conversations.from: human
conversations.value: a plot for a book about Jason, Quentin, Busch entitled The Sound and the Fury
conversations.from: assistant
conversations.value: The Sound and the Fury (1959 film): Quentin Compson is a girl of 17 in the small Mississippi town of Jefferson.\nShe lives with her step-uncle, Jason, who has practically raised Quentin ever since her promiscuous mother, Caddy, abandoned her.\nJason makes ends meet working in the store of Earl Snopes, a man he detests.\nHe is the provider for several people in the house, including Howard, who is Quentin's uncle and his step-brother, and a mute, mentally handicapped man named Benjy, his other step-brother.\nQuentin is bored, restless, and not interested in Jason's wishes that she continue her education.\nWhen a carnival comes to town, she becomes infatuated with Charlie Busch, a carny worker who tries to seduce her.\nCaddy returns to town.\nShe has a tentative reunion with Quentin, but takes Jason's side because she has no money and needs him to shelter her now.\nCaddy flirts with Snopes, who implies that they had intimate relations and is beaten by Jason for saying as much.\nBenjy also becomes incensed when he catches Quentin sneaking out to meet Busch and tries to strangle her, whereupon Jason decides that Benjy must be committed to an institution.\nA frustrated Quentin wants to leave with Busch and claims she can get her hands on $3,000.\nShe steals it from a suitcase of money Jason had been saving for her future.\nTo prove the stranger's true intentions, Jason goes to Busch and gives him a choice: the girl or the money.\nQuentin is crushed when she realizes what Busch is really after.\nShe returns to Jason and promises to be more mature in their future together.
conversations.from: human
conversations.value: Delete the first sentence.
conversations.from: assistant
conversations.value: \nShe lives with her step-uncle, Jason, who has practically raised Quentin ever since her promiscuous mother, Caddy, abandoned her.\nJason makes ends meet working in the store of Earl Snopes, a man he detests.\nHe is the provider for several people in the house, including Howard, who is Quentin's uncle and his step-brother, and a mute, mentally handicapped man named Benjy, his other step-brother.\nQuentin is bored, restless, and not interested in Jason's wishes that she continue her education.\nWhen a carnival comes to town, she becomes infatuated with Charlie Busch, a carny worker who tries to seduce her.\nCaddy returns to town.\nShe has a tentative reunion with Quentin, but takes Jason's side because she has no money and needs him to shelter her now.\nCaddy flirts with Snopes, who implies that they had intimate relations and is beaten by Jason for saying as much.\nBenjy also becomes incensed when he catches Quentin sneaking out to meet Busch and tries to strangle her, whereupon Jason decides that Benjy must be committed to an institution.\nA frustrated Quentin wants to leave with Busch and claims she can get her hands on $3,000.\nShe steals it from a suitcase of money Jason had been saving for her future.\nTo prove the stranger's true intentions, Jason goes to Busch and gives him a choice: the girl or the money.\nQuentin is crushed when she realizes what Busch is really after.\nShe returns to Jason and promises to be more mature in their future together.
conversations.from: human
conversations.value: a plot for a book about Compson, Sound, Fury entitled The Sound and the Fury
conversations.from: assistant
conversations.value: The Sound and the Fury (2014 film): The film focuses on the Compson Family, and their struggles to adjust to the changing society of the 20th century Deep South, told from four different perspectives: the mentally handicapped Benjy Compson, the fragile intellectual Quentin, the vile Jason and his family's old black servant, Dilsey.
conversations.from: human
conversations.value: a plot for a book about Caddy, Benjy\'s, Quentin entitled The Sound and the Fury
conversations.from: assistant
conversations.value: The Sound and the Fury: The first section of the novel is narrated by Benjamin "Benjy" Compson, a source of shame to the family due to his diminished mental capacity; the only characters who show a genuine care for him are Caddy, his older sister; and Dilsey, a matriarchal servant.\nHis narrative voice is characterized predominantly by its nonlinearity: spanning the period 1898–1928, Benjy\'s narrative is a series of non-chronological events presented in a stream of consciousness.\nThe presence of italics in Benjy\'s section is meant to indicate significant shifts in the narrative.\nOriginally Faulkner meant to use different colored inks to signify chronological breaks.\nThis nonlinearity makes the style of this section particularly challenging, but Benjy\'s style develops a cadence that, while not chronologically coherent, provides unbiased insight into many characters\' true motivations.\nMoreover, Benjy\'s caretaker changes to indicate the time period: Luster in the present,P.\nin Benjy\'s teenage years, and Versh during Benjy\'s infancy and childhood.\nIn this section we see Benjy\'s three passions: fire, the golf course on land that used to belong to the Compson family, and his sister Caddy.\nBut by 1928 Caddy has been banished from the Compson home after her husband divorced her because her child was not his, and the family has sold his favorite pasture to a local golf club in order to finance Quentin\'s Harvard education.\nIn the opening scene, Benjy, accompanied by Luster, a servant boy, watches golfers on the nearby golf course as he waits to hear them call "caddie"—the name of his favorite sibling.\nWhen one of them calls for his golf caddie, Benjy\'s mind embarks on a whirlwind course of memories of his sister, Caddy, focusing on one critical scene.\nIn 1898 when their grandmother died, the four Compson children were forced to play outside during the funeral.\nIn order to see what was going on inside, Caddy climbed a tree in the yard, and while looking inside, her brothers—Quentin, Jason and Benjy—looked up and noticed that her underwear was muddy.\nThis is Benjy\'s first memory, and he associates Caddy with trees throughout the rest of his arc, often saying that she smells like trees.\nOther crucial memories in this section are Benjy\'s change of name (from Maury, after his uncle) in 1900 upon the discovery of his disability; the marriage and divorce of Caddy (1910), and Benjy\'s castration, resulting from an attack on a girl that is alluded to briefly within this chapter when a gate is left unlatched and Benjy is out unsupervised.\nReaders often report trouble understanding this portion of the novel due to its impressionistic language necessitated by Benjamin\'s mental abilities, as well as its frequent shifts in time and setting.\nQuentin, the most intelligent of the Compson children, gives the novel\'s best example of Faulkner\'s narrative technique.\nWe see him as a freshman at Harvard, wandering the streets of Cambridge, contemplating death, and remembering his family\'s estrangement from his sister Caddy.\nLike the first section, its narrative is not strictly linear, though the two interweaving threads, of Quentin at Harvard on the one hand, and of his memories on the other, are clearly discernible.\nQuentin\'s main obsession is Caddy\'s virginity and purity.\nHe is obsessed with Southern ideals of chivalry and is strongly protective of women, especially his sister.\nWhen Caddy engages in sexual promiscuity, Quentin is horrified.\nHe turns to his father for help and counsel, but the pragmatic mr Compson tells him that virginity is invented by men and should not be taken seriously.\nHe also tells Quentin that time will heal all.\nQuentin spends much of his time trying to prove his father wrong, but is unable to do so.\nShortly before Quentin leaves for Harvard in the fall of 1909, Caddy becomes pregnant by a lover she is unable to identify, perhaps Dalton Ames, whom Quentin confronts.\nThe two fight, with Quentin losing disgracefully and Caddy vowing, for Quentin\'s sake, never to speak to Dalton again.\nQuentin tells his father that they have committed incest, but his father knows that he is lying: "and he did you try to make her do it and i i was afraid to i was afraid she might and then it wouldn\'t do any good" (112).\nQuentin\'s idea of incest is shaped by the idea that, if they "could just have done something so dreadful that they would have fled hell except us" (51), he could protect his sister by joining her in whatever punishment she might have to endure.\nIn his mind, he feels a need to take responsibility for Caddy\'s sin.\nPregnant and alone, Caddy then marries Herbert Head, whom Quentin finds repulsive, but Caddy is resolute: she must marry before the birth of her child.\nHerbert finds out that the child is not his and sends mother and daughter away in shame.\nQuentin\'s wanderings through Harvard, as he cuts classes, follow the pattern of his heartbreak over losing Caddy.\nFor instance, he meets a small Italian immigrant girl who speaks no English.\nSignificantly, he calls her "sister" and spends much of the day trying to communicate with her, and to care for her by finding her home, to no avail.\nHe thinks sadly of the downfall and squalor of the South after the American Civil War.\nTormented by his conflicting thoughts and emotions, Quentin commits suicide by drowning.\nWhile many first-time readers report Benjy\'s section as being difficult to understand, these same readers often find Quentin\'s section to be near impossible.\nNot only do chronological events mesh together regularly, but often (especially at the end) Faulkner completely disregards any semblance of grammar, spelling, or punctuation, instead writing in a rambling series of words, phrases, and sentences that have no separation to indicate where one thought ends and another begins.\nThis confusion is due to Quentin\'s severe depression and deteriorating state of mind, and Quentin is therefore arguably an even more unreliable narrator than his brother Benjy.\nBecause of the staggering complexity of this section, it is often the one most extensively studied by scholars of the novel.\nThe third section is narrated by Jason, the third child and Caroline\'s favorite.\nIt takes place the day before Benjy\'s section, on Good Friday.\nOf the three brothers\' sections, Jason\'s is the most straightforward, reflecting his single-minded desire for material wealth.\nBy 1928, Jason is the economic foundation of the family after his father\'s death.\nHe supports his mother, Benjy, and Miss Quentin (Caddy\'s daughter), as well as the family\'s servants.\nHis role makes him bitter and cynical, with little of the passionate sensitivity that marks his older brother and sister.\nHe goes so far as to blackmail Caddy into making him Miss Quentin\'s sole guardian, then uses that role to steal the support payments that Caddy sends for her daughter.\nThis is the first section that is narrated in a linear fashion.\nIt follows the course of Good Friday, a day in which Jason decides to leave work to search for Miss Quentin (Caddy\'s daughter), who has run away again, seemingly in pursuit of mischief.\nHere we see most immediately the conflict between the two predominant traits of the Compson family, which Jason\'s mother Caroline attributes to the difference between her blood and her husband\'s: on the one hand, Miss Quentin\'s recklessness and passion, inherited from her grandfather and, ultimately, the Compson side; on the other, Jason\'s ruthless cynicism, drawn from his mother\'s side.\nThis section also gives us the clearest image of domestic life in the Compson household, which for Jason and the servants means the care of the hypochondriac Caroline and of Benjy.\nApril 8, 1928, is Easter Sunday.\nThis section, the only one without a single first-person narrator, focuses on Dilsey, the powerful matriarch of the black family servants.\nShe, in contrast to the declining Compsons, draws a great deal of strength from her faith, standing as a proud figure amid a dying family.\nOn this Easter Sunday, Dilsey takes her family and Benjy to the \'colored\' church.\nThrough her we sense the consequences of the decadence and depravity in which the Compsons have lived for decades.\nDilsey is mistreated and abused, but nevertheless remains loyal.\nShe, with the help of her grandson Luster, cares for Benjy, as she takes him to church and tries to bring him to salvation.\nThe preacher\'s sermon inspires her to weep for the Compson family, reminding her that she\'s seen the family through its destruction, which she is now witnessing.\nMeanwhile, the tension between Jason and Miss Quentin reaches its inevitable conclusion.\nThe family discovers that Miss Quentin has run away in the middle of the night with a carnival worker, having found the hidden collection of cash in Jason\'s closet and taken both her money (the support from Caddy, which Jason had stolen) and her money-obsessed uncle\'s life savings.\nJason calls the police and tells them that his money has been stolen, but since it would mean admitting embezzling Quentin\'s money he doesn\'t press the issue.\nHe therefore sets off once again to find her on his own, but loses her trail in nearby Mottson, and gives her up as gone for good.\nAfter church, Dilsey allows her grandson Luster to drive Benjy in the family\'s decrepit horse and carriage to the graveyard.\nLuster, disregarding Benjy\'s set routine, drives the wrong way around a monument.\nBenjy\'s hysterical sobbing and violent outburst can only be quieted by Jason, who understands how best to placate his brother.\nJason slaps Luster, turns the carriage around, and, in an attempt to quiet Benjy, hits Benjy, breaking his flower, while screaming "Shut up.\n" After Jason gets off the carriage and Luster heads home, Benjy suddenly becomes silent.\nLuster turns around to look at Benjy and sees Benjy holding his drooping flower.\nBenjy\'s eyes are "empty and blue and serene again".\nIn 1945, Faulkner wrote an appendix to the novel to be published in the then-forthcoming anthology The Portable Faulkner.\nAt Faulkner\'s behest, however, subsequent printings of The Sound and the Fury frequently contain the appendix at the end of the book; it is sometimes referred to as the fifth part.\nHaving been written sixteen years after The Sound and the Fury, the appendix presents some textual differences from the novel, but serves to clarify the novel\'s opaque story.\nThe appendix is presented as a complete history of the Compson family lineage, beginning with the arrival of their ancestor Quentin Maclachlan in America in 1779 and continuing through 1945, including events that transpired after the novel (which takes place in 1928).\nIn particular, the appendix reveals that Caroline Compson died in 1933, upon which Jason had Benjy committed to the state asylum, fired the black servants, sold the last of the Compson land, and moved into an apartment above his farming supply store.\nIt is also revealed that Jason had himself declared Benjy\'s legal guardian many years ago, without their mother\'s knowledge, and used this status to have Benjy castrated.\nThe appendix also reveals the fate of Caddy, last seen in the novel when her daughter Quentin is still a baby.\nAfter marrying and divorcing a second time, Caddy moved to Paris, where she lived at the time of the German occupation.\nIn 1943, the librarian of Yoknapatawpha County discovered a magazine photograph of Caddy in the company of a German staff general and attempted separately to recruit both Jason and Dilsey to save her; Jason, at first acknowledging that the photo was of his sister, denied that it was she after realizing the librarian wanted his help, while Dilsey pretended to be unable to see the picture at all.\nThe librarian later realizes that while Jason remains cold and unsympathetic towards Caddy, Dilsey simply understands that Caddy neither wants nor needs to be saved from the Germans, because nothing else remains for her.\nThe appendix concludes with an accounting for the black family who worked as servants to the Compsons.\nUnlike the entries for the Compsons themselves, which are lengthy, detailed, and told with an omniscient narrative perspective, the servants\' entries are simple and succinct.\nDilsey\'s entry, the final in the appendix, consists of two words: "They endured".
conversations.from: human
conversations.value: Delete the first sentence.
conversations.from: assistant
conversations.value: \nHis narrative voice is characterized predominantly by its nonlinearity: spanning the period 1898–1928, Benjy\'s narrative is a series of non-chronological events presented in a stream of consciousness.\nThe presence of italics in Benjy\'s section is meant to indicate significant shifts in the narrative.\nOriginally Faulkner meant to use different colored inks to signify chronological breaks.\nThis nonlinearity makes the style of this section particularly challenging, but Benjy\'s style develops a cadence that, while not chronologically coherent, provides unbiased insight into many characters\' true motivations.\nMoreover, Benjy\'s caretaker changes to indicate the time period: Luster in the present,P.\nin Benjy\'s teenage years, and Versh during Benjy\'s infancy and childhood.\nIn this section we see Benjy\'s three passions: fire, the golf course on land that used to belong to the Compson family, and his sister Caddy.\nBut by 1928 Caddy has been banished from the Compson home after her husband divorced her because her child was not his, and the family has sold his favorite pasture to a local golf club in order to finance Quentin\'s Harvard education.\nIn the opening scene, Benjy, accompanied by Luster, a servant boy, watches golfers on the nearby golf course as he waits to hear them call "caddie"—the name of his favorite sibling.\nWhen one of them calls for his golf caddie, Benjy\'s mind embarks on a whirlwind course of memories of his sister, Caddy, focusing on one critical scene.\nIn 1898 when their grandmother died, the four Compson children were forced to play outside during the funeral.\nIn order to see what was going on inside, Caddy climbed a tree in the yard, and while looking inside, her brothers—Quentin, Jason and Benjy—looked up and noticed that her underwear was muddy.\nThis is Benjy\'s first memory, and he associates Caddy with trees throughout the rest of his arc, often saying that she smells like trees.\nOther crucial memories in this section are Benjy\'s change of name (from Maury, after his uncle) in 1900 upon the discovery of his disability; the marriage and divorce of Caddy (1910), and Benjy\'s castration, resulting from an attack on a girl that is alluded to briefly within this chapter when a gate is left unlatched and Benjy is out unsupervised.\nReaders often report trouble understanding this portion of the novel due to its impressionistic language necessitated by Benjamin\'s mental abilities, as well as its frequent shifts in time and setting.\nQuentin, the most intelligent of the Compson children, gives the novel\'s best example of Faulkner\'s narrative technique.\nWe see him as a freshman at Harvard, wandering the streets of Cambridge, contemplating death, and remembering his family\'s estrangement from his sister Caddy.\nLike the first section, its narrative is not strictly linear, though the two interweaving threads, of Quentin at Harvard on the one hand, and of his memories on the other, are clearly discernible.\nQuentin\'s main obsession is Caddy\'s virginity and purity.\nHe is obsessed with Southern ideals of chivalry and is strongly protective of women, especially his sister.\nWhen Caddy engages in sexual promiscuity, Quentin is horrified.\nHe turns to his father for help and counsel, but the pragmatic mr Compson tells him that virginity is invented by men and should not be taken seriously.\nHe also tells Quentin that time will heal all.\nQuentin spends much of his time trying to prove his father wrong, but is unable to do so.\nShortly before Quentin leaves for Harvard in the fall of 1909, Caddy becomes pregnant by a lover she is unable to identify, perhaps Dalton Ames, whom Quentin confronts.\nThe two fight, with Quentin losing disgracefully and Caddy vowing, for Quentin\'s sake, never to speak to Dalton again.\nQuentin tells his father that they have committed incest, but his father knows that he is lying: "and he did you try to make her do it and i i was afraid to i was afraid she might and then it wouldn\'t do any good" (112).\nQuentin\'s idea of incest is shaped by the idea that, if they "could just have done something so dreadful that they would have fled hell except us" (51), he could protect his sister by joining her in whatever punishment she might have to endure.\nIn his mind, he feels a need to take responsibility for Caddy\'s sin.\nPregnant and alone, Caddy then marries Herbert Head, whom Quentin finds repulsive, but Caddy is resolute: she must marry before the birth of her child.\nHerbert finds out that the child is not his and sends mother and daughter away in shame.\nQuentin\'s wanderings through Harvard, as he cuts classes, follow the pattern of his heartbreak over losing Caddy.\nFor instance, he meets a small Italian immigrant girl who speaks no English.\nSignificantly, he calls her "sister" and spends much of the day trying to communicate with her, and to care for her by finding her home, to no avail.\nHe thinks sadly of the downfall and squalor of the South after the American Civil War.\nTormented by his conflicting thoughts and emotions, Quentin commits suicide by drowning.\nWhile many first-time readers report Benjy\'s section as being difficult to understand, these same readers often find Quentin\'s section to be near impossible.\nNot only do chronological events mesh together regularly, but often (especially at the end) Faulkner completely disregards any semblance of grammar, spelling, or punctuation, instead writing in a rambling series of words, phrases, and sentences that have no separation to indicate where one thought ends and another begins.\nThis confusion is due to Quentin\'s severe depression and deteriorating state of mind, and Quentin is therefore arguably an even more unreliable narrator than his brother Benjy.\nBecause of the staggering complexity of this section, it is often the one most extensively studied by scholars of the novel.\nThe third section is narrated by Jason, the third child and Caroline\'s favorite.\nIt takes place the day before Benjy\'s section, on Good Friday.\nOf the three brothers\' sections, Jason\'s is the most straightforward, reflecting his single-minded desire for material wealth.\nBy 1928, Jason is the economic foundation of the family after his father\'s death.\nHe supports his mother, Benjy, and Miss Quentin (Caddy\'s daughter), as well as the family\'s servants.\nHis role makes him bitter and cynical, with little of the passionate sensitivity that marks his older brother and sister.\nHe goes so far as to blackmail Caddy into making him Miss Quentin\'s sole guardian, then uses that role to steal the support payments that Caddy sends for her daughter.\nThis is the first section that is narrated in a linear fashion.\nIt follows the course of Good Friday, a day in which Jason decides to leave work to search for Miss Quentin (Caddy\'s daughter), who has run away again, seemingly in pursuit of mischief.\nHere we see most immediately the conflict between the two predominant traits of the Compson family, which Jason\'s mother Caroline attributes to the difference between her blood and her husband\'s: on the one hand, Miss Quentin\'s recklessness and passion, inherited from her grandfather and, ultimately, the Compson side; on the other, Jason\'s ruthless cynicism, drawn from his mother\'s side.\nThis section also gives us the clearest image of domestic life in the Compson household, which for Jason and the servants means the care of the hypochondriac Caroline and of Benjy.\nApril 8, 1928, is Easter Sunday.\nThis section, the only one without a single first-person narrator, focuses on Dilsey, the powerful matriarch of the black family servants.\nShe, in contrast to the declining Compsons, draws a great deal of strength from her faith, standing as a proud figure amid a dying family.\nOn this Easter Sunday, Dilsey takes her family and Benjy to the \'colored\' church.\nThrough her we sense the consequences of the decadence and depravity in which the Compsons have lived for decades.\nDilsey is mistreated and abused, but nevertheless remains loyal.\nShe, with the help of her grandson Luster, cares for Benjy, as she takes him to church and tries to bring him to salvation.\nThe preacher\'s sermon inspires her to weep for the Compson family, reminding her that she\'s seen the family through its destruction, which she is now witnessing.\nMeanwhile, the tension between Jason and Miss Quentin reaches its inevitable conclusion.\nThe family discovers that Miss Quentin has run away in the middle of the night with a carnival worker, having found the hidden collection of cash in Jason\'s closet and taken both her money (the support from Caddy, which Jason had stolen) and her money-obsessed uncle\'s life savings.\nJason calls the police and tells them that his money has been stolen, but since it would mean admitting embezzling Quentin\'s money he doesn\'t press the issue.\nHe therefore sets off once again to find her on his own, but loses her trail in nearby Mottson, and gives her up as gone for good.\nAfter church, Dilsey allows her grandson Luster to drive Benjy in the family\'s decrepit horse and carriage to the graveyard.\nLuster, disregarding Benjy\'s set routine, drives the wrong way around a monument.\nBenjy\'s hysterical sobbing and violent outburst can only be quieted by Jason, who understands how best to placate his brother.\nJason slaps Luster, turns the carriage around, and, in an attempt to quiet Benjy, hits Benjy, breaking his flower, while screaming "Shut up.\n" After Jason gets off the carriage and Luster heads home, Benjy suddenly becomes silent.\nLuster turns around to look at Benjy and sees Benjy holding his drooping flower.\nBenjy\'s eyes are "empty and blue and serene again".\nIn 1945, Faulkner wrote an appendix to the novel to be published in the then-forthcoming anthology The Portable Faulkner.\nAt Faulkner\'s behest, however, subsequent printings of The Sound and the Fury frequently contain the appendix at the end of the book; it is sometimes referred to as the fifth part.\nHaving been written sixteen years after The Sound and the Fury, the appendix presents some textual differences from the novel, but serves to clarify the novel\'s opaque story.\nThe appendix is presented as a complete history of the Compson family lineage, beginning with the arrival of their ancestor Quentin Maclachlan in America in 1779 and continuing through 1945, including events that transpired after the novel (which takes place in 1928).\nIn particular, the appendix reveals that Caroline Compson died in 1933, upon which Jason had Benjy committed to the state asylum, fired the black servants, sold the last of the Compson land, and moved into an apartment above his farming supply store.\nIt is also revealed that Jason had himself declared Benjy\'s legal guardian many years ago, without their mother\'s knowledge, and used this status to have Benjy castrated.\nThe appendix also reveals the fate of Caddy, last seen in the novel when her daughter Quentin is still a baby.\nAfter marrying and divorcing a second time, Caddy moved to Paris, where she lived at the time of the German occupation.\nIn 1943, the librarian of Yoknapatawpha County discovered a magazine photograph of Caddy in the company of a German staff general and attempted separately to recruit both Jason and Dilsey to save her; Jason, at first acknowledging that the photo was of his sister, denied that it was she after realizing the librarian wanted his help, while Dilsey pretended to be unable to see the picture at all.\nThe librarian later realizes that while Jason remains cold and unsympathetic towards Caddy, Dilsey simply understands that Caddy neither wants nor needs to be saved from the Germans, because nothing else remains for her.\nThe appendix concludes with an accounting for the black family who worked as servants to the Compsons.\nUnlike the entries for the Compsons themselves, which are lengthy, detailed, and told with an omniscient narrative perspective, the servants\' entries are simple and succinct.\nDilsey\'s entry, the final in the appendix, consists of two words: "They endured".