That Evening Sun夕陽（英文版）

From the timeline of Faulkner’s works, That Evening Sun precedes The Sound and the Fury. Characters such as Quentin and Jason, who are already adults in The Sound and the Fury, are still young children in That Evening Sun. Therefore, reading the former helps readers comprehend the personalities of these figures in the latter as well as the formative forces behind their dispositions. As is widely acknowledged, the “Yoknapatawpha saga” constitutes Faulkner’s most significant literary construct and has exerted profound influences on generations of later‑day writers. Traces of this fictional model can be identified in the village depicted in Juan Rulfo’s Pedro Páramo, Macondo of García Márquez’s One Hundred Years of Solitude, and the literary landscapes crafted by Mo Yan. Though the central protagonist of That Evening Sun is Nancy, a Black housemaid, nearly all members of the Compson household make an appearance—except Benjy, the youngest son, who has not yet been born. The cast includes the Compson parents, eldest son Quentin, daughter Caddy, second‑born son Jason, and another servant Dilsey. Notably, Quentin, Jason and Dilsey function respectively as the narrators of Chapters Two, Three and Four in The Sound and the Fury, which attests to the intimate intertextual bond between the two texts. It is evident in That Evening Sun that Faulkner persistently pushed formal and linguistic boundaries in his literary experimentation. The story features extensive dialogue delivered in a detached, impassive narrative tone, as if the speakers themselves are stripped of emotional affect, which intensifies the work’s dramatic power. Dialogue occupies a substantial portion of the text and exhibits distinctive stylistic originality. Upon close examination, the exchanges appear to oscillate between genuine interpersonal communication and disjointed soliloquy, punctuated by repetitive utterances that articulate the characters’ internal conflicts and ambivalence. This trait manifests most vividly through Nancy. Tormented by fear of retaliation from her husband and terrified of returning home alone, she repeatedly pleads: I’ve worked for you all these years. If you come to my house, they won’t mind.Deep down, Nancy fears that bringing the Compson children to her home will displease her employers. Helpless, she can only soothe herself by reiterating these logically vacuous phrases in a quasi‑soliloquy. Faulkner frequently centers his narratives on a single individual or a single family as a microcosm that reflects broader social conditions and transformations. This narrative strategy is not exclusive to That Evening Sun. Across his oeuvre, Faulkner exposes the iniquities of the American South and hierarchical inequities in human relations. Yoknapatawpha is less a fictitious geographic locale than a deliberate literary device devised to distill and lay bare real‑world social contradictions with heightened clarity and concentration.

雖然沒寫結局，但這個沒寫的結局裏充滿了她無邊的恐懼和悲慘以及無法改變的命運。開篇寫了現在收髒衣服的方式，然後就回憶到十幾年前的方式以及乾洗衣活的Nancy，而當前的時代裏沒有了Nancy。

培訓冗長沉悶，隨手點開一本，讀完才發現是福克納的作品，意外之喜。That Evening Sun 書名真妙，層層疊疊的隱喻，配合小說開放式結尾，烘托出一種宿命般無處可逃的悲劇氛圍。 “Lordy, how I hate to see that evening sun go down”

Is this the ending？The children are cute. Poor Nancy.

The Evening Sun“夜晚太陽”

這個故事讀的一直很揪心和難過，在恐懼中的南希，無人真的想幫她，這些孩子完全不懂當時那個世界，唯一關心的是他們自己好不好玩。三年前在挪威參加十天閉關冥想時遇到一個黑人女子，有四十歲的樣子，她給我講了很多她童年的故事。她說有些白人會去非洲找一個單身母親結婚，給那些孩子提供經濟支持然後有的也會霸佔那個單身母親的女兒，我遇到的這個女子也曾這樣被欺負，她說她的母親是知道的，只是不想介入和承認。這些事情並不是發生在百年前，而是發生在不久前，甚至現在。

看了個寂寞嗎？也許起碼多看了點單純罷

不精彩，看不懂，Nancy是有精神病嗎？爲啥總是說能看到Jesus

這個自動翻譯還怪好嘞，科技造福百姓

be a negro is not a fault of money