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A Rose for Emily and Other Stories
Emily is a member of a family in the antebellum Southern aristocracy; after the Civil War, the family has fallen on hard times.
140 pages, Hardcover
First published November 1, 1930
About the author
William Faulkner
987 books9,736 followersWilliam Cuthbert Faulkner was a Nobel Prize-winning American novelist and short story writer. One of the most influential writers of the twentieth century, his reputation is based mostly on his novels, novellas, and short stories. He was also a published poet and an occasional screenwriter.
The majority of his works are set in his native state of Mississippi. Though his work was published as early as 1919, and largely during the 1920s and 1930s, Faulkner was relatively unknown until receiving the 1949 Nobel Prize in Literature, "for his powerful and artistically unique contribution to the modern American novel." Faulkner has often been cited as one of the most important writers in the history of American literature. Faulkner was influenced by European modernism, and employed stream of consciousness in several of his novels.
The majority of his works are set in his native state of Mississippi. Though his work was published as early as 1919, and largely during the 1920s and 1930s, Faulkner was relatively unknown until receiving the 1949 Nobel Prize in Literature, "for his powerful and artistically unique contribution to the modern American novel." Faulkner has often been cited as one of the most important writers in the history of American literature. Faulkner was influenced by European modernism, and employed stream of consciousness in several of his novels.
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November 1, 2021
A Rose for Emily, William Faulkner
A Rose for Emily, is a short story by American author William Faulkner, first published in the April 30, 1930, issue of The Forum.
The story takes place in Faulkner's fictional city, Jefferson, Mississippi, in the fictional southern county of Yoknapatawpha. It was Faulkner's first short story published in a national magazine.
The story opens with a brief first-person account of the funeral of Emily Grierson, an elderly Southern woman whose funeral is the obligation of their small town. It then proceeds in a non-linear fashion to the narrator's recollections of Emily's archaic and increasingly strange behavior throughout the years.
Emily is a member of a family of the antebellum Southern aristocracy. After the Civil War, the family falls into hard times. She and her father, the last two of the clan, continue to live as if in the past; Emily’s father refuses for her to marry.
Her father dies when Emily is about the age of 30, which takes her by surprise. She refuses to give up his corpse, and the townspeople write it off as her grieving process. The townspeople pity Emily not only after her father's death but also during his life when he wouldn't let Emily marry.
After her father's death, the only person seen moving about Emily's home is Tobe- a black man, serving as Emily's butler, going in and out with a market basket. Although Emily did not have a strong relationship with her community, she did give art lessons to young children within her town.
The townspeople even referred to her as Miss Emily as a sign of the respect that they had for her. With the acceptance of her father's death, Emily somewhat revives, even changing the style of her hair and becomes friendly with Homer Barron. He is a Northern laborer who comes to town shortly after Mr. Grierson’s death.
The connection surprises some of the community while others are glad she is taking an interest. However, Homer claims that he is not a marrying man, but a bachelor.
Emily shortly buys arsenic from a druggist in town, telling him that it will be used to kill rats. However, the townspeople are convinced that she will use it to poison herself.
Emily’s distant cousins are called into town by the minister’s wife to supervise Miss Emily and Homer Barron. Homer leaves town for some time, reputedly to give Emily a chance to get rid of her cousins, and returns three days later after the cousins have left. Homer is never seen again....
عنوانهای چاپ شده در ایران: «یک گل سرخ برای امیلی»؛ «گل سرخی برای امیلی»؛ «انبار سوزی»؛ «دو سرباز»؛ تاریخ نخستین خوانش: ماه می سال1972میلادی
عنوان: یک گل سرخ برای امیلی؛ نویسنده: ویلیام فاکنر (فالکنر)؛ مترجم: نجف دریابندری؛ مشخصات نشر: تهران، پیام، سال1350، در119ص؛ چاپ دوم سال1363؛ چاپ دیگر تهران، نیلوفر، سال1363؛ در245ص؛ چاپ چهارم سال1382؛ چاپ پنجم سال1385؛ شابک9789644480911؛ چاپ هفتم سال1392؛ چاپ هشتم سال1396؛ چاپ نهم سال1399؛ موضوع داستانهای کوتاه از نویسندگان ایالات متحده آمریکا - سده 20م
عنوان: گل سرخی برای امیلی؛ مترجم: هلیا مشتاق؛ تهران، در نویسا، سال1395؛ در78ص؛ شابک9786009556229؛
این نسخه تنها سه داستان دارد، داستانها: «یک گل سرخ برای امیلی از ص7، تا ص31»؛ «انبار سوزی از ص35، تا ص81»؛ «دو سرباز از ص85، تا ص119»؛
نقل از آغازین واژه های متن داستان: (وقتی که «میس امیلی گریرسن» مرد، همه اهل شهرِ ما به تشییع جنازه اش رفتند؛ مردها از روی تاثر احترام آمیزی که گویی از فرو ریختن یک بنای یادبود قدیم، در خود حس می‌کردند، و زن‌ها بیشتر از روی کنجکاوی، برای تماشای داخل خانه ی او، که جز یک نوکر پیر - که معجونی از آشپز و باغبان بود - دست‌کم از ده سال به این طرف، کسی آنجا را ندیده بود؛ این خانه، خانه ی چهارگوش بزرگی بود، که زمانی سفید بود، و با آلاچیق‌ها و منارها، و بالکون‌هایی که مثل طومار پیچیده بود، به سبک سنگین سده هفدهم (میلادی) تزیین شده بود، و در خیابانی که یک وقت گل سرسبد شهر بود، قرار داشت
ا��ا به گاراژها، و انبارهای پنبه، دست درازی کرده بودند، حتی یادبودها، و میراث اشخاصی مهم و اسم و رسم‌دار را، از آن صحنه زدوده بودند. فقط خانة «میس امیلی» بود، که فرتوتی و وارفتگی عشوه گر؛ و پا برجای خود را، میان واگون‌های پنبه، و تلمبه های نفتی، افراشته بود –وصله ناجوری بود قاتی وصله های ناجور دیگر؛ و اکنون «میس امیلی» رفته بود، به مردگان مهم، و با صلابتی بپیوندد، که در گورستانی که مست از بوی صندل است، میان گورهای سرشناس و گمنام سربازان «ایالت متحده» و «متفقین»، که در «جنگ جفرسن» به خاک افتادند، آرمیده اند ...)؛ پایان نقل
تاریخ بهنگام رسانی 19/09/1399هجری خورشیدی؛ 09/08/1400هجری خورشیدی؛ ا. شربیانی
A Rose for Emily, is a short story by American author William Faulkner, first published in the April 30, 1930, issue of The Forum.
The story takes place in Faulkner's fictional city, Jefferson, Mississippi, in the fictional southern county of Yoknapatawpha. It was Faulkner's first short story published in a national magazine.
The story opens with a brief first-person account of the funeral of Emily Grierson, an elderly Southern woman whose funeral is the obligation of their small town. It then proceeds in a non-linear fashion to the narrator's recollections of Emily's archaic and increasingly strange behavior throughout the years.
Emily is a member of a family of the antebellum Southern aristocracy. After the Civil War, the family falls into hard times. She and her father, the last two of the clan, continue to live as if in the past; Emily’s father refuses for her to marry.
Her father dies when Emily is about the age of 30, which takes her by surprise. She refuses to give up his corpse, and the townspeople write it off as her grieving process. The townspeople pity Emily not only after her father's death but also during his life when he wouldn't let Emily marry.
After her father's death, the only person seen moving about Emily's home is Tobe- a black man, serving as Emily's butler, going in and out with a market basket. Although Emily did not have a strong relationship with her community, she did give art lessons to young children within her town.
The townspeople even referred to her as Miss Emily as a sign of the respect that they had for her. With the acceptance of her father's death, Emily somewhat revives, even changing the style of her hair and becomes friendly with Homer Barron. He is a Northern laborer who comes to town shortly after Mr. Grierson’s death.
The connection surprises some of the community while others are glad she is taking an interest. However, Homer claims that he is not a marrying man, but a bachelor.
Emily shortly buys arsenic from a druggist in town, telling him that it will be used to kill rats. However, the townspeople are convinced that she will use it to poison herself.
Emily’s distant cousins are called into town by the minister’s wife to supervise Miss Emily and Homer Barron. Homer leaves town for some time, reputedly to give Emily a chance to get rid of her cousins, and returns three days later after the cousins have left. Homer is never seen again....
عنوانهای چاپ شده در ایران: «یک گل سرخ برای امیلی»؛ «گل سرخی برای امیلی»؛ «انبار سوزی»؛ «دو سرباز»؛ تاریخ نخستین خوانش: ماه می سال1972میلادی
عنوان: یک گل سرخ برای امیلی؛ نویسنده: ویلیام فاکنر (فالکنر)؛ مترجم: نجف دریابندری؛ مشخصات نشر: تهران، پیام، سال1350، در119ص؛ چاپ دوم سال1363؛ چاپ دیگر تهران، نیلوفر، سال1363؛ در245ص؛ چاپ چهارم سال1382؛ چاپ پنجم سال1385؛ شابک9789644480911؛ چاپ هفتم سال1392؛ چاپ هشتم سال1396؛ چاپ نهم سال1399؛ موضوع داستانهای کوتاه از نویسندگان ایالات متحده آمریکا - سده 20م
عنوان: گل سرخی برای امیلی؛ مترجم: هلیا مشتاق؛ تهران، در نویسا، سال1395؛ در78ص؛ شابک9786009556229؛
این نسخه تنها سه داستان دارد، داستانها: «یک گل سرخ برای امیلی از ص7، تا ص31»؛ «انبار سوزی از ص35، تا ص81»؛ «دو سرباز از ص85، تا ص119»؛
نقل از آغازین واژه های متن داستان: (وقتی که «میس امیلی گریرسن» مرد، همه اهل شهرِ ما به تشییع جنازه اش رفتند؛ مردها از روی تاثر احترام آمیزی که گویی از فرو ریختن یک بنای یادبود قدیم، در خود حس می‌کردند، و زن‌ها بیشتر از روی کنجکاوی، برای تماشای داخل خانه ی او، که جز یک نوکر پیر - که معجونی از آشپز و باغبان بود - دست‌کم از ده سال به این طرف، کسی آنجا را ندیده بود؛ این خانه، خانه ی چهارگوش بزرگی بود، که زمانی سفید بود، و با آلاچیق‌ها و منارها، و بالکون‌هایی که مثل طومار پیچیده بود، به سبک سنگین سده هفدهم (میلادی) تزیین شده بود، و در خیابانی که یک وقت گل سرسبد شهر بود، قرار داشت
ا��ا به گاراژها، و انبارهای پنبه، دست درازی کرده بودند، حتی یادبودها، و میراث اشخاصی مهم و اسم و رسم‌دار را، از آن صحنه زدوده بودند. فقط خانة «میس امیلی» بود، که فرتوتی و وارفتگی عشوه گر؛ و پا برجای خود را، میان واگون‌های پنبه، و تلمبه های نفتی، افراشته بود –وصله ناجوری بود قاتی وصله های ناجور دیگر؛ و اکنون «میس امیلی» رفته بود، به مردگان مهم، و با صلابتی بپیوندد، که در گورستانی که مست از بوی صندل است، میان گورهای سرشناس و گمنام سربازان «ایالت متحده» و «متفقین»، که در «جنگ جفرسن» به خاک افتادند، آرمیده اند ...)؛ پایان نقل
تاریخ بهنگام رسانی 19/09/1399هجری خورشیدی؛ 09/08/1400هجری خورشیدی؛ ا. شربیانی
July 14, 2019
If you've never read anything by William Faulkner, read "A Rose for Emily" ... as long as you don't mind if things get a little gruesome.
I first read Faulkner's classic "A Rose for Emily" in college years ago. Initially I just dropped a 4 star rating on it and left it at that. But then something happened. A few friends liked my rating, and this story kept stealing back into my mind like Homer Barron sneaking in through Emily's back door, and making itself at home in my head, an uninvited and a little bit uncomfortable guest.
So I starting doing a little research on the background of this 1930 story, and found it available to read online at http://xroads.virginia.edu/~drbr/wf_r... (seriously, go read this today if you've never read it before). I read it again, and I'm bumping my rating up to 5 stars.
The story begins and ends on the day of the funeral of Miss Emily Grierson, an institution in her southern town. In between, we find out more about Miss Emily's life and the traditions and expectations that bind both her and the town.
I first read Faulkner's classic "A Rose for Emily" in college years ago. Initially I just dropped a 4 star rating on it and left it at that. But then something happened. A few friends liked my rating, and this story kept stealing back into my mind like Homer Barron sneaking in through Emily's back door, and making itself at home in my head, an uninvited and a little bit uncomfortable guest.
So I starting doing a little research on the background of this 1930 story, and found it available to read online at http://xroads.virginia.edu/~drbr/wf_r... (seriously, go read this today if you've never read it before). I read it again, and I'm bumping my rating up to 5 stars.
The story begins and ends on the day of the funeral of Miss Emily Grierson, an institution in her southern town. In between, we find out more about Miss Emily's life and the traditions and expectations that bind both her and the town.
People in our town, remembering how old lady Wyatt, her great-aunt, had gone completely crazy at last, believed that the Griersons held themselves a little too high for what they really were. None of the young men were quite good enough for Miss Emily and such. We had long thought of them as a tableau, Miss Emily a slender figure in white in the background, her father a spraddled silhouette in the foreground, his back to her and clutching a horsewhip, the two of them framed by the back-flung front door.Time becomes fluid as stories and events from Emily's life are shared with the reader. The narrator always speaks as "we," as if the entire town--and we ourselves--are complicit in the events of the story. It's a disturbing feeling, and the images of decay that permeate the story further this unrest: the cracked leather furniture, moldy pillows, the dust covering everything in her home, and of course the appearance of the older Emily herself:
She looked bloated, like a body long submerged in motionless water, and of that pallid hue. Her eyes, lost in the fatty ridges of her face, looked like two small pieces of coal pressed into a lump of dough . . .When I was a college student, it was the ending of the story that was etched indelibly in my brain. It's still a shocker; I can only imagine the sensation it caused when it was published in 1930. But now I have a better appreciation for how skillfully Faulkner wrote this entire story, and the strange but pitiful character he created in Emily, dying alone in "a house filled with dust and shadows."
June 8, 2021
Emily Grierson is a member of a family in the antebellum Southern aristocracy, after the Civil War, the family has fallen on hard times, but such is her reputation, when she dies, the whole town turns out for her funeral. She’d been notoriously reclusive for many years, so when access is gained by the townsfolk, to her decaying old mansion, they discover a horrifying secret about Miss Emily!
You can read it here http://xroads.virginia.edu/~drbr/wf_r...
You can read it here http://xroads.virginia.edu/~drbr/wf_r...
February 21, 2019
إذا أردت أن تقرأ قصصاً واقعية شديدة الصدق والعفوية عن أمريكا في النصف الأول من القرن العشرين، فلن تجد أفضل من الكتاب الحالي
January 19, 2016
A classic, literary short story that will give you the ultimate creeps. A Rose for Emily is a dark, disturbing but strongly evocatively written tale rich in symbols, ironies and vivid imagery and remarkably depicts the consequences of living in and wanting to preserve one’s glorious past. You can read the short story here.
January 13, 2023
کتاب یک گل سرخ برای امیلی شامل شش داستان کوتاه از ویلیام فاکنر ، نویسنده مشهور آمریکایی ایست . اسم آن هم از اولین داستان کتاب گرفته شده است .
داستان های فاکنر در جغرافیایی خیالی می گذرد که خود نویسنده آنرا ساخته ، ناحیه یاکناپاتافا که ذهن خلاق فاکنر آنرا از شهرستان لافایت در ایالت می سی سی پ�� الهام گرفته و ساخته است .
از آن جایی که داستان در جنوب آمریکا می گذرد کلماتی مانند سیاه و کاکا سیاه به همراه واژه هایی دیگر که یاد آور ادبیات خاص دوران رواج برده داری بوده در کتاب زیاد استفاده شده است . سیاه پوستان در کتاب او نقش های متعددی داشته و آنها را لزوما نمی توان مثبت یا منفی دید . در طولانی ترین داستان کتاب دیلسی ، نویسنده زندگی پر مشقت و سخت یک خدمتکار قدیمی در خانواده کامسون را شرح داده که می توان آنرا کاملترین داستان کتاب در مورد سیاه پوستان دانست .
جذاب ترین داستان کتاب داستان دو سرباز ، حکایت پسری کوچک است که به دنبال برادر بزرگتر خود پیش از شروع جنگ و اعزام او به اروپا می گردد و از شهری به شهر دیگر آواره می شود . از آن جا که کودک خردسال راوی داستان است نگاه خاص او به جنگ که چیزی از آن نمی داند و کلام ساده و بی پیرایش و گرم کودک سبب شگفت آور شدن و غنای زیاد داستان شده ااست . ( از این داستان فیلم کوتاهی هم ساخته شده است ).
ویلیام فاکنر کتابهای بسیار مهمی مانند خشم و هیاهو ، گور به گور ،روشنایی ماه اوت و آبشالوم آبشالوم دارد ، اهمیت کتاب یک گل سرخ را شاید بتوان در آشنایی خواننده با فاکنر و ورود به دنیای او دانست .
داستان های فاکنر در جغرافیایی خیالی می گذرد که خود نویسنده آنرا ساخته ، ناحیه یاکناپاتافا که ذهن خلاق فاکنر آنرا از شهرستان لافایت در ایالت می سی سی پ�� الهام گرفته و ساخته است .
از آن جایی که داستان در جنوب آمریکا می گذرد کلماتی مانند سیاه و کاکا سیاه به همراه واژه هایی دیگر که یاد آور ادبیات خاص دوران رواج برده داری بوده در کتاب زیاد استفاده شده است . سیاه پوستان در کتاب او نقش های متعددی داشته و آنها را لزوما نمی توان مثبت یا منفی دید . در طولانی ترین داستان کتاب دیلسی ، نویسنده زندگی پر مشقت و سخت یک خدمتکار قدیمی در خانواده کامسون را شرح داده که می توان آنرا کاملترین داستان کتاب در مورد سیاه پوستان دانست .
جذاب ترین داستان کتاب داستان دو سرباز ، حکایت پسری کوچک است که به دنبال برادر بزرگتر خود پیش از شروع جنگ و اعزام او به اروپا می گردد و از شهری به شهر دیگر آواره می شود . از آن جا که کودک خردسال راوی داستان است نگاه خاص او به جنگ که چیزی از آن نمی داند و کلام ساده و بی پیرایش و گرم کودک سبب شگفت آور شدن و غنای زیاد داستان شده ااست . ( از این داستان فیلم کوتاهی هم ساخته شده است ).
ویلیام فاکنر کتابهای بسیار مهمی مانند خشم و هیاهو ، گور به گور ،روشنایی ماه اوت و آبشالوم آبشالوم دارد ، اهمیت کتاب یک گل سرخ را شاید بتوان در آشنایی خواننده با فاکنر و ورود به دنیای او دانست .
February 14, 2024
مجموعه ی یک گل سرخ برای امیلی،از شش داستان تشکیل شده است.
هر شش داستان این کتاب،مانند باقی داستانهای فاکنر در سرزمین یوکنا پاتوفا روی میدهد.
این سرزمین جایی است خیالی که فاکنر نه تنها حدود آن را دقیقاً معین کرده بلکه نقشه‌ای هم از آن کشیده است که همه‌ی شهرها و روستاها و رودها و کوه‌های آن را نشان میدهد و زیر آن هم نوشته است:منحصراً متعلق است به ویلیام فاکنر.
در داستانهای فاکنر سفیدپوستان به ویژه خاندان‌های متعین عنصر پوسیده و منحط را تشکیل می‌دهند و سیاهپوستان عنصر پایدار و بالنده را.
آنچه در یوکنا پاتوفا می‌گذرد نمونه‌ای است از آنچه در ایالت‌های جنوبی امریکا می‌گذشت؛
رفاه و ریخت و پاشی که از دسترنج بردگان سیاه فراهم شده بود و سرانجام نه تنها بر باد رفت بلکه نکبت و نفرین ناشی از آن روابطِ اجتماعیِ نامعقول تا چند نسل بعد نیز تار و پود پیوندهای انسانی و خانوادگی را می‌پوسانید.
جنون ارثی،میل به جنایت،بی‌رحمی و ستمگری بی‌دلیل و عبث،غرقه شدن در غرور و نخوت خانوادگی و گندیدن در آن،همه از مشخصات خانواده‌های متعین یوکنا پاتو��ا است.
داستانهای "یک گل سرخ برای امیلی" و "سپتامبر خشک" و "دیلسی" را می‌توان همچون سه عکس قدیمی از زندگی در یوکنا پاتوفا در نظر گرفت.
"انبارسوزی" هم نمایی است از همان زندگی تلخ و تباه‌شونده از چشم فرزند خردسال یک کارگر کشاورزی.
"دو سرباز" تلاش فاکنر است برای نزدیک شدن به ادبیات میهنی آغاز جنگ جهانی دوم و "طلا همیشه نیست" درباره‌ی روابط تلخ سفیدپوستان و سیاهپوستان است.
هر شش داستان این کتاب،مانند باقی داستانهای فاکنر در سرزمین یوکنا پاتوفا روی میدهد.
این سرزمین جایی است خیالی که فاکنر نه تنها حدود آن را دقیقاً معین کرده بلکه نقشه‌ای هم از آن کشیده است که همه‌ی شهرها و روستاها و رودها و کوه‌های آن را نشان میدهد و زیر آن هم نوشته است:منحصراً متعلق است به ویلیام فاکنر.
در داستانهای فاکنر سفیدپوستان به ویژه خاندان‌های متعین عنصر پوسیده و منحط را تشکیل می‌دهند و سیاهپوستان عنصر پایدار و بالنده را.
آنچه در یوکنا پاتوفا می‌گذرد نمونه‌ای است از آنچه در ایالت‌های جنوبی امریکا می‌گذشت؛
رفاه و ریخت و پاشی که از دسترنج بردگان سیاه فراهم شده بود و سرانجام نه تنها بر باد رفت بلکه نکبت و نفرین ناشی از آن روابطِ اجتماعیِ نامعقول تا چند نسل بعد نیز تار و پود پیوندهای انسانی و خانوادگی را می‌پوسانید.
جنون ارثی،میل به جنایت،بی‌رحمی و ستمگری بی‌دلیل و عبث،غرقه شدن در غرور و نخوت خانوادگی و گندیدن در آن،همه از مشخصات خانواده‌های متعین یوکنا پاتو��ا است.
داستانهای "یک گل سرخ برای امیلی" و "سپتامبر خشک" و "دیلسی" را می‌توان همچون سه عکس قدیمی از زندگی در یوکنا پاتوفا در نظر گرفت.
"انبارسوزی" هم نمایی است از همان زندگی تلخ و تباه‌شونده از چشم فرزند خردسال یک کارگر کشاورزی.
"دو سرباز" تلاش فاکنر است برای نزدیک شدن به ادبیات میهنی آغاز جنگ جهانی دوم و "طلا همیشه نیست" درباره‌ی روابط تلخ سفیدپوستان و سیاهپوستان است.
March 6, 2016
We did not say she was crazy then. We believed she had to do that. We remembered all the young men her father had driven away, and we knew that with nothing left, she would have to cling to that which had robbed her, as people will.
The second William Faulkner short story I have read turned out to be an absolute success. On diverting, brief eight pages, Faulkner manages to introduce his readers to the character of Miss Emily Grierson, a woman marked by loneliness and bitterness. This story deals with a person's inability to adjust to changing surroundings, to become a respected part of the society. And it succeeds on each and every level.
The story starts off with a slow narration, recounting the life of Emily Grierson until Faulkner's final revelation will step around the corner and confront you totally unexpectedly. It is impossible to talk about this story without spoiling its most important turn of events, so I will leave this review at a whole-hearted recommendation for you to read it. Even though (or rather because) it does include some creepy parts, the story will also probably burn into your mind unlike anything else you have read so far. You can read it for free here.
February 28, 2017
واقعا چه داستان کوتاه غافل گیر کننده ای بود ! فقط انتهاش رو سه بار خوندم تا از بهت در بیام و هضم کنم که چی شده و امیلی چه دلباخته ی خودخواهی بوده که دست به این کار زده و سالها تونسته از همه این راز بزرگ و مخوف رو اینقدر زیرکانه پنهان کنه , نمیدونم این دیگه چه جور عشقی میتونه باشه ولی من هنوز در بهتم ؛ احتمالا این عشق نیست بلکه یک جور جنون و خودخواهی محض هست که همیشه با عشق اشتباه گرفته میشه ...
October 21, 2014
William Faulkner's A Rose for Emily: The Town as Narrator and Accomplice
This classic Southern gothic story was chosen as a Moderators' Choice for members of On the Southern Literary Trail for October, 2014.
Those words first appeared in print in Forum: The Magazine of Controversy, in the April edition, 1930. It was fitting. Forum was at its height as a magazine of literary significance and had served as a clarion call on issues of social significance since the 1890s. It ceased publication in 1950. I can only surmise the editorial staff threw up their hands in the face of rising McCarthyism.
I KNOW it's not the April issue. I couldn't find one! "A Rose for Emily" is in it!"
However, "A Rose for Emily" appeared in These Thirteen, William Faulkner's first anthology of short stories published in 1931.
These Thirteen, First ed.,Jonathan Cape and Harrison Smith, New York, 1931
As always, you can find contradictory opinions by William Faulkner regarding the value of Novels, Short Stories, and Poetry. He has referred to writing short stories as "whoring," especially when he was sending stories off to The Saturday Evening Post, his favorite market for his short fiction. However, consider his remarks while writer in residence at the University of Virginia.
I ascribe to that statement by Faulkner where "A Rose for Emily" is concerned. For this story is a remarkable construction of plot, characterization, theme, and the use of a unique narrative technique. It is only through close reading, repeated reading, that the perfection of this story reveals why this story has become the most anthologized American short story.
Alas, Andalusia, aka Martha Jo, aka "The Queen" has decreed that I, who has decreed himself Jeeves around this abode WILL squire her to Kentuck, the local festival of Arts. And here, Dear Reader, I will leave you until I have returned, covered in the dust of the trodden paths, bearing objects of art, smelling of funnel cake, deafened by strains of music played too loudly through poor public address systems. Goodbye Faulkner. I will think of your story while I am gone.
*poof*
Actually in route, I have in mind the ideal photograph for Miss Emily's house. Paint peeling, the grey cypress revealed underneath. And our town's oldest cemetery along the way. Perhaps time well spent. Happy reading.
The afternoon has passed as I told you, reader, it would. I have shaken the dust of well trodden paths from my shoes, my beloved is content with purchases made. I am content with photographs taken, downloaded, edited, and shortly to be uploaded and shared.
Ah, Mr. Faulkner. There you are. Well, you weren't whoring with this one. Nor were you telling a straight forward ghost story, although you have said so more than once. Your favorite themes are there, rising from the page. The changing South is there. Miss Emily's house itself is a symbol of it. The past is never past. That's there.
Once the Grierson mansion was a brilliant white on the finest street in town. Now it is falling into disrepair. No longer on one of the finer streets, it is surrounded by businesses, within the sound of the passing trains, near the cemetery where the rows of Union and Confederate dead lie. Miss Emily herself, dead, is a monument.
And we begin the story in the present with Miss Emily taking her place among the eternally peaceful. It is all fairly straight forward. Those first few paragraphs.
All, all are sleeping, sleeping, sleeping on the hill.-Edgar Lee Masters, The Hill, Spoonriver Anthology, 1915
However, Mr. Faulkner tells his story in anything but a conventional manner after the seemingly innocent beginning narrative. Time becomes non-linear. The initial narrator who might have been an omniscient third person observer, a single first person voice, becomes the curiously effective first person plural narrator. The narrator is not I but We. Should you be patient and count, you will find "we" used forty-eight times. It is not a mere whim. Faulkner did nothing by whim.
Through multiple sets of eyes, through multiple generations, we learn the story of Emily Grierson's life and her place in the community.
Read carefully. It's like asking Salvador Dali for the time.
Emily's father found no suitor acceptable for his daughter. He stood in the doorway, chasing them away with a horse whip. He left her nothing but the house. So the good Old Colonel Sartoris fabricated the scheme to save her the taxes. Notice the narrator(s) observed her to have an angelic appearance.
The Griersons always had that superior attitude. The town resented that. However, Emily was to be pitied. Left a spinster at her father's death. No wonder she denied he was dead and the preachers had to talk her into surrendering his body after he had been dead for three days.
Faulkner continues to play with time. He plays with the reader. Unless particularly wary, the reader does not realize he is being played by a master but merciless mouser.
Then there's that peculiar odor that emanates from Miss Emily's house shortly after the missing sweetheart was believed to have married Emily.
An idol is feared as much as it is worshiped. Or did they not want to know the truth?
Faulkner spins the hands on the clock again. The sweetheart was Homer Barron, a common laborer and a Yankee at that. A drinker who enjoyed the company of young men whom he told he was not the marrying kind. The Town decided reinforcements were necessary, summoning two Grierson cousins from Alabama.
Barron leaves town, but returns when the Grierson cousins leave. The Town decides it's just as well. Those Alabama Griersons were more superior than Mississippi Griersons.
Emily buys a man's dressing set with the initials "HB" on each piece. A man's nightshirt completes the ensemble. After Homer enters Emily's home he's never seen again.
Emily offers china painting lessons to a generation of Jefferson's children. Until the children stop coming.
The hands on the clock spin wildly.
Time passes inexorably. Miss Emily is thirty when she abandons noblesse oblige and takes up with Homer Barron. She dies at the age of seventy-four. At last in death she can be openly acknowledged as one of the community's own. Her air of superiority is gone. Her peculiarity is gone. There is no trace of madness. She is no longer a burden or a duty. Two generations have passed. It is a new generation that rules Jefferson now. Only a few remain of Emily's own age. And they remember her as they wish to.
There is but one thing more for Faulkner to do, the final pronouncement of the omniscient "we" that gives "A Rose for Emily" its indelible shudder up the spine of generations of readers.
Just who knew about that closed room? How many knew?
It is this knowledge that not only establishes the town as narrator but also accomplice. We act not only affirmatively but also by failure to act, by passivity, indifference, and our own self interest. Rest well Emily, Homer, for all, all, will sleep, sleep, sleep on the hill.
Mr. Chekhov,allow me to introduce you to Mr. Faulkner.
EXTRAS!EXTRAS!
Watch A Rose for Emily, with Anjelica Huston, 1983
This classic Southern gothic story was chosen as a Moderators' Choice for members of On the Southern Literary Trail for October, 2014.
WHEN Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old man-servant--a combined gardener and cook--had seen in at least ten years.
Those words first appeared in print in Forum: The Magazine of Controversy, in the April edition, 1930. It was fitting. Forum was at its height as a magazine of literary significance and had served as a clarion call on issues of social significance since the 1890s. It ceased publication in 1950. I can only surmise the editorial staff threw up their hands in the face of rising McCarthyism.
I KNOW it's not the April issue. I couldn't find one! "A Rose for Emily" is in it!"
However, "A Rose for Emily" appeared in These Thirteen, William Faulkner's first anthology of short stories published in 1931.
These Thirteen, First ed.,Jonathan Cape and Harrison Smith, New York, 1931
As always, you can find contradictory opinions by William Faulkner regarding the value of Novels, Short Stories, and Poetry. He has referred to writing short stories as "whoring," especially when he was sending stories off to The Saturday Evening Post, his favorite market for his short fiction. However, consider his remarks while writer in residence at the University of Virginia.
Yes sir. You can be more careless, you can put more trash in [a novel] and be excused for it. In a short story that's next to the poem, almost every word has got to be almost exactly right. In the novel you can be careless but in the short story you can't. I mean by that the good short stories like Chekhov wrote. That's why I rate that second – it's because it demands a nearer absolute exactitude. You have less room to be slovenly and careless. There's less room in it for trash. Faulkner in the University,Introduction by Douglas Day,Frederick Landis Gwynn, Joseph Blotner,University Press of Virginia, 1995
I ascribe to that statement by Faulkner where "A Rose for Emily" is concerned. For this story is a remarkable construction of plot, characterization, theme, and the use of a unique narrative technique. It is only through close reading, repeated reading, that the perfection of this story reveals why this story has become the most anthologized American short story.
Alas, Andalusia, aka Martha Jo, aka "The Queen" has decreed that I, who has decreed himself Jeeves around this abode WILL squire her to Kentuck, the local festival of Arts. And here, Dear Reader, I will leave you until I have returned, covered in the dust of the trodden paths, bearing objects of art, smelling of funnel cake, deafened by strains of music played too loudly through poor public address systems. Goodbye Faulkner. I will think of your story while I am gone.
*poof*
Actually in route, I have in mind the ideal photograph for Miss Emily's house. Paint peeling, the grey cypress revealed underneath. And our town's oldest cemetery along the way. Perhaps time well spent. Happy reading.
The afternoon has passed as I told you, reader, it would. I have shaken the dust of well trodden paths from my shoes, my beloved is content with purchases made. I am content with photographs taken, downloaded, edited, and shortly to be uploaded and shared.
Ah, Mr. Faulkner. There you are. Well, you weren't whoring with this one. Nor were you telling a straight forward ghost story, although you have said so more than once. Your favorite themes are there, rising from the page. The changing South is there. Miss Emily's house itself is a symbol of it. The past is never past. That's there.
Once the Grierson mansion was a brilliant white on the finest street in town. Now it is falling into disrepair. No longer on one of the finer streets, it is surrounded by businesses, within the sound of the passing trains, near the cemetery where the rows of Union and Confederate dead lie. Miss Emily herself, dead, is a monument.
And we begin the story in the present with Miss Emily taking her place among the eternally peaceful. It is all fairly straight forward. Those first few paragraphs.
All, all are sleeping, sleeping, sleeping on the hill.-Edgar Lee Masters, The Hill, Spoonriver Anthology, 1915
However, Mr. Faulkner tells his story in anything but a conventional manner after the seemingly innocent beginning narrative. Time becomes non-linear. The initial narrator who might have been an omniscient third person observer, a single first person voice, becomes the curiously effective first person plural narrator. The narrator is not I but We. Should you be patient and count, you will find "we" used forty-eight times. It is not a mere whim. Faulkner did nothing by whim.
Through multiple sets of eyes, through multiple generations, we learn the story of Emily Grierson's life and her place in the community.
Alive, Miss Emily had been a tradition, a duty, and a care; a sort of hereditary obligation upon the town, dating from that day in 1894 when Colonel Sartoris, the mayor--he who fathered the edict that no Negro woman should appear on the streets without an apron-remitted her taxes, the dispensation dating from the death of her father on into perpetuity. Not that Miss Emily would have accepted charity. Colonel Sartoris invented an involved tale to the effect that Miss Emily's father had loaned money to the town, which the town, as a matter of business, preferred this way of repaying. Only a man of Colonel Sartoris' generation and thought could have invented it, and only a woman could have believed it.
When the next generation, with its more modern ideas, became mayors and aldermen, this arrangement created some little dissatisfaction. On the first of the year they mailed her a tax notice. February came, and there was no reply. They wrote her a formal letter, asking her to call at the sheriff's office at her convenience. A week later the mayor wrote her himself, offering to call or to send his car for her, and received in reply a note on paper of an archaic shape, in a thin, flowing calligraphy in faded ink, to the effect that she no longer went out at all. The tax notice was also enclosed, without comment.
Read carefully. It's like asking Salvador Dali for the time.
Emily's father found no suitor acceptable for his daughter. He stood in the doorway, chasing them away with a horse whip. He left her nothing but the house. So the good Old Colonel Sartoris fabricated the scheme to save her the taxes. Notice the narrator(s) observed her to have an angelic appearance.
The Griersons always had that superior attitude. The town resented that. However, Emily was to be pitied. Left a spinster at her father's death. No wonder she denied he was dead and the preachers had to talk her into surrendering his body after he had been dead for three days.
We did not say she was crazy then. We believed she had to do that. We remembered all the young men her father had driven away, and we knew that with nothing left, she would have to cling to that which had robbed her, as people will.
Faulkner continues to play with time. He plays with the reader. Unless particularly wary, the reader does not realize he is being played by a master but merciless mouser.
That was two years after her father's death and a short time after her sweetheart--the one we believed would marry her --had deserted her. After her father's death she went out very little; after her sweetheart went away, people hardly saw her at all. A few of the ladies had the temerity to call, but were not received, and the only sign of life about the place was the Negro man--a young man then--going in and out with a market basket.
Then there's that peculiar odor that emanates from Miss Emily's house shortly after the missing sweetheart was believed to have married Emily.
So the next night, after midnight, four men crossed Miss Emily's lawn and slunk about the house like burglars, sniffing along the base of the brickwork and at the cellar openings while one of them performed a regular sowing motion with his hand out of a sack slung from his shoulder. They broke open the cellar door and sprinkled lime there, and in all the outbuildings. As they recrossed the lawn, a window that had been dark was lighted and Miss Emily sat in it, the light behind her, and her upright torso motionless as that of an idol. They crept quietly across the lawn and into the shadow of the locusts that lined the street. After a week or two the smell went away.
An idol is feared as much as it is worshiped. Or did they not want to know the truth?
Faulkner spins the hands on the clock again. The sweetheart was Homer Barron, a common laborer and a Yankee at that. A drinker who enjoyed the company of young men whom he told he was not the marrying kind. The Town decided reinforcements were necessary, summoning two Grierson cousins from Alabama.
Barron leaves town, but returns when the Grierson cousins leave. The Town decides it's just as well. Those Alabama Griersons were more superior than Mississippi Griersons.
Emily buys a man's dressing set with the initials "HB" on each piece. A man's nightshirt completes the ensemble. After Homer enters Emily's home he's never seen again.
Emily offers china painting lessons to a generation of Jefferson's children. Until the children stop coming.
The hands on the clock spin wildly.
She carried her head high enough--even when we believed that she was fallen. It was as if she demanded more than ever the recognition of her dignity as the last Grierson; as if it had wanted that touch of earthiness to reaffirm her imperviousness. Like when she bought the rat poison, the arsenic. That was over a year after they had begun to say "Poor Emily," and while the two female cousins were visiting her.
"I want some poison," she said to the druggist. She was over thirty then, still a slight woman, though thinner than usual, with cold, haughty black eyes in a face the flesh of which was strained across the temples and about the eyesockets as you imagine a lighthouse-keeper's face ought to look. "I want some poison," she said.
"Yes, Miss Emily. What kind? For rats and such? I'd recom--"
"I want the best you have. I don't care what kind."
The druggist named several. "They'll kill anything up to an elephant. But what you want is--"
"Arsenic," Miss Emily said. "Is that a good one?"
"Is . . . arsenic? Yes, ma'am. But what you want--"
"I want arsenic."...
So THE NEXT day we all said, "She will kill herself"; and we said it would be the best thing.
Time passes inexorably. Miss Emily is thirty when she abandons noblesse oblige and takes up with Homer Barron. She dies at the age of seventy-four. At last in death she can be openly acknowledged as one of the community's own. Her air of superiority is gone. Her peculiarity is gone. There is no trace of madness. She is no longer a burden or a duty. Two generations have passed. It is a new generation that rules Jefferson now. Only a few remain of Emily's own age. And they remember her as they wish to.
...and the very old men --some in their brushed Confederate uniforms--on the porch and the lawn, talking of Miss Emily as if she had been a contemporary of theirs, believing that they had danced with her and courted her perhaps, confusing time with its mathematical progression, as the old do, to whom all the past is not a diminishing road but, instead, a huge meadow which no winter ever quite touches, divided from them now by the narrow bottle-neck of the most recent decade of years.
There is but one thing more for Faulkner to do, the final pronouncement of the omniscient "we" that gives "A Rose for Emily" its indelible shudder up the spine of generations of readers.
Already we knew that there was one room in that region above stairs which no one had seen in forty years, and which would have to be forced. They waited until Miss Emily was decently in the ground before they opened it.
Just who knew about that closed room? How many knew?
It is this knowledge that not only establishes the town as narrator but also accomplice. We act not only affirmatively but also by failure to act, by passivity, indifference, and our own self interest. Rest well Emily, Homer, for all, all, will sleep, sleep, sleep on the hill.
Mr. Chekhov,allow me to introduce you to Mr. Faulkner.
EXTRAS!EXTRAS!
Watch A Rose for Emily, with Anjelica Huston, 1983
October 6, 2021
A collection of several of Faulkner’s most recognized short stories, first published in 1970 with all the stories having been published much earlier.
A Rose for Emily – One of his creepiest short works and one that, due to it’s horrific Southern Gothic them, has been much anthologized. Emily is representative of a once proud but dying Southern family.
The Hound – Another story where Faulkner explores the horror end of the Southern Gothic genre. Reminiscent of Poe’s A Tell-Tale Heart, but with a twist.
Turn About – When the United States entered the First World War, twenty-year-old William Faulkner of Mississippi was rejected by the armed forces. Undeterred, he enlisted in the Royal Canadian Air Force, but never saw combat. He did, though, gain some martial experience by osmosis and here he explores a meeting between North American soldier and some very brave British sailors. I had to look up torpedo boats and discovered a little known but impressive history. This one was my favorite.
That Evening Sun – The next generation of the Compson family, who we met in Sound and the Fury, that explores the developing, but still tenuous relationship between white and black families in Yoknapatawpha County. A psychological study of a black woman, Nancy, that is almost Braduryesque in its harsh candor.
Dry September – Without a doubt the most terrifying of these stories, Faulkner describes ugliness and evil in a systematic racism that is emblematic of much of what was wrong in the South of the early twentieth century. Like cautionary tales before and since, he reveals the immorality for what it was, shines a light on the hypocrisy existing in that time and also has a unforgiving commentary on the social and legal contingencies of his day.
Delta Autumn – a story about a reluctant family elder statesman of Yoknapatawpha County, Ike McCaslin, who we met in Go Down, Moses. Ike is an atavistic member of the older generation of McCaslins, who is described by Faulkner to be a fruitless branch of the old family, uncle to many but father to none, who has declined his land and inheritance for a sterile existence. On a hunting trip, where Ike is recalling the changes in the country, where the wilderness is drawing away from the encroaching civilization, he is confronted by a young woman who confounds his ideas about propriety. A careful reader of Faulkner, knowledgeable about the McCaslin family, will see the glaring irony in Ike’s response.
Barn Burning – Another story that has been published in anthologies for decades. The Snopes clan is Faulkner’s tragi-comic family of ne-er-do-wells who are filling the void left by the old Southern estates. This one is more tragic than comic.
An Odor of Verbena – From a Yoknapatawpha County chronological standpoint, one of the earliest stories, set just a few years after the close of the Civil War and deals with the murder of Colonel Sartoris and his son Bayard’s expected responsibilities involving the continuation of the vendetta. Bayard represents the changing times from feudal, chivalrous ideals to one based upon education and the rule of law.
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A Rose for Emily – One of his creepiest short works and one that, due to it’s horrific Southern Gothic them, has been much anthologized. Emily is representative of a once proud but dying Southern family.
The Hound – Another story where Faulkner explores the horror end of the Southern Gothic genre. Reminiscent of Poe’s A Tell-Tale Heart, but with a twist.
Turn About – When the United States entered the First World War, twenty-year-old William Faulkner of Mississippi was rejected by the armed forces. Undeterred, he enlisted in the Royal Canadian Air Force, but never saw combat. He did, though, gain some martial experience by osmosis and here he explores a meeting between North American soldier and some very brave British sailors. I had to look up torpedo boats and discovered a little known but impressive history. This one was my favorite.
That Evening Sun – The next generation of the Compson family, who we met in Sound and the Fury, that explores the developing, but still tenuous relationship between white and black families in Yoknapatawpha County. A psychological study of a black woman, Nancy, that is almost Braduryesque in its harsh candor.
Dry September – Without a doubt the most terrifying of these stories, Faulkner describes ugliness and evil in a systematic racism that is emblematic of much of what was wrong in the South of the early twentieth century. Like cautionary tales before and since, he reveals the immorality for what it was, shines a light on the hypocrisy existing in that time and also has a unforgiving commentary on the social and legal contingencies of his day.
Delta Autumn – a story about a reluctant family elder statesman of Yoknapatawpha County, Ike McCaslin, who we met in Go Down, Moses. Ike is an atavistic member of the older generation of McCaslins, who is described by Faulkner to be a fruitless branch of the old family, uncle to many but father to none, who has declined his land and inheritance for a sterile existence. On a hunting trip, where Ike is recalling the changes in the country, where the wilderness is drawing away from the encroaching civilization, he is confronted by a young woman who confounds his ideas about propriety. A careful reader of Faulkner, knowledgeable about the McCaslin family, will see the glaring irony in Ike’s response.
Barn Burning – Another story that has been published in anthologies for decades. The Snopes clan is Faulkner’s tragi-comic family of ne-er-do-wells who are filling the void left by the old Southern estates. This one is more tragic than comic.
An Odor of Verbena – From a Yoknapatawpha County chronological standpoint, one of the earliest stories, set just a few years after the close of the Civil War and deals with the murder of Colonel Sartoris and his son Bayard’s expected responsibilities involving the continuation of the vendetta. Bayard represents the changing times from feudal, chivalrous ideals to one based upon education and the rule of law.
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February 15, 2016
This wasn't really recommended to me by Aj. My curiosity just got the best of me after reading Aj's short but informative review here and Rachel's review.
I honestly have to read this short story twice for the story to actually sink in. I didn't know where the story was about or where it will lead to at first everything started to make sense the more you delve into the story, but I just have to read it again - to know if there were some clues and hints out there I missed before the genius Faulkner dropped the horrifying and disturbing bomb.
The writing and narration of the story was somewhat inviting the readers to ride and live with the town to reminisce the pitiful life of Emily, alone on the big house, left to carry the legacy of being the last Grierson, and it was one of the best ride! Only it was horrifying and creepy too.
Thank you Aj for including a link to where I could read this story! ;)
I honestly have to read this short story twice for the story to actually sink in. I didn't know where the story was about or where it will lead to at first everything started to make sense the more you delve into the story, but I just have to read it again - to know if there were some clues and hints out there I missed before the genius Faulkner dropped the horrifying and disturbing bomb.
The writing and narration of the story was somewhat inviting the readers to ride and live with the town to reminisce the pitiful life of Emily, alone on the big house, left to carry the legacy of being the last Grierson, and it was one of the best ride! Only it was horrifying and creepy too.
Thank you Aj for including a link to where I could read this story! ;)
February 11, 2022
یک گل سرخ برای امیلی، دو سرباز و طلا همیشه نیست را بیشتر از بقیه داستانها دوست داشتم.
عجالتا همین متن کوچولو رو داشته باشید سر فرصت وقتی برگشتم، متن کامل‌تری براش می‌نویسم!
عجالتا همین متن کوچولو رو داشته باشید سر فرصت وقتی برگشتم، متن کامل‌تری براش می‌نویسم!
March 7, 2016
❎
DON'T BE DECEIVED BY THE TITLE. NO ONE'S GETTING ANY ROSES.
I had to read this story twice to grasp it fully. But after a reading count of two, I still am not able to decipher who the hell the speaker is. And yes, this bothers me slightly. But I'll say it, this was one beautiful - short - piece of gothic literature. The fascinating thing about the mysterious identity of the narrator is it didn't take away from the story, if anything, it yielded more intrigue and allure, causing me to be more attuned to the foreboding sense of darkness and doom throughout the story. More keen to it's richly intoxicating, yet subtle quality. It's like Caroline from The Vampire Diaries would call it, an allure to darkness. You just can't walk away from it sometimes. You just can't help but be pulled into it. You know something stinks about the story, but what? That's something you absolutely can't tell.
This story is about Miss Emily from the prestigious Grierson family, who lived in a prestigious eyesore of an house. An house which later on became a symbol of bondage and self inflicted torture.
Miss Emily, as the narrator describes is something of a monument. An eccentric, anomalous, queer character who lacks a balanced, appeasing relation with society, she's the embodiment of infringement. A monument who lived her life in opposition to the dictates of society. She sounds lovely, inspiring. Doesn't she? But no, Miss Emily is not your average heroine, you'll just have to read it to find out why.
I think Faulkner's use of symbolism and imagery is simply adhering. Exquisitely brilliant. I think the topics he explores are perversely sound and resonating.
QUOTES
I had to read this story twice to grasp it fully. But after a reading count of two, I still am not able to decipher who the hell the speaker is. And yes, this bothers me slightly. But I'll say it, this was one beautiful - short - piece of gothic literature. The fascinating thing about the mysterious identity of the narrator is it didn't take away from the story, if anything, it yielded more intrigue and allure, causing me to be more attuned to the foreboding sense of darkness and doom throughout the story. More keen to it's richly intoxicating, yet subtle quality. It's like Caroline from The Vampire Diaries would call it, an allure to darkness. You just can't walk away from it sometimes. You just can't help but be pulled into it. You know something stinks about the story, but what? That's something you absolutely can't tell.
This story is about Miss Emily from the prestigious Grierson family, who lived in a prestigious eyesore of an house. An house which later on became a symbol of bondage and self inflicted torture.
Miss Emily, as the narrator describes is something of a monument. An eccentric, anomalous, queer character who lacks a balanced, appeasing relation with society, she's the embodiment of infringement. A monument who lived her life in opposition to the dictates of society. She sounds lovely, inspiring. Doesn't she? But no, Miss Emily is not your average heroine, you'll just have to read it to find out why.
I think Faulkner's use of symbolism and imagery is simply adhering. Exquisitely brilliant. I think the topics he explores are perversely sound and resonating.
QUOTES
Thus she passed from generation to generation--dear, inescapable, impervious, tranquil, and perverse.
The body had apparently once lain in the attitude of an embrace, but now the long sleep that outlasts love, that conquers even the grimace of love, had cuckolded him. What was left of him, rotted beneath what was left of the nightshirt, had become inextricable from the bed in which he lay; and upon him and upon the pillow beside him lay that even coating of the patient and biding dust.
It was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street. But garages and cotton gins had encroached and obliterated even the august names of that neighborhood; only Miss Emily's house was left, lifting its stubborn and coquettish decay above the cotton wagons and the gasoline pumps-an eyesore among eyesores
February 5, 2016
This is some kind of a gothic story that tells you about a woman(EMILY), from a wealthy and respectable family,and the last of her father's descendant.
The story started when Emily's father died,and the only thing he left for her was the house.Being left alone,she became the "talk" of her neighbors,"at last,the once envied was now the pitied".
This is the shortest horrifying story I've ever read so far,and I must say it was well-written.Others may say the story was pointless but for me,it was a good and smart read because it will make you think(particularly the questions)at the last part of the book.^^
The story started when Emily's father died,and the only thing he left for her was the house.Being left alone,she became the "talk" of her neighbors,"at last,the once envied was now the pitied".
This is the shortest horrifying story I've ever read so far,and I must say it was well-written.Others may say the story was pointless but for me,it was a good and smart read because it will make you think(particularly the questions)at the last part of the book.^^
October 11, 2014
A big reason why I read writers like Faulkner is because of beautiful metaphors like this;
"and the very old men--some in their brushed Confederate uniforms--on the porch and the lawn, talking of Miss Emily as if she had been a contemporary of theirs, believing that they had danced with her and courted her perhaps, confusing time with its mathematical progression, as the old do, to whom all the past is not a diminishing road but, instead, a huge meadow which no winter ever quite touches, divided from them now by the narrow bottle-neck of the most recent decade of years."
Well of course after a metaphor like that I was perfectly satisfied, and all was right with the world at that moment. To take that metaphor out of the story I would have known immediately who wrote it. Who else can do this?? Who thinks like this? The story of Miss Emily was true Faulkner- a story of her heartbreak and it's tragic result, and small town southern gossip.
"and the very old men--some in their brushed Confederate uniforms--on the porch and the lawn, talking of Miss Emily as if she had been a contemporary of theirs, believing that they had danced with her and courted her perhaps, confusing time with its mathematical progression, as the old do, to whom all the past is not a diminishing road but, instead, a huge meadow which no winter ever quite touches, divided from them now by the narrow bottle-neck of the most recent decade of years."
Well of course after a metaphor like that I was perfectly satisfied, and all was right with the world at that moment. To take that metaphor out of the story I would have known immediately who wrote it. Who else can do this?? Who thinks like this? The story of Miss Emily was true Faulkner- a story of her heartbreak and it's tragic result, and small town southern gossip.
June 5, 2017
خلاصه داستان : میس امیلی گر��رسن ، دختر یک خانواده متمول و بانفوذ پس از مرگ پدر تنها می شود؛ تنهایی او چنان است که ترحم همسایگان را برانگیخته است ؛ اما آنان تنها به جمله ای درباره او بسنده می کنند: "بیچاره امیلی ". امیلی با هیچ کس در ارتباط نیست ، جز نوکر پیر سیاهپوستی که معجونی از آشپز و باغبان است و در خانه او کار میکند.کلنل سارتوریس ، شهردار شهر، امیلی را از مالیات معاف کرده است و دلیل او برای این کارش ، بدهی شهرداری به پدر امیلی عنوان می شود. حتی بعدها جانشینان شهردار وقتی چنین قانونی )معافیت امیلی از پرداخت مالیات ( را منسوخ می دانند و از امیلی مالیات طلب می کنند، او تنها به جمله ای بسنده می کند: "از کلنل سارتوریس بپرسید من در جفرسن از مالیات معافم ". این جمله امیلی زمانی تعجب برانگیزتر می شود که معلوم شده است کلنل 10 سال پیش مرده است . امیلی در طول این مدت و حتی سالها پس از این هم از خانه خود بیرون نیامده و تنها خود را در خانه اش محبوس کرده است ؛ نه او چیزی از دیگران میداند و نه دیگران چیزی از او.میس امیلی پس از مرگ پدرش با هومربارون - کارگری که برای فرش کردن خیابان ها و پیاده روها به شهر آمده است - آشنا می شود و پس از مدتی که همگان فکر می کردند امیلی و هومر قصد ازدواج با یکدیگر را دارند، هومر ناپدید می شود و دیگر کسی خبری از او نمی یابد. میس امیلی پس از این غیبت ، به داروخانه می رود و مرگ موشی می خرد؛ اما برخلاف تصور همه ، هیچگاه خود را نمیکشد.سالها از این ماجرا می گذرد و امیلی در سن 70 سالگی از دنیا می رود. بعد از تشییع جنازه امیلی ، وقتی خانه او مورد جستجو قرار می گیرد، در طبقه دوم ساختمان جسد مردی که با لبخندی عمیق روی تختخواب دراز کشیده ، همه را متعجب می کند. معلوم است مدت زیادی از مرگ او می گذرد. این مرد، همان هومر بارون است که سالیان پیش چند روز پس از آشنایی با امیلی ناپدید شده بود و به این صورت، تراژدی بزرگی شکل میگیرد...ویلیام فالکنر در داستان "یک گل سرخ برای امیلی " به جستجو در درون انسان هایی می پردازد که از مکنت مالی و نفوذ فراوانی در جامعه امریکایی برخوردارند و در واقع این نفوذ و مکنت ، به آنان اصالت بخشیده است ؛ اما این اصالت سبب تنهایی صاحبان خود شده است.امیلی و خاندانش به پشتوانه همین اصالت خانوادگی ، با هیچکس در ارتباط نیستند، با کسی مراوده ای ندارند و نشست و برخاست نمی کنند؛ چرا که گمان می برند ارتباطی کوچک با خانواده های غیراصیل ، آنان را از اصالت خانوادگی خود دور میکند.خانواده میس امیلی گریرسن ، نماد چنین خانواده هایی است ؛ آنانی که برای به دست آوردن یک چیز - که همان اعتبار و نفوذ و اصالت است - خیلی چیزهای دیگر را از دست می دهند. اینها در واقع در میان چارچوب های خاص گرفتار شده اند و پیشینه خانوادگی آنان مانع بیرون آمدن از زندانی است که خود برای خویشتن دست و پا کرده اند. بدیهی است که زندانیان چنین زندانی ، خود را در حد وسیله ای کوچک تنزل داده اند تا نمایانگر اصالت های واهی خود باشند. "میس امیلی در زندگی برای شهر به صورت یک عادت دیرینه ، یک وظیفه ، یک نقطه توجه ، یا یک نوع اجبار موروثی درآمده بود."آن سوی قضیه ، مردم عادی از آنان چیزی غیر از این انتظار ندارند که اصالت های خود را حفظ کنند؛ حتی اگر در پناه این اصالت ها، غمها و رنجها و غصه ها را به جان بخرند. "عده ای دیگر هم پیرتر از این بودند که می گفتند حتی غم و غصه زیاد هم نباید باعث شود که یک خانم واقعی ،قیداصالت ونجیبزادگی را بزند."نقطه مقابل این ، انسان های به اصطلاح اصیل ، افراد عادی و معمولی و سیاهپوستان رنج کشیده قرار دارند. فالکنر در این رویارویی به نقد جامعه ای می پردازد که کارگران و نوکرها و پادوهای آن را سیاهپوستان تشکیل داده اند و این تقابل طبقاتی که فالکنر ترسیم کننده آن است ، این تلقی را در ذهن خواننده ایجاد می کند که سیاهپوستان ، قربانیان همیشگی جامعه گذشته امریکا بوده اند.امیلی در میان تنهایی باتلاق گونه خود گرفتار شده است ؛ چرا که تنهایی او از آن دست تنهایی ها نیست که سبب تعالی شود؛ بلکه این تنهایی ثمره ای جز رخوت و خاموشی و پوسیدگی ندارد. امیلی می خواهد خود را از این پوسیدگی نجات دهد؛ به ناچار با هومربارون - سرکارگر شرکت ساختمانی که هیچ سنخیت طبقاتی و فرهنگی با او ندارد - آشنا می شود. او می خواهد تنهایی رخوت انگیز خود را به وسیله هومر بارون بشکند. دیگران گمان می برند که او اصالت خود را زیر پا گذاشته است و این فراموشی اصالت واهی خانوادگی، تعجب اهالی شهر را در پی دارد.امیلی زخم تنهایی را تا اعماق وجود چشیده است و دیگر توان تنهایی این چنین را ندارد و از طرفی این توهم او را عذاب می دهد که شاید روزی هومر او را ترک کند؛ بنابراین راه حلی خارق العاده را برمی گزیند؛ هومر را با سم آرسنیک می کشد و تا پایان عمر مال خود می کند. دیگر این توهم - که روزی هومر او را ترک خواهد گفت - او را عذاب نمی دهد. هر چند بوی بد جسدی که در خانه نگهداری می کند، دیگران را می آزارد؛ اما امیلی به خود و معشوق همیشگی اش عشق می ورزد. زمانی که همه مردم شهر گمان می برند هومر ناپدید شده است ، او درون اتاقی در طبقه دوم ساختمانی که امیلی مالک آن است ، به خواب ابدی رفته است و امیلی تا پایان عمر او را در کنار خود خواهد داشت.ژان پل سارتر فیلسوف فرانسوی می گوید: آنهایی که همه چیز را می خواهند، نمی توانند عاشق شوند. در داستان کوتاه "یک گل سرخ برای امیلی "، این مطلب نمودی عینی پیدا می کند. امیلی از یک طرف خواهان حفظ اصالت خانوادگی خود است و از طرفی دیگر با فردی از طبقه پایین آشنا می شود و این که او یکی را بر دیگری ترجیح نمی دهد، این نکته را در ذهن متبلور می کند که امیلی قدرت عاشق شدن ندارد. اگر هومر را می خواهد، برای این است که رخوت و تنهایی خود را از یاد ببرد نه چیز دیگر.داستان "یک گل سرخ برای امیلی " مانند سایر داستان هایی که فالکنر نوشته است ، در سرزمین خیالی یوکنوفاتافا می گذرد؛ سرزمینی که فالکنر آن را کشف کرده و زیر نقشه آن نوشته است : "منحصرا متعلق است به ویلیام فالکنر". در واقع می توان گفت فالکنر با کشف چنین سرزمینی ، به کشف جهان داستانی بکر و تازه ای دست زده است تا مفاهیم خود را به وسیله آن به خواننده القاء کند.سبک نگارش داستان ، ادامه سبک منحصر به فرد فالکنر است . او داستان خود را از زمان حال شروع می کند و خواننده خود را به گذشته ارجاع می دهد و پس از سیر و سیاحتی چند در گذشته - که وقایع داستان در آن شکل گرفته است - دوباره او را به زمان حال برمی گرداند؛ چیزی که در داستان کوتاه "یک گل سرخ برای امیلی" نیز نمود یافته است.می توان حرکت از حال به گذشته و برگشت دوباره به زمان حال را به تعبیر ادوارد مورگان فورستر به پرواز پرنده ای شبیه دانست که از شاخه ای می پرد و پس از گشت و گذار فراوان ، باز روی همان شاخه می نشیند. بدیهی است که فالکنر خواننده خود را با خود به وقایعی که در گذشته رخ داده است ، می کشاند؛ اما این بازگشت به گذشته ، چنان نیست که وقایع را براساس توالی زمانی یک به یک بیان کند؛ بلکه خواننده در زمان های مختلف گذشته گم می شود و خود را در زمان تودرتویی می بیند که همه گذشته قهرمان در آن جاخوش کرده است.نکته قابل تامل دیگر، بیگانگی فالکنر با شیوه نقطه گذاری معمول است که در رمان های او نیز به چشم می خورد. این بیگانگی در داستان کوتاه او نیز دیده می شود. در واقع فالکنر از شیوه نقطه گذاری پیاپی و جملات کوتاه در داستان کوتا�� تخطی کرده است و همان شیوه پیوند جملات به وسیله ویرگول را ادامه می دهد و چنان استادانه از عهده این کار برآمده که به داستان کوتاه او خللی وارد نیامده است.ویلیام فالکنر دارای قابلیت هایی است که از او نویسنده ای صاحب سبک ساخته است . حتی بسیاری از نویسندگان امروزین جهان که قابلیت های فالکنر را شناخته اند، داستان هایی با سبک او آفریده اند. بدون شک این پیروی ، شیوه و انسجام سبک فالکنر را آشکارتر خواهد کرد.
January 20, 2017
حالا که بایس بری برو . اما علتش را من نمی فهمم و هیچ وقت هم نمی خوام بفهمم . دیگه از من انتظار فهمیدنشو نداشته باش .
August 20, 2020
Having read Romain Gary's Lady L, I could have guessed the ending! Is it only me who links these two weird ladies to each other??!!
February 23, 2022
Nu știu dacă voi mai citi ceva scris de el pentru că simt că deja i-am surprins esența, dar cu siguranță voi ține minte câteva dintre aceste povestiri. Parcă îl și văd stând cu Poe și Dostoievski, de care mi-a amintit, la o masă, bând whiskey și vorbind despre psihologia umană, viață și tot ce cuprind ele. Apoi se mută cu Toni Morrison și Alice Walker și continuă discuția.
Povestirile lui Faulkner sunt dense și încărcate de metafore, teme complexe și simboluri, iar finalurile, spre deosebire de cele ale multora dintre prozele scurte citite de mine, sunt concrete și puternice, reușind deseori să răstoarne ce au construit personajele în paginile anterioare. Nu a fost chiar genul meu pentru că rasismul este o temă predominantă, una care mie nu îmi trezește interesul, sinceră să fiu, oricât de actuală și tragică ar fi, însă pot fi obiectivă și să îi recunosc calitățile scriitoricești. Recenzia aici: https://bit.ly/32ihJc6.
,,A tras de cadavru, simțindu-l cum curge de pe propriile oase, de parcă ar fi fost prea larg pentru propriul schelet; și-a întors fața într-o parte, dinții îi scrâșneau, suflul îi era furios și plin de indignare și reținut. Simțea câinele izbindu-se de picioarele lui, cu capul în gaură urlând."
Povestirile lui Faulkner sunt dense și încărcate de metafore, teme complexe și simboluri, iar finalurile, spre deosebire de cele ale multora dintre prozele scurte citite de mine, sunt concrete și puternice, reușind deseori să răstoarne ce au construit personajele în paginile anterioare. Nu a fost chiar genul meu pentru că rasismul este o temă predominantă, una care mie nu îmi trezește interesul, sinceră să fiu, oricât de actuală și tragică ar fi, însă pot fi obiectivă și să îi recunosc calitățile scriitoricești. Recenzia aici: https://bit.ly/32ihJc6.
,,A tras de cadavru, simțindu-l cum curge de pe propriile oase, de parcă ar fi fost prea larg pentru propriul schelet; și-a întors fața într-o parte, dinții îi scrâșneau, suflul îi era furios și plin de indignare și reținut. Simțea câinele izbindu-se de picioarele lui, cu capul în gaură urlând."
February 3, 2015
Thank you Tadiana for providing this link to this little shorty that I haven't read in 14 years.
I first read this in high school, and it is the first, and still only, Faulkner I have ever read. Faulkner has always been this kind of presence in my life. Like a long-lost uncle who is always kind of looking out for me, and remains a lingering presence, but who is intimidating, and just a little bit scary. And for those reasons, I've just never been able to warm up to Faulkner, but appreciate his lingering essence. This little short is like my inviting him out to lunch for the first time. In a very public and non-threatening place where I can get to know him a bit. But I am not making plans to move in with him anytime soon, a situation that my reading As I Lay Dying would inevitably throw me into.
This short story is beautiful, and I can definitely understand the appeal of Faullkner's prose. It centers around a young woman named Emily who has this kind of "untouchable" mysterious air about her. She lives with her father who has deemed all available suitors "unsuitable" for Emily, which leads to her mystery. When her father has died, she still has this upper crust snootiness about her, but as she is well past marrying age by then, people of the town who used to admire her, now kind of pity her. We find out that Emily did have a lover who ran out on her, and afterwards, she became a recluse, and that air of mystery about her from her younger years, only gets reinforced with age. As an old woman, Emily no longer has her beauty, but people still remember her in her prime, and long to discover her secrets. Plus, the threat of madness, which tends to follow reclusive and secretive women, has further stimulated the townspeople's lust for gossip.
The opening paragraph explains that it is the day of Emily's funeral and that every single person in town has attended.
The story slowly and beautifully unravels the mysteries and secrets surrounding Emily, and finally results in a climax which has haunted me for fourteen years since I first read this story as a high school junior. It is a bit disturbing, and a bit surprising, but it is glorious. Beautifully macabre, hauntingly sweet, and amazingly gorgeous writing. Maybe it is about time Faulkner and I had another meeting.
I first read this in high school, and it is the first, and still only, Faulkner I have ever read. Faulkner has always been this kind of presence in my life. Like a long-lost uncle who is always kind of looking out for me, and remains a lingering presence, but who is intimidating, and just a little bit scary. And for those reasons, I've just never been able to warm up to Faulkner, but appreciate his lingering essence. This little short is like my inviting him out to lunch for the first time. In a very public and non-threatening place where I can get to know him a bit. But I am not making plans to move in with him anytime soon, a situation that my reading As I Lay Dying would inevitably throw me into.
This short story is beautiful, and I can definitely understand the appeal of Faullkner's prose. It centers around a young woman named Emily who has this kind of "untouchable" mysterious air about her. She lives with her father who has deemed all available suitors "unsuitable" for Emily, which leads to her mystery. When her father has died, she still has this upper crust snootiness about her, but as she is well past marrying age by then, people of the town who used to admire her, now kind of pity her. We find out that Emily did have a lover who ran out on her, and afterwards, she became a recluse, and that air of mystery about her from her younger years, only gets reinforced with age. As an old woman, Emily no longer has her beauty, but people still remember her in her prime, and long to discover her secrets. Plus, the threat of madness, which tends to follow reclusive and secretive women, has further stimulated the townspeople's lust for gossip.
We did not say she was crazy then. We believed she had to do that. We remembered all the young men her father had driven away, and we knew that with nothing left, she would have to cling to that which had robbed her, as people will.
The opening paragraph explains that it is the day of Emily's funeral and that every single person in town has attended.
WHEN Miss Emily Grierson died, our whole town went to her funeral: the men through a sort of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of her house, which no one save an old man-servant--a combined gardener and cook--had seen in at least ten years.
The story slowly and beautifully unravels the mysteries and secrets surrounding Emily, and finally results in a climax which has haunted me for fourteen years since I first read this story as a high school junior. It is a bit disturbing, and a bit surprising, but it is glorious. Beautifully macabre, hauntingly sweet, and amazingly gorgeous writing. Maybe it is about time Faulkner and I had another meeting.
October 6, 2021
Cu Faulkner, eu cel puțin, întotdeauna am mers la sigur. Nu mă dezminte nici acest volum de povestiri,majoritatea plasate în sudul ficțional, cunoscut al autorului. Avem aici tangențe la marile sale romane ,prin personaje, istorii sau locuri. Așa se face că întâlnim în cel puțin 2 povestiri referiri la generalul Sartoris, în imaginarul Jefferson din Mississippi se petrec întâmplările din nuvela care dă titlul volumului; sunt narate în silul southern-gothic trăirile din copilărie ale fraților Compson din Zgomotul și Furia. O singură nuvelă redă un crâmpei din Marele Război și se petrece undeva în Europa. O scriitură plină de culoare, personaje credibile, limbaj individualizat. Plăcută imersiune în lumea tărâmului Yoknapatawpha.
August 10, 2017
یادم میاد توی کتابی مصاحبه نجف دریابندری رو خوندم که توش نوشته بود یک گل سرخ برای امیلی جزو اولین ترجمه هاش بوده که بعد از سال ها وقتی دوباره رفته خونده با خودش فکر کرده که چه ترجمه فاجعه ایه! :)) به خاطر همین من از اولی که داستان ترجمه رو خوندم روی ضعف هاش کلید نکردم چون می دونستم جزو اولین کارهاش بوده و به خاطر اینکه خودمم مترجم تازه کار هستم خیلی درکش می کردم.
در مورد داستان...
یکی از قشنگ ترین داستان های کوتاه گوتیکی که می شه خوند. این اولین اثریه که از ویلیام فاکنر خوندم و خیلی دوسش داشتم. هم به زبان
انگلیسی هم ترجمه فارسی رو خوندم. استادمون می گفت سبک گوتیک حسی درونت ایجاد می کنه که تماشای یه آبشار بلند درونت ایجاد می کنه، یا ورود به یه کلیسای پر نقش و نگار... اون حس ابهت و همزمان دلهره آور. انتخاب زاویه دید داستان هم که بی نظیر بود و باعث می شه خواننده به فکر بیافته. یه جورایی راوی به قدری شخصیت اصلی داستان رو قضاوت می کنه که نوک انگشتت سمت خودت می ره، سمت جامعه و بعد به خودت میای می بینی که چقدر قضاوت های جامعه روی زندگی یه آدم می تونه تاثیر گذار باشه.
این از معدود داستان کوتاه هاییه که از دوباره خوندنش لذت خواهم برد چون هم سرگرم کننده است و هم توش موارد زیادی برای فکر و تحلیل داره.
پلات داستان
خطر لو رفتن داستان
امیلی پیر می میرد. داستان به عقب بر می گردد. پدر امیلی می میرد. دچار انکار می شود و می گوید پدرم نمرده. به زور می آیند و جسد پدرش را می برند خاک می کنند. راوی روایت می کند که پدرش خاستگاران امیلی را رد می کرده و پس از مرگ او امیلی با خدمتکارش تنها می شود. شهردار به بهانه اینکه پدر امیلی به شهر بدهی دارد او را از مالیات دادن معاف می کند. شهر در انتظار ازدواج اوست. مردی از راه می رسید که با امیلی بیرون می رود اما مردم شهر فکر می کنند مردی اهل ازدواج نیست. تا اینکه روزی امیلی سم می خرد و همه فکر می کنند می خواهد خودکشی کند اما بعد از آن لباس مردانه و ست وسایل مردانه (شانه و...) و حلقه سفارش می دهد که همه فکر می کنند آنها عروسی کرده اند اما پس از آخرین باری که مرد از در پشتی خانه داخل می رود دیگر هیچ وقت کسی او را نمی بیند. شهردار جدید معافیت مالیاتی امیلی را بر می دارد اما امیلی حاضر به پرداخت نمی شود. مدتی بعد بوی بدی از خانه می آید. مردم خودشان دور خانه پودر آهار می ریزند و بوی بد از بین می رود. امیلی می میرد و مردم کنجکاو به طبقه دوم می روند تا از راز خانه در بسته سر در بیاورند. اسکلت مرد را در کنار بالشی که موی امیلی روی آن بود در اتاقی پیدا می کنند که انگار برای شب عروسی آماده شده بود
در مورد داستان...
یکی از قشنگ ترین داستان های کوتاه گوتیکی که می شه خوند. این اولین اثریه که از ویلیام فاکنر خوندم و خیلی دوسش داشتم. هم به زبان
انگلیسی هم ترجمه فارسی رو خوندم. استادمون می گفت سبک گوتیک حسی درونت ایجاد می کنه که تماشای یه آبشار بلند درونت ایجاد می کنه، یا ورود به یه کلیسای پر نقش و نگار... اون حس ابهت و همزمان دلهره آور. انتخاب زاویه دید داستان هم که بی نظیر بود و باعث می شه خواننده به فکر بیافته. یه جورایی راوی به قدری شخصیت اصلی داستان رو قضاوت می کنه که نوک انگشتت سمت خودت می ره، سمت جامعه و بعد به خودت میای می بینی که چقدر قضاوت های جامعه روی زندگی یه آدم می تونه تاثیر گذار باشه.
این از معدود داستان کوتاه هاییه که از دوباره خوندنش لذت خواهم برد چون هم سرگرم کننده است و هم توش موارد زیادی برای فکر و تحلیل داره.
پلات داستان
خطر لو رفتن داستان
امیلی پیر می میرد. داستان به عقب بر می گردد. پدر امیلی می میرد. دچار انکار می شود و می گوید پدرم نمرده. به زور می آیند و جسد پدرش را می برند خاک می کنند. راوی روایت می کند که پدرش خاستگاران امیلی را رد می کرده و پس از مرگ او امیلی با خدمتکارش تنها می شود. شهردار به بهانه اینکه پدر امیلی به شهر بدهی دارد او را از مالیات دادن معاف می کند. شهر در انتظار ازدواج اوست. مردی از راه می رسید که با امیلی بیرون می رود اما مردم شهر فکر می کنند مردی اهل ازدواج نیست. تا اینکه روزی امیلی سم می خرد و همه فکر می کنند می خواهد خودکشی کند اما بعد از آن لباس مردانه و ست وسایل مردانه (شانه و...) و حلقه سفارش می دهد که همه فکر می کنند آنها عروسی کرده اند اما پس از آخرین باری که مرد از در پشتی خانه داخل می رود دیگر هیچ وقت کسی او را نمی بیند. شهردار جدید معافیت مالیاتی امیلی را بر می دارد اما امیلی حاضر به پرداخت نمی شود. مدتی بعد بوی بدی از خانه می آید. مردم خودشان دور خانه پودر آهار می ریزند و بوی بد از بین می رود. امیلی می میرد و مردم کنجکاو به طبقه دوم می روند تا از راز خانه در بسته سر در بیاورند. اسکلت مرد را در کنار بالشی که موی امیلی روی آن بود در اتاقی پیدا می کنند که انگار برای شب عروسی آماده شده بود
March 2, 2022
یه خورده ترجمه کتاب خوب نبود (انگار قدیمی بود)
شیش تا داستان داره که داستان طلا همیشه نیست به نظرم جالب نبود بقیه هم بد نبودن
این اولین کتابی هست که توی ادبیات آمریکا میخونم که احتمالا باعث شده که یه خورده برای کم لذت بخش باشه
شیش تا داستان داره که داستان طلا همیشه نیست به نظرم جالب نبود بقیه هم بد نبودن
این اولین کتابی هست که توی ادبیات آمریکا میخونم که احتمالا باعث شده که یه خورده برای کم لذت بخش باشه
February 23, 2020
<یک گل سرخ برای امیلی>
<خیال,فرار از واقعیت,رویاپردازی>
نمیدانیم چه زمانی هومر بارون را کشته , یا کِی هومر مرده است , اما چند نخ موی خاکستری با آن بوی تند و سوزاننده ی خود روی بالش کنار بقایای
هومر, روایت یک رویای تحقق نیافته , یک رویای فلج و معلول که سالها ازش پرستاری و مراقبت شده , به امید اینکه امیلی را از
نجواهای رعب آور واقعیت نجات دهد/فراری دهد .
((نجواهایی مثل :((تنها بدنیا آمدی,تنها زندگی کردی و تنها میمیری
وقتی واقعیت به آدم سخت بگیرد , نه وعده ی خوشی و نه خودِ خوشی را ندهد , آدم به کنج و دخمه های ذهنش پناه برده و با تخیل پردازی و رویا پردازی
.نفس کشیدنش را ادامه میدهد ؛ که خود-حبسی/انزوای انتخابی در خانه , یک آرایش و پوشش دیگر از همان دخمه های ذهن است
<تخطی,گذر از خط قرمزها,جامعه ستیزی/گریزی>
پرداخت مالیات شهروندی و پذیرش مرگ پدر به منظور برگزاری تشییع جنازه و مراسم ختم, عموما در نظر همه ی ما از پدیده هایی هستند که هرچند با .
.میل و خواسته ی قلبی سازگار نیستند , اما به هرحال و در هرصورت می پذیریم که اینها را هم به سر ببریم
امیل�� اما در اتخاذ همین تصمیمات پیش پاافتاده و عادی, از منطق و عقلانیت تخطی میکند و گویا به جامعه ی خود دهن کجی کرده و به
,آیینها,قانونها,باید و نبایدهایی که گاهاً در داستان نانوشته اند و بیشتر نوعی رسم و رسومند تا قانون و گاهاً مکتوب و اجباری و تحمیلی اند
تُف پر از خلطی می اندازد. از همه بالاتر وقتی که او را دست در دست و شانه به شانه ی سرکارگر بی اصل و نسبی از شمال آمریکا میبینند که
با شناختهای مردم از خاندان گریرسون منافات دارد؛ خاندانی که گویا از قدیم و ندیم خود را سروگردنی بالای بقیه می دیدند؛ که در خواستگاریهای نافرجام و
بیشمار امیلی خود را بروز میدهد.
-------------------------
یک گل سرخ برای امیلی:5
سپتامبر خشک:4
انبارسوزی:3
طلا همیشه نیست:3
دو سرباز:2
دیلسی:جزو خشم و هیاهو هست و نخوندم
<خیال,فرار از واقعیت,رویاپردازی>
نمیدانیم چه زمانی هومر بارون را کشته , یا کِی هومر مرده است , اما چند نخ موی خاکستری با آن بوی تند و سوزاننده ی خود روی بالش کنار بقایای
هومر, روایت یک رویای تحقق نیافته , یک رویای فلج و معلول که سالها ازش پرستاری و مراقبت شده , به امید اینکه امیلی را از
نجواهای رعب آور واقعیت نجات دهد/فراری دهد .
((نجواهایی مثل :((تنها بدنیا آمدی,تنها زندگی کردی و تنها میمیری
وقتی واقعیت به آدم سخت بگیرد , نه وعده ی خوشی و نه خودِ خوشی را ندهد , آدم به کنج و دخمه های ذهنش پناه برده و با تخیل پردازی و رویا پردازی
.نفس کشیدنش را ادامه میدهد ؛ که خود-حبسی/انزوای انتخابی در خانه , یک آرایش و پوشش دیگر از همان دخمه های ذهن است
<تخطی,گذر از خط قرمزها,جامعه ستیزی/گریزی>
پرداخت مالیات شهروندی و پذیرش مرگ پدر به منظور برگزاری تشییع جنازه و مراسم ختم, عموما در نظر همه ی ما از پدیده هایی هستند که هرچند با .
.میل و خواسته ی قلبی سازگار نیستند , اما به هرحال و در هرصورت می پذیریم که اینها را هم به سر ببریم
امیل�� اما در اتخاذ همین تصمیمات پیش پاافتاده و عادی, از منطق و عقلانیت تخطی میکند و گویا به جامعه ی خود دهن کجی کرده و به
,آیینها,قانونها,باید و نبایدهایی که گاهاً در داستان نانوشته اند و بیشتر نوعی رسم و رسومند تا قانون و گاهاً مکتوب و اجباری و تحمیلی اند
تُف پر از خلطی می اندازد. از همه بالاتر وقتی که او را دست در دست و شانه به شانه ی سرکارگر بی اصل و نسبی از شمال آمریکا میبینند که
با شناختهای مردم از خاندان گریرسون منافات دارد؛ خاندانی که گویا از قدیم و ندیم خود را سروگردنی بالای بقیه می دیدند؛ که در خواستگاریهای نافرجام و
بیشمار امیلی خود را بروز میدهد.
-------------------------
یک گل سرخ برای امیلی:5
سپتامبر خشک:4
انبارسوزی:3
طلا همیشه نیست:3
دو سرباز:2
دیلسی:جزو خشم و هیاهو هست و نخوندم
This entire review has been hidden because of spoilers.
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April 12, 2021کوتاه، تکان دهنده و غافلگبرکننده
یکبار دیگر برایم یادآوری کرد آنچه را که فکر می‌کنیم حقیقت دارد و یا آنچه را که می‌بینیم و باور داریم و بسیار مسلم‌تر می‌پنداریمش؛ لزوما همانی نیست که واقعیت دارد
سکوت کن و با سکوتت، قدرت رخنه ناپذیرت را به رخ بکش
یکبار دیگر برایم یادآوری کرد آنچه را که فکر می‌کنیم حقیقت دارد و یا آنچه را که می‌بینیم و باور داریم و بسیار مسلم‌تر می‌پنداریمش؛ لزوما همانی نیست که واقعیت دارد
سکوت کن و با سکوتت، قدرت رخنه ناپذیرت را به رخ بکش
August 28, 2015
This is an extremely atmospheric and downright creepy short story. It makes me believe that I can learn to love Faulkner.
A Rose for Emily
A Rose for Emily
May 24, 2017
Revisited after 20 years because I wanted to compare to a short story written by William Gay, The Paperhanger. I definitely like shock factor in literature. Faulkner perfected this story.
August 13, 2017
یک جمله در این داستان کوتاه تخطی از زاویه دید داره. هر کی بگه من جایزه بهش میدم
August 9, 2020
با خوانش زیبای پریسا جمالی
گمونم باید تو سن کمتر خونده بشه
مثلا نوجوانی
قلمش و خیلی دوست دارم
باید کتابش و میخوندم
روی صوتی نتونستم تمرکز کنم ولی چسبید
گمونم باید تو سن کمتر خونده بشه
مثلا نوجوانی
قلمش و خیلی دوست دارم
باید کتابش و میخوندم
روی صوتی نتونستم تمرکز کنم ولی چسبید
Displaying 1 - 30 of 608 reviews