The Sound & The Fury

Jason Compson, is introduced (in fragments of Benjy's and Quentin's introspective sections) as the least sympathetic of the Compson siblings.  While I don't disagree that he may exist as the ultimate arch-villain, it is important to note the circumstances which led Jason to become a misogynist, a racist, and an anti-semite by his section of the novel, April 6 1928.  As we enter his section, it is apparent that Jason as developed into a monetarily focused, hateful and bitter man.  He has no love for his family, the result of existing as a forgotten son, being denied chances and opportunities offered to his siblings, left as the last one to care for the mess of the Compson family. His chapter offers insight, and a perhaps more objective view on the information learned from the Benjy and Quentin chapters.  As this information is gained and reexamined, we come to understand Compson family dynamics and discord, and perhaps begin to justify the man Jason becomes. 

Throughout his life, Jason was the sole recipient of his mothers love.  This proved a burden, rather than a nurturing situation, as her affection was both overbearing and neglectful.  Jason's resentment for his siblings stems from unequal opportunities.  As the second youngest Compson, he observed the sacrifices taken to assure Quentin a place at Harvard.  Benjy's pasture was sold off; the money used for Quentin's year at school, and for Caddy's wedding to Herbert Head. This marriage would crumble as a result of her promiscuity - in turn, crumbling what Jason recognizes as his singular chance at opportunity.  Jason was not given the opportunity of college, and Quentin's suicide was seen as a selfish decision - a waste of both money and education.  Caddy's marriage provided Jason with a much needed advantage - a bank job, an opportunity lost when the marriage ended. Jason resents his sister, believing her promiscuity directly destroyed the only opportunity he had ever been given.  In accordance with the Compson brothers, Jason too, is preoccupied with Caddy. His obsession however is far more selfish that that of Benji or Quentin, and it is Caddy that he rages against. He resents Ms. Quentin - the namesake of a hate brother, and product of a shamed sister.  

His existence is is that of the Compson collective disappointment.  He is left as head of a failed family, left to carry on the shamed Compson name, and collective family disappointments of a brothers suicide, a sisters shame and disappearance, a father who drunk himself to death. His burdens don't end with heading a ruined family.  Jason is left with the burdens of a poisonous and suffocating other, a mentally incompetent brother, and Caddy's illegitimate child.  He continues to struggle with past perceived wrongs, and becomes obsessive about seeing the past in the present.  His discontent, be it present or bitter memories, are always focused upon the past - circling rage against Caddy, their father, and the Compson family history. 

Dos Passos: The Camera Eye & Film Reel

The writing techniques used in The 42nd Parallel contribute to a non-linear narrative, and can be separated into:

1. semi-omniscient character sketches of "just plain folk"

2. short, semi-autobiographical immersions into the piece's culture, reading like a stream of consciousness perspective from the author

3. headlines and article fragments from various news publications, providing nothing but perspective to each of the characters stories and to the plot as a whole

This non-linear narrative is dependent on the use of individuals, and individual examples, to give a sense of an overall whole. Dos Passos technique of the "Camera eye" and the "newsreel" are often helpful in the reading of this selection from the 42nd Parallel.  The story telling is fragmented, where the fictional passages are intercut with actual text from newsreels and biographies of existing individuals.  These asides often read like a stream of consciousness, but once their purpose is understood, they more clearly connect to the action of the narrative sections.  The "newsreel" and "camera eye" techniques are helpful in setting the pace of the narrative, and give a glimpse of how the modern day historian defines history.  While I see the purpose of these techniques, I found that they became occasionally too abstract, or fully disrupted the flow of the story.  The newsreel sections were interesting, and I appreciated the clear accessible contend, even when the placement of the article in the narrative seemed unclear.  I also appreciated that these selections are taken directly from the Chicago Tribune, and did work to relate these to the fictional, helping to create a historical setting.  It is clear what Dos Passos found historically important about specific time periods.  These details are all included, and following their newsreel/ camera eye introduction, Dos Passos works to connect every item with short fragments of overarching story-line.