An Introduction for The Sound and the Fury The Southern Review 8 (N.S., 1972) 705-10. I wrote this book and learned to read. I had learned a little about writing from Soldiers' Pay--how to approach language, words: not with seriousness so much, as an essayist does, but with a kind of alert respect, as you approach dynamite; even with joy, as you approach women: perhaps with the same secretly unscrupulous intentions. But when I finished The Sound and the Fury I discovered that there is actually something to which the shabby term Art not only can, but must, be applied. I discovered then that I had gone through all that I had ever read, from Henry James through Henty to newspaper murders, without making any distinction or digesting any of it, as a moth or a goat might. After The Sound and The Fury and without heeding to open another book and in a series of delayed repercussions like summer thunder, I discovered the Flauberts and Dostoievskys and Conrads whose books I had read ten years ago. With The Sound and the Fury I learned to read and quit reading, since I have read nothing since. Nor do I seem to have learned anything since. While writing Sanctuary, the next novel to The Sound and the Fury, that part of me which learned as I wrote, which perhaps is the very force which drives a writer to the travail of invention and the drudgery of putting seventy- five or a hundred thousand words on paper, was absent because I was still reading by repercussion the books which I had swallowed whole ten years and more ago. I learned only from the writing of Sanctuary that there was something missing; something which The Sound and the Fury gave me and Sanctuary did not. When I began As I Lay Dying I had discovered what it was and knew that it would be also missing in this case because this would be a deliberate book. I set out deliberately to write a tour-de-force. Before I ever put pen to paper and set down the first word, I knew what the last word would be and almost where the last period would fall. Before I began I said, I am going to write a book by which, at a pinch, I can stand or fall if I never touch ink again. So when I finished it the cold satisfaction was there, as I had expected, but as I had also expected the other quality which The Sound and the Fury had given me was absent that emotion definite and physical and yet nebulous to describe: that ecstasy, that eager and joyous faith and anticipation of surprise which the yet unmarred sheet beneath my hand held inviolate and unfailing waiting for release. It was not there in As I Lay Dying. I said, It is because I knew too much about this book before I began to write it. I said, More than likely I shall never again have to know this much about a book before I begin to write it, and next time it will return. I waited almost two years, then I began Light in August, knowing no more about it than a young woman, pregnant, walking along a strange country road. I thought, I will recapture it now, since I know no more about this book than I did about The Sound and the Fury when I sat down before the first blank page. It did not return. The written pages grew in number. The story was going pretty well: I would sit down to it each morning without reluctance yet still without that anticipation and that joy which alone ever made writing pleasure to me. The book was almost finished before I acquiesced to the fact that it would not recur, since I was now aware before each word was written down just what the people would do, since now I was deliberately choosing among possibilities and probabilities of behavior and weighing and measuring each choice by the scale of the Jameses and Conrads and Balzacs. I knew that I had read too much, that I had reached that stage which all young writers must pass through, in which he believes that he has learned too much about his trade. I received a copy of the printed book and I found that I didn't even want to see what kind of jacket Smith had put on it. I seemed to have a vision of it and the other ones subsequent to The Sound and The Fury ranked in order upon a shelf while I looked at the titled backs of them with a flagging attention which was almost distaste, and upon which each succeeding title registered less and less, until at last Attention itself seemed to say, Thank God I shall never need to open any one of them again. I believed that I knew then why I had not recaptured that first ecstasy, and that I should never again recapture it; that whatever treenovels I should write in the future would be written without reluctance, but also without anticipation or joy: that in the Sound and The Fury I had already put perhaps the only thing in literature which would ever move me very much: Caddy climbing the pear tree to look in the window at her grandmother's funeral while Quentin and Jason and Benjy and the negroes looked up at the muddy seat of her drawers. This is the only one of the seven novels which I wrote without any accompanying feeling of drive or effort, or any following feeling of exhaustion or relief or distaste. When I began it I had no plan at all. I wasn't even writing a book. I was thinking of books, publication, only in the reverse, in saying to myself, I wont have to worry about publishers liking or not liking this at all. Four years before I had written Soldiers' Pay. It didn't take long to write and it got published quickly and made me about five hundred dollars. I said, Writing novels is easy. You dont make much doing it, but it is easy. I wrote Mosquitoes. It wasn't quite so easy to write and it didn't get published quite as quickly and it made me about four hundred dollars. I said, Apparently there is more to writing novels, being a novelist, than I thought. I wrote Sartoris. It took much longer, and the publisher refused it at once. But I continued to shop it about for three years with a stubborn and fading hope, perhaps to justify the time which I had spent writing it. This hope died slowly, though it didn't hurt at all. One day I seemed to shut a door between me and all publishers' addresses and book lists. I said to myself, Now I can write. Now I can make myself a vase like that which the old Roman kept at his bedside and wore the rim slowly away with kissing it. So I, who had never had a sister and was fated to lose my daugher in infancy, set out to make myself a beautiful and tragic little girl. An Introduction to The Sound and the Fury Mississippi Quarterly 26 (Summer 1973): 410-415. Art is no part of southern life. In the North it seems to be different. It is the hardest minor stone in Manhattan's foundation. It is a part of the glitter or shabbiness of the streets. The arrowing buildings rise out of it and because of it, to be torn down and arrow again. There will be people leading small bourgeois lives (those countless and almost invisible bones of its articulation, lacking any one of which the whole skeleton might collapse) whose bread will derive from it--polyglot boys and girls progressing from tenement schools to editorial rooms and art galleries, men with grey hair and paunches who run linotype machines and take up tickets at concerts and then go sedately home to Brooklyn and suburban stations where children and grandchildren await them--long after the descendants of Irish politicians and Neapolitan racketeers are as forgotten as the wild Indians and the pigeon And of Chicago too: of that rhythm not always with harmony or tune lusty, loudvoiced, always changing and always young; drawing from a river basin which is almost a continent young men and women into its living unrest and then spewing them forth again to write Chicago in New England and Virginia and Europe. But in the South art, to become visible at all, must become a ceremony, a spectacle; something between a gypsy encampment and a church bazaar given by a handful of alien mummers who must waste themselves in protest and active self-defense until there is nothing left with which to speak--a single week, say, of furious endeavor for a show to be held on Friday night and then struck and vanished, leaving only a paint- stiffened smock or a worn out typewriter ribbon in the corner and perhaps a small bill for cheesecloth or bunting in the hands of an astonished and bewildered tradesman. Perhaps this is because the South (I speak in the sense of the indigenous dream of any given collection of men having something in common' be it only geography and climate, which shape their economic and spiritual aspirations into cities, into a pattern of houses or behavior) is old since dead. New York, whatever it may believe of itself, is young since alive; it is still a logical and unbroken progression from the Dutch.