That Evening Sun夕阳（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.

虽然没写结局，但这个没写的结局里充满了她无边的恐惧和悲惨以及无法改变的命运。开篇写了现在收脏衣服的方式，然后就回忆到十几年前的方式以及干洗衣活的Nancy，而当前的时代里没有了Nancy。

培训冗长沉闷，随手点开一本，读完才发现是福克纳的作品，意外之喜。That Evening Sun 书名真妙，层层叠叠的隐喻，配合小说开放式结尾，烘托出一种宿命般无处可逃的悲剧氛围。 “Lordy, how I hate to see that evening sun go down”

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

The Evening Sun“夜晚太阳”

这个故事读的一直很揪心和难过，在恐惧中的南希，无人真的想帮她，这些孩子完全不懂当时那个世界，唯一关心的是他们自己好不好玩。三年前在挪威参加十天闭关冥想时遇到一个黑人女子，有四十岁的样子，她给我讲了很多她童年的故事。她说有些白人会去非洲找一个单身母亲结婚，给那些孩子提供经济支持然后有的也会霸占那个单身母亲的女儿，我遇到的这个女子也曾这样被欺负，她说她的母亲是知道的，只是不想介入和承认。这些事情并不是发生在百年前，而是发生在不久前，甚至现在。

看了个寂寞吗？也许起码多看了点单纯罢

不精彩，看不懂，Nancy是有精神病吗？为啥总是说能看到Jesus

这个自动翻译还怪好嘞，科技造福百姓

be a negro is not a fault of money