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A Fable [Hardcover]

William Faulkner
2.9 out of 5 stars  See all reviews (8 customer reviews)

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Book Description

Aug. 12 1954
An allegorical story of World War I set in the trenches in France and dealing ostensibly with a mutiny in a French regiment.


From the Paperback edition.

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About the Author

William Faulkner (1897-1962) was an American novelist and short-story writer who was awarded the Nobel Prize in literature in 1949. He is recognized as one of the greatest American writers. His masterpieces include The Sound and the Fury, As I Lay Dying, Sanctuary, Light in August, The Hamlet, and The Reivers. --This text refers to the MP3 CD edition.

Excerpt. © Reprinted by permission. All rights reserved.

Chapter 1

Wednesday

Long before the first bugles sounded from the barracks within the city and the cantonments surrounding it, most of the city was already awake. These did not need to rise from the straw mattresses and thin pallet beds of their hive-dense tenements, because few of them save the children had ever lain down. Instead, they had huddled all night in one vast tongueless brotherhood of dread and anxiety, about the thin fires of braziers and meagre hearths, until the night wore at last away and a new day of anxiety and dread had begun.

Because the original regiment had been raised in this district, raised in person, in fact, by one of the glorious blackguards who later became Napoleon's marshals, who delivered the regiment into the Emperor's own hand, and along with it became one of the fiercest stars in that constellation which filled half the sky with its portent and blasted half the earth with its lightning. And most of its subsequent replacements had been drawn from this same district, so that most of these old men were not only veterans of it in their time, and these male children already dedicated to it when their time should come, but all these people were parents and kin, not only the actual old parents and kin of the doomed men, but fathers and mothers and sisters and wives and sweethearts whose sons and brothers and husbands and fathers and lovers might have been among the doomed men except for sheer blind chance and luck.

Even before the bugles' echoes died away, the warrened purlieus were already disgorging them. A French or British or American aviator (or a German either for that matter, if he had had the temerity and the luck) could have watched it best: hovel and tenement voiding into lane and alley and nameless cul-de-sac, and lane and alley and cul-de-sac compounding into streets as the trickles became streams and the streams became rivers, until the whole city seemed to be pouring down the broad boulevards converging like wheelspokes into the Place de Ville, filling the Place and then, pressed on by the weight of its own converging mass, flowing like an unrecoiling wave up to the blank gates of the Hôtel where the three sentries of the three co-embattled nations flanked the three empty flagstaffs awaiting the three concordant flags.

They met the first troops here. It was a body of garrison cavalry, drawn up across the mouth of the wide main boulevard leading from the Place to the old gate in what had once been the city's ancient eastern wall, already in position and waiting as though the murmur of the flood's beginning had preceded it, right into the bedroom of the town- major himself. But the crowd paid no attention to the cavalry. It just continued to press on into the Place, slowing and stopping now because of its own massy congested weight, merely stirring and shifting constantly and faintly within its own mass while it stared, mazed and patient in the rising light, at the Hôtel door.

Then the sunrise gun crashed from the old citadel above the city; the three flags broke simultaneously from nowhere and climbed the three staffs. What they broke and climbed and peaked in was still dawn, hanging motionless for a moment. But when they streamed on the first morning breeze, they streamed into sunlight, flinging into sunlight the three mutual colors-the red for courage and pride, the white for purity and constancy, the blue for honor and truth. Then the empty boulevard behind the cavalry filled suddenly with sunlight which flung suddenly the tall shadows of the men and the horses outward upon the crowd as though the cavalry were charging it.

Only it was the people advancing on the cavalry. The mass made no sound. It was almost orderly, merely irresistible in the concord of its frail components like a wave in its drops. For an instant the cavalry-there was an officer present, though a sergeant-major seemed to be in charge-did nothing. Then the sergeant-major shouted. It was not a command, because the troop did not stir. It sounded like nothing whatever, in fact: unintelligible: a thin forlorn cry hanging for a fading instant in the air like one of the faint, sourceless, musical cries of the high invisible larks now filling the sky above the city. His next shout though was a command. But it was already too late; the crowd had already underswept the military, irresistible in that passive and invincible humility, carrying its fragile bones and flesh into the iron orbit of the hooves and sabres with an almost inattentive, a humbly and passively contemptuous disregard, like martyrs entering an arena of lions.

For another instant, the cavalry held. And even then, it did not break. It just began to move in retrograde while still facing forward, as though it had been picked up bodily-the white-rolled eyes of the short-held horses, the high, small faces of the riders gaped with puny shouting beneath the raised sabres, all moving backward like the martial effigies out of a gutted palace or mansion or museum being swept along on the flood which had obliterated to instantaneous rubble the stone crypts of their glorious privacy. Then the mounted officer freed himself. For a moment, he alone seemed to be moving, because he alone was stationary above the crowd which was now parting and flowing on either side of him. Then he actually was moving, forward, breasting the still short-bitted horse, iron-held, into and through the moving crowd; a voice cried once somewhere beneath the horse-a child, a woman, possibly a man's voice eunuch-keened by fear or pain-as he forced the horse on, feinting and dodging the animal through the human river which made no effort to avoid him, which accepted the horse as water accepts a thrusting prow. Then he was gone. Accelerating now, the crowd poured into the boulevard. It flung the cavalry aside and poured on, blotting the intersecting streets as it passed them as a river in flood blots up its tributary creeks, until at last that boulevard too was one dense seething voiceless lake.

But before that, the infantry had already arrived, debouching from the Place de Ville on the crowd's rear long before the cavalry officer could have reported to the officer of the day, who would have dispatched the orderly, who would have summonsed the batman, who would have interrupted at his ablutions and shaving the adjutant, who would have waked the town-major in his nightcap, who would have telephoned or sent a runner to the infantry commander in the citadel. It was a whole battalion, armed except for packs, emerging from the Place de Ville in close route column, led by a light tank with its visor closed for action, which as it advanced, parted the crowd like a snow-plow, thrusting the divided parting back from either curb like the snow- plow's jumbled masses, the infantry deploying into two parallel files behind the advancing tank, until at last the whole boulevard from the Place to the old gate was clear and empty again between the two thin lines of interlocked bayonetted rifles. A slight commotion rose at one point behind the dyke of bayonets, but its area was not ten feet and it did not spread, and only those near it knew that anything was happening or had happened. And when a platoon sergeant stooped under the interlocked rifles and shouldered his way in, there was not much to see either: only a young woman, a girl, thin and poorly dressed, who had fainted. She lay as she had fallen: a thin huddle of shabby, travel-stained garments, as if she had come a long distance and mostly on foot or in farm carts, lying in the narrow grave-shaped space they had made for her to fall in, and, if such had been her intention, die in, while those who apparently had made no room for her to stand erect and breathe in, stood looking quietly down at her as people will, until someone makes the first move. The sergeant made it.

'At least pick her up,' he said savagely. 'Get her up out of the street where she wont be trampled.' A man moved then, but as he and the sergeant stooped, the woman opened her eyes; she even tried to help as the sergeant hauled her to her feet, not roughly, just impatient at the stupidly complicating ineptitude of civilians at all times, particularly at this one now which kept him from his abandoned post. 'Who does she belong to?' he said. There was no answer: only the quiet attentive faces. Apparently he had expected none. He was already glancing about, though he had probably already seen that it would be impossible to get her out of the crowd, even if anyone had offered to take charge of her. He looked at her again; he started to speak again, to her this time, but stopped himself, furious and contained-a thick man of forty, moustached like a Sicilian brigand and wearing the service and campaign ribbons of three continents and two hemispheres on his tunic, whose racial stature Napoleon had shortened two or three inches a hundred years ago as Caesar had shortened that of the Italians and Hannibal that of the nameless pediment-pieces of his glory,-a husband and father who should (perhaps even could and would) have been a custodian of wine-casks in the Paris Halles if he and the Paris Halles had been cast on some other stage than this. He glanced again at the patient faces. 'Doesn't anybody--'

'She's hungry,' a voice said.

'All right,' the sergeant said. 'Has anybody--' But the hand had already extended the bread. It was the heel of a loaf, soiled and even a little warm from the pocket it had been carried in. The sergeant took it. But when he offered it to her, she refused it, quickly, glancing quickly about with something like fright in her face, her eyes, as if she were looking for an avenue of escape. The sergeant thrust the bread into her hands. 'Here,' he said harshly, with that roughness which was not unkindness but just impatience, 'eat it. You'll have to stay and look at him too, whether you want to or not.'

But she refused again, repudiating the bread, not the gift of it but the bread itself, and not to whoever had offered it, but to herself. It was as if she were trying to keep her eyes from looking at the ... --This text refers to the Paperback edition.

Customer Reviews

Most helpful customer reviews
5.0 out of 5 stars For the patient, a treasure June 3 2001
Format:Paperback
I must agree that, at times, the experience of reading _A Fable_ is much like feeling one's way through a very dark tunnel. However, there is indeed a light at the end of that tunnel; as with many of Faulkner's works, the individual stories that make up the novel dont come together until the last hundred or so pages. It takes a very patient reader to glean the important details from the beginning and middle of the novel, and to remember those details when they emerge again later in the book. One must also be fairly well-acquainted with Christ's passion in order for a true understanding of the correlation to reveal itself (which, in many places, it didn't for me). Contrary to the book's selling-points, Faulkner is not merely retyping the Christ story in _A Fable_. He's updating a myth (or "fable," if you will), and using his narration to describe humanity's condition in mid-century (cf. many paragraphs w/ 1950 Nobel Prize speech). This is a long, tedious, and fanatically detailled narrative, but a great novel that pays off with a terrific closing 50 pages for the patient reader. Both the new and the acquainted should be prepared for Faulkner at his most brilliant and difficult.
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1.0 out of 5 stars Faulkner 1, Reader 0 Feb. 14 2000
Format:Paperback
I generally like and admire Faulkner's work, but this novel (or whatever it is) got the better of me. Usually I make myself finish any book I read no matter how difficult, but with "A Fable" I simply couldn't do it (and I've managed the entirety of James Joyce's "Ulysses" and Proust's "Remembrance of Things Past".) I may have a Master's Degree in English, but I still had great trouble following what was going on in the book, much less appreciating what it was trying to say. It's amazing to me that the Pulitzer Prize committee could even manage to get through this thing, much less give it an award. I haven't given up on Faulkner, but for the first time since I was a college undergraduate, I've given up on a book. It took "A Fable" to bring me to my knees.
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2.0 out of 5 stars A reader's defeat July 15 2000
Format:Paperback
As the past reviewer I did not arrive to the page with THE END printed on it, and I really hate to be unable to finish a book. Anecdote aside, I am aware that my review lacks proper grounds, but since there is so much to read and too little time, I strongly suggest you to look for other works of this author. During the first chapter I seems to be going great, the drama was cleaver and catchy. But suddenly in the second chapter it just stops and all the events seem to be going nowhere. Besides the construction of the language is boring and confusing. It feels like the author worked in this novel for a while, then left it during some years locked in a closet and one fine day decided to complete it, but without being at ease doing so.
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4.0 out of 5 stars A forgotten classic of Faulkner Aug. 23 1998
By A Customer
Format:Paperback
It seems every modernist attempted to write a great work concerning the great war (except fitzgerald, who didnt get to go himself). Faulkner's attempt may be second only to Hemingway's "A Farwell to Arms." "A Fable" is classic, which won the pulitzer prize,has long been overlooked simply because it represents a change from Faulkner'susual subject matter. In reality though, it may be his second greatest work behind "the sound and the fury." THis work is a brillian anti-war novel that looks at wars affects both on soldiers and civilians, and even on religion. A must read for any fan of Faulkner or modernism.
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