Contents capter a short Biography of William Faulkner's

2.2.NATURALISTIC PROSE FORM
For much of his works, William Faulkner used more conventional or naturalistic prose forms. His short stories and novels are a combination of stream-of-consciousness and naturalistic prose. For example, A novel A Light in August employed naturalistic prose and also combined the stream-of-consciousness narrative form. 
The book generally regarded as Faulkner's masterpiece, The Sound and the Fury (1929), is written in a style that differs from most novels of the time. It uses a stream-of-consciousness method (where the author lets his thoughts flow freely), creating a different manner of thought in each of its four sections. The novel records the breakdown of the Compson family, which serves to suggest a breakdown of the southern ways of the past. Each section takes place in a single day; three sections are set in 1928 and one in 1910. The difficulties begin with the fact that the section set in 1910 is placed second in the book, while the other three set in 1928 are not in the order in which they occur during their three-day span.
The Benjy section (April 7, 1928) is the most difficult section to read. Because the mentally impaired Benjy lives in a state where things rarely change, his report is purely physical, and the reader must figure out his own order of time. Faulkner gives two aids, however: the device of signaling time shifts by alternating the typeface between bold and italic, and the different people attending Benjy.
Out of Benjy's jumbled report comes background information for the novel. He is thirty-three years old, and in the constant care of an African American youth named Luster. Benjy is troubled by the absence of his sister, Candace, though she has been out of the household for eighteen years. The oldest son, Quentin, was sent to Harvard, where he committed suicide. Mrs. Compson is a self-pitying woman; Mr. Compson is a drunkard; Uncle Maury is a womanizer; Candace is lacking in morals and, in turn, her daughter, confusingly called Quentin (after her dead uncle), is also morally loose.
Ironically, the most sensitive and intelligent Compson, Quentin (whose day in the novel is June 1, 1910), shares Benjy's obsession about their sister. Candace and the past dominate Quentin's section, which is set in Boston on the day he commits suicide. He is oppressed by the knowledge that the pregnant Candace is to be married off to a northern banker. The upcoming marriage is the reason for his suicidal state.
Jason, the third Compson brother, whose day in the novel is April 6, 1928, is one of the great comic villains of literature. He has an irrational, jealous hatred of Candace. Now head of the family, he complains of his responsibilities as guardian of Candace's daughter, Quentin, while systematically stealing the money Candace sends for her care. Jason is greedy, cunning, and concerned only with money and possessions. What makes him humorous is his self-pity. Jason's lack of soul is evident in all of his habits. He leaves no mark on anything and lives totally in the present, which serves to represent the New South.
The novel's final section, the only one told in the third person, gives the point of view of the sensible old black servant, Dilsey (her day is April 8, 1928). As with other Faulkner African American characters, her presence is chiefly practical: her good sense and solidity point at the selfishness and self-absorption of the white characters. In this section Jason meets with an overwhelming defeat. The novel's chief assumption is that the Southern way of life is doomed.