing as to what actually takes place at the "Frenchman's Place"; and when the reader finally "gets it" -- or, more accurately -- when this reader "got it," the experience was as shocking as anything to be seen in Doestoyevsky, Conrad or Bauldelaire.
I wrote my thesis on this work five years ago and its effect on me, as I flippantly spew these remarks are as vivid as the first time I encountered Popeye with his face like "tin," and Temple Drake.
Highly recommended for those not afraid of impingement, because _Sanctuary_ will impinge on whatever the reader's threshold for true darkness and horror may be.
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I read "As I Lay Dying" and I loved it!
I read "The Sound an the Fury" and thought it was briliant!
I finished reading "Sanctuary" today and thought--like the previous two--it was a lierary classic!
Anyone who has ever read a Faulkner book knows that, by the end of his works, there is at least one character that is loathed--In "Sanctury" there is a plethora!
You will love the book but hate the characters--their actions that is. . .
Find out for yourselves what I mean. . ..
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In "Wild Palms" it was a manifest literary technique, but in "Sanctuary" it's a desperate attempt to weave together a story from different plotlines. I am a Faulkner buff, and have always felt tricked by this one: everything that goes on at "the house" prior to the "event" (I'm trying not to give too much away) is some of the master's best. It is a world apart, relating not to "the south", as some wrote, nor to any other referent world; its inherent danger and unexpectedness and possibilities depend on that. Halas, the story then focuses on the character that it ultimately chose for its true protagonist, a well-intentioned yet incompetent lawyer, and an uninteresting one at that. As soon as the narrative moves into the cities it looses its force, revived at times only by such comic giveaways as the provincial youngsters who frequent a brothel in Memphis, never realizing that they reside in another. I can almost imagine Faulkner cutting & pasting that from some draft, soberly thinking, "I got to liven this up a bit". And it goes from bad to worse. All that befalls Popeye after his last encounter with Red seems artificial; it recalls Hollywood's standards for treating villains, owing more to comodification of morality than to narrative integrity. Do we learn something about Popeye that makes him a more interesting character than in the first part? Hardly. Yet with all of that, the writing itself was rarely surpassed in American prose. Faulkner has that uncanny ability to get us involved in his nontransparent language all the while keeping it away from the fore, first and foremost using it to tell his story (as opposed to Joyce or Dickens). For that alone this book is a joy; but on the narrative scale one feels, ultimately, cheated out of a good story.
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