In this post, I will review a well known novel:  The Sound and the Fury by William Faulkner. Among the American classics, it is surely one of my personal favourites. 

The Sound and the Fury is a masterpiece, but it is not an easy read. The story itself is nonlinear, fragmented, confusing and hard to follow. Moreover, the subjects this novel explores are often quite serious. The tone of this novel is profoundly tragic. I'm sure some will find it an immensely difficult read. Even those who love serious literature, might struggle with reading this book. However, some books are worth the struggle and this one is certainly a classic. The Sound and The Fury is written using different narrative styles and narrators, but is most known for its brilliant use of the stream of consciousness writing technique. 

The novel title's is a direct reference to Shakespeare's Macbeth. Like Shakespeare's masterpiece, this book is deeply tragic.

Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more: it is a tale
Told by an idiot, full of sound and fury,
Signifying nothing.

Invoking Shakespeare's Macbeth , Faulkner created a tale " full of sound and fury, told by an idiot". The first part of the book is narrated by an intellectually disabled member of the family Benji, but other narrators can be considered 'idiots' in a metaphorical sense of the word. This novel is a tragic tale of a Southern family. The time period it is set in is the first third of the 20th century. The Sound and the Fury is focused on the Compson family ( former Southern aristocrats). The novel follows as the Compson family undergoes moral and financial ruin. 

Faulkner is one of my favourite Southern American writers. While capturing the fall of this Southern family, he is particularly brilliant of making the South come to life. At the same time, this is an unique novel that is wonderfully modern and brave in its writing style.

...“…I seemed to be lying neither asleep nor awake looking down a long corridor of gray half light where all stable things had become shadowy paradoxical all I had done shadows all I had felt suffered taking visible form antic and perverse mocking without relevance inherent themselves with the denial of the significance they should have affirmed thinking I was I was not who was not was not who.”

The Sound and the Fury is a novel that was possibly quite ahead of its time. Published in 1929, The Sound and the Fury was not immediately successful. I was not surprised to learn of it, because this is not a novel for everyone. It puts demands on its reader. The stream of consciousness technique often makes this novel hard to follow, but at the same time it is so brilliantly done, that you simply cannot start reading. The subjects this novel deals with are quite difficult. The book itself is filled with violence and tragic deaths. However, it is in many ways, an accomplished piece of writing. This hugely influential novel is well worth your time and effort, as difficult a read as it might be at times. Highly recommended!

..“...I give you the mausoleum of all hope and desire...I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all of your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.”.

“When the shadow of the sash appeared on the curtains it was between seven and eight o' clock and then I was in time again, hearing the watch. It was Grandfather's and when Father gave it to me he said I give you the mausoleum of all hope and desire; it's rather excruciating-ly apt that you will use it to gain the reducto absurdum of all human experience which can fit your individual needs no better than it fitted his or his father's. I give it to you not that you may remember time, but that you might forget it now and then for a moment and not spend all your breath trying to conquer it. Because no battle is ever won he said. They are not even fought. The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.”
William Faulkner, The Sound and the Fury


As the eldest of the four sons of Murry Cuthbert and Maud Butler Falkner, William Faulkner (as he later spelled his name) was well aware of his family background and especially of his great-grandfather, Colonel William Clark Falkner, a colourful if violent figure who fought gallantly during the Civil War, built a local railway, and published a popular romantic novel called The White Rose of Memphis. Born in New Albany, Mississippi, Faulkner soon moved with his parents to nearby Ripley and then to the town of Oxford, the seat of Lafayette county, where his father later became business manager of the University of Mississippi. In Oxford he experienced the characteristic open-air upbringing of a Southern white youth of middle-class parents: he had a pony to ride and was introduced to guns and hunting. A reluctant student, he left high school without graduating but devoted himself to “undirected reading,” first in isolation and later under the guidance of Phil Stone, a family friend who combined study and practice of the law with lively literary interests and was a constant source of current books and magazines.

In July 1918, impelled by dreams of martial glory and by despair at a broken love affair, Faulkner joined the British Royal Air Force (RAF) as a cadet pilot under training in Canada, although the November 1918 armistice intervened before he could finish ground school, let alone fly or reach Europe. After returning home, he enrolled for a few university courses, published poems and drawings in campus newspapers, and acted out a self-dramatizing role as a poet who had seen wartime service. After working in a New York bookstore for three months in the fall of 1921, he returned to Oxford and ran the university post office there with notorious laxness until forced to resign. In 1924 Phil Stone’s financial assistance enabled him to publish The Marble Faun, a pastoral verse-sequence in rhymed octosyllabic couplets. There were also early short stories, but Faulkner’s first sustained attempt to write fiction occurred during a six-month visit to New Orleans—then a significant literary centre—that began in January 1925 and ended in early July with his departure for a five-month tour of Europe, including several weeks in ParisA second novel, Mosquitoes (1927), launched a satirical attack on the New Orleans literary scene, including identifiable individuals, and can perhaps best be read as a declaration of artistic independence. Back in Oxford—with occasional visits to Pascagoula on the Gulf Coast—Faulkner again worked at a series of temporary jobs but was chiefly concerned with proving himself as a professional writer. None of his short stories was accepted, however, and he was especially shaken by his difficulty in finding a publisher for Flags in the Dust (published posthumously, 1973), a long, leisurely novel, drawing extensively on local observation and his own family history, that he had confidently counted upon to establish his reputation and career. When the novel eventually did appear, severely truncated, as Sartoris in 1929, it created in print for the first time that densely imagined world of Jefferson and Yoknapatawpha County—based partly on Ripley but chiefly on Oxford and Lafayette county and characterized by frequent recurrences of the same characters, places, and themes—which Faulkner was to use as the setting for so many subsequent novels and stories.

Faulkner had meanwhile “written [his] guts” into the more technically sophisticated The Sound and the Fury, believing that he was fated to remain permanently unpublished and need therefore make no concessions to the cautious commercialism of the literary marketplace. The novel did find a publisher, despite the difficulties it posed for its readers, and from the moment of its appearance in October 1929 Faulkner drove confidently forward as a writer, engaging always with new themes, new areas of experience, and, above all, new technical challenges. Crucial to his extraordinary early productivity was the decision to shun the talk, infighting, and publicity of literary centres and live instead in what was then the small-town remoteness of Oxford, where he was already at home and could devote himself, in near isolation, to actual writing. In 1929 he married Estelle Oldham—whose previous marriage, now terminated, had helped drive him into the RAF in 1918. One year later he bought Rowan Oak, a handsome but run-down pre-Civil War house on the outskirts of Oxford, restoration work on the house becoming, along with hunting, an important diversion in the years ahead. A daughter, Jill, was born to the couple in 1933, and although their marriage was otherwise troubled, Faulkner remained working at home throughout the 1930s and ’40s, except when financial need forced him to accept the Hollywood screenwriting assignments he deplored but very competently fulfilled. *


*Faulkner [fɔ:'knəɹ], William (pravo ime William C[uthbert] Falkner), američki pisac (New Albany, Mississippi25. IX. 1897 – Byhalia, Mississippi6. VII. 1962). Odrastao je u ruralnome provincijskom kraju na sjeveru države Mississippija u kojem su proživjela četiri naraštaja njegove obitelji (kao dijete s roditeljima se iz rodnoga mjesta preselio u obližnji Ripley, a potom u Oxford u kojem je proveo većinu života). Obiteljska je predaja, kao i ona rodnoga kraja, u kojoj je osobito prominentno mjesto imao njegov pradjed William Clark Falkner, živopisna osobnost onodobnoga američkoga Juga, pukovnik u Američkome građanskome ratu i sam čitan (iako slab) pisac, utjecala na Faulknerovo formiranje. Pred kraj Prvoga svjetskoga rata kraće vrijeme živi u New Havenu, prijavljuje se, priželjkujući ratnu slavu, u srpnju 1918. u britansko ratno zrakoplovstvo (RAF), ali je do kraja rata tek u Torontu polazio teorijsku nastavu u pilotskoj školi. Stekavši status veterana, po povratku u Oxford, iako nije završio srednju školu, polazi predavanja iz engleske, francuske i španjolske književnosti na tamošnjem sveučilištu (University of Mississippi) 1919–20. Prekinuvši studij, odlazi u New York gdje je radio u knjižari i kretao se u umjetničkoj četvrti Greenwich Village, potom, ponovno u Oxfordu, vodi poštu Sveučilišta (potkraj 1920-ih neko je vrijeme nadzornik u sveučilišnoj električnoj centrali). Pošto je 1919. objavio prve književne radove, u razdoblju 1920–25. povremeno piše eseje i kritike, većinom o poeziji suvremenika, a 1925. uz novčanu potporu prijatelja Phila Stonea objavljuje zbirku pjesama Mramorni faun (The Marble Faun), u kojoj se očituju utjecaji Algernona Charlesa Swinburnea, kao i općenito iskustvo lektire europskoga esteticizma. Šestomjesečni boravak 1925. u New Orleansu, »Parizu američkoga Juga«, ondašnjemu značajnomu književnome središtu, živopisnome gradu umjetnosti i boeme, nadahnuo ga je na pisanje pripovjednih djela te mu, nakon boravka u Europi (Italija, Engleska i Francuska, napose Pariz) izlazi prvi roman Vojnička plaća (Soldiers’ Pay, 1926), o razočaranim vojnicima povratnicima iz Prvoga svjetskoga rata, radnje smještene na američki Jug (iako ne u Mississippi), u kojem je već upotrijebio i tehniku struje svijesti, što će je do vrhunca razviti u najuspjelijim djelima. Sljedeći roman Komarci (Mosquitoes, 1927) svojevrsna je satira književne scene New Orleansa, prepoznatljivih likova (u liku pisca Dawsona Fairchilda, primjerice, ismijao je ranijega prijatelja Sherwooda Andersona) te ponešto pretjerana verbalizma, u kojem su zamjetni utjecaji pisaca »izgubljena naraštaja«. Nakon tih djela odbijen mu je 1927. genealoški roman Zastave u prašini (Flags in the Dust, objavljen 1973), o propasti velikaške južnjačke obitelji, što ga je, uz znatnu pomoć urednika Bena Wassona, potom preradio te naslovio Sartoris (1929). Tim je ostvarenjem, kojega je glavni junak John Sartoris oblikovan prema njegovu pradjedu i nadahnut obiteljskom poviješću, započelo takozvano veliko razdoblje njegova stvaralaštva koje će potrajati do početka 1940-ih. Priču romana smjestio je u fikcionalni predio indijanskoga imena Yoknapatawpha (isprva Yocona, prema rijeci u rodnome kraju), koje bi značilo »rascijepljena zemlja«, i gradić Jefferson, izmaštana mjesta smještena na sjeveru Mississippija te oblikovana prema rodnome gradiću i pripadajućemu okrugu Lafayette, što postaje prostor većine njegovih daljnjih djela. Na tlu te »proklete zemlje« propitivao je Faulkner i svoje shvaćanje ljudske egzistencije rastrgane između krvna naslijeđa, nepronične sudbine, grijeha predaka i nužnosti zavičajnosti. Buka i bijes (The Sound and the Fury, 1929) je njegov najglasovitiji roman i jedan od vrhunaca tehnike struje svijesti u modernoj književnosti, naslova preuzetoga iz stihova tragedije Macbeth Williama Shakespearea (u kojoj naslovni lik konstatira da je život »bajka koju idiot priča, puna buke i bijesa, a ne znači ništa«). Virtuozno je to oblikovano djelo o propasti nekoć ugledne obitelji Compson. U središtu su trojica braće i sestra Caddy (Candace) što odrastaju s manjkom roditeljske ljubavi. Roman je podijeljen u četiri dijela: prva tri dijela ispripovijedana su strujom svijesti, unutarnjim monolozima svakog od braće: mentalno zaostalog Benjyja čije je kazivanje na razini neposrednog dojma, predjezik između krika i šutnje, sintaktički i leksički reducirano u niz slika, tankoćutnog studenta Quentina kojega u samoubojstvo odvede žudnja prema sestri i opsjednutost sjećanjima, čija je struja svijesti smisleno i sintaktički zamršena i ispremiješana, te proračunatog, hladnog i koristoljubivog špekulanta Jasona, dok se u posljednjemu poglavlju pripovijeda u trećemu licu, ali s točkom gledišta bliskom crnačkoj sluškinji Dilsey (simbolu majke). Presudan je način na koji Faulkner rabi oblikovne mogućnosti jezika i vremena u razvijanju nekoliko središnjih tema (bratsko-sestrinska ljubav, obiteljska čast, samouništenje, putenost, sebičnost) i konkretnih motiva i situacija (Caddyna seksualnost i naposljetku trudnoća, Benjyjeva kastracija, Quentinovo samoubojstvo), u slijedu od alogičke Benjyjeve svijesti preko Quentinove traumatizirane i Jasonove pragmatičke svijesti do suosjećajnog bića Dilsey. I u sljedećem romanu, Kad ležah na samrti (As I Lay Dying, 1930), s naslovom preuzetim iz Odiseje, koji je napisao za samo 47 dana, o putu članova siromašne južnjačke farmerske obitelji Bundren koji tijelo preminule majke prevoze na daleko groblje u Jeffersonu, kako bi joj ispunili posljednju želju, iznova razrađeno rabi tehniku struje svijesti. Priča je izložena kroz mnoštvo različitih pripovjednih motrišta (unutarnjih monologa 15 likova), u svojevrsnoj pripovjednoj polifoniji, s majstorskom uporabom lokalnih idioma te prepletanjem crnoga humora, groteske, tragičkih i poetskih tonova. Otad započinje razdoblje razmjerno šire čitanosti njegovih djela čemu je osobito pridonio »senzacionalistički« roman Svetište (Sanctuary, 1931), s mnoštvom bizarnih motiva nasilja i seksualnoga zastranjenja te gorkoga humora, pa Faulkner počinje živjeti kao profesionalni književnik (još 1930. kupuje vilu na rubu Oxforda, a 1938. i imanje), uz scenarističke angažmane u Hollywoodu; potpisan je kao koscenarist na šest filmova od kojih su najuspjeliji Imati i nemati (To Have and Have Not, 1944., prema romanu Ernesta Hemingwaya) i Duboki san (The Big Sleep, 1946., prema romanu Raymonda Chandlera), oba u režiji Howarda Hawksa. Istodobno je nastavio objavljivati kratke priče, većinom u uglednim časopisima (Saturday Evening Post, Collierʼs), sakupivši ih u dvjema zbirkama (1931. i 1934). U sljedećem romanu, Svjetlost u kolovozu (Light in August, 1932), isprepleće teme južnjačkoga rasizma, vjerskoga fanatizma i opsjednutosti prošlošću u složenoj radnji što se prelama kroz očišta pripovjedača te likova u bogatom spletu međusobnih veza, kao i u problematičnome odnosu prema njihovu vlastitu identitetu, spojivši realizam opisa društvenoga miljea sa sveopćom simbolizacijom u kojoj su tri primarna lika nositelji triju glavnih tema. Roman Abšalome, sine moj! (Absalom! Absalom!, 1936) je uz Buku i bijes vrhunac njegova opusa, kao i sklonosti dugim i zapletenim rečenicama. U njemu je priča o usponu i padu plantažera Thomasa Sutpena, opsjednutoga željom za formiranjem obiteljske dinastije, i tragičnoj sudbini njegovih potomaka u razdoblju prije, tijekom i poslije Američkoga građanskoga rata, izložena višestruko posredovanim pripovijedanjem, koje većim dijelom izlaže mladi Quentin Compson (lik iz Buke i bijesa), temeljenim na sjećanjima očevidaca i slušatelja događanja, uz dopune nagađanjima i pretpostavkama. U tom smislu taj je roman, kojega je glavna tema prošlost kao konstitutivni dio identiteta, ali i opterećenje, i u kojem je Faulkner napose razvio temu veze rasnih i seksualnih odnosa na Jugu, ponajprije roman o prirodi, mogućnostima i nužnostima pripovijedanja. Slijedile su dvije zbirke pripovijedaka koje se zbog snažne strukturne i tematske povezanosti mogu smatrati i romanima: Nepobijeđeni (The Unvanquished, 1938), o obitelji Sartoris, i Siđi, Mojsije (Go Down, Moses, 1942), u kojoj osobito propituje rasne probleme, te kratki roman Divlje palme (The Wild Palms, 1939; poznat i pod naslovom Ako tebe zaboravim, Jeruzaleme – If I Forget Thee, Jerusalem), sastavljen od dviju simbolički povezanih pripovijesti. Tada je objavio i roman Zaselak (The Hamlet, 1940), vrstan primjer groteske i satiričko-ironijskoga modusa, prvi dio trilogije o usponu obitelji Snopes koju je nastavio romanima Grad (The Town, 1957) i Palača (The Mansion, 1959). U američke kritike od početka uglavnom pozitivno ocjenjivan, ali ne u potpunosti afirmiran, od svojih je prvih velikih romana uživao visoku recepciju u Francuskoj (gdje je već 1933. objavljen prijevod Svetišta s predgovorom Andréa Malrauxa), a od sredine 1930-ih i u Velikoj Britaniji, da bi zbirka ulomaka iz njegovih djela u izboru Malcolma Cowleyja Džepni Faulkner (The Portable Faulkner, 1946) ključno pridonijela njegovoj konačnoj afirmaciji u SAD-u. Nakon te knjige objavljuje roman kriminalističkog zapleta sa središnjim mjestom rasnih odnosa Uljez u prašinu (Intruder in the Dust, 1948), svoj dotad najveći knjižarski uspjeh, te zbirku detektivskih novela Konjički gambit (Knightʼs Gambit, 1949), a 1950., kada mu izlaze Sabrane priče (Collected Stories), dobio je Nobelovu nagradu za književnost (za 1949. godinu kada nagrada nije dodijeljena). Od tada češće putuje, u više navrata u kulturnim misijama u organizaciji Ministarstva vanjskih poslova: 1955. u Japan (Nagano), 1957. u Atenu, 1961. u Venezuelu, a 1957. i 1958. gostujući je pisac na Sveučilištu Virginije u Charlottesvilleu. U tom razdoblju objavljuje još Rekvijem za opaticu (Requiem for a Nun, 1951), sastavljen od dramskih i pripovjednih dijelova, koji je razradba motiva i fabule iz Svetišta, Bajku (A Fable, 1954), alegorijski roman s radnjom na zapadnome bojištu 1918., koji je nagrađen Pulitzerovom nagradom 1955., te roman elegično-komičkog ugođaja, s temom inicijacije mladog protagonista, Lupeži (The Reivers, 1962., Pulitzerova nagrada 1963). Prema njegovim je djelima snimljeno desetak filmova od kojih su najuspjeliji Uljez u prašinu (Intruder in the Dust, 1950) Clarencea Browna, Potamnjeli anđeli (The Tarnished Angels, 1958) Douglasa Sirka (prema romanu Pylon, o pilotima, iz 1935), Dugo toplo ljeto (The Long Hot Summer, 1958) Martina Ritta (prema motivima iz romana Zaselak). Nadahnut kulturom poraza američkoga Juga, Faulkner je razvio specifičnu manirističku poetiku u kojoj zaokupljenost jezikom, stilom i načelima naracije neprestano upućuju na artefaktualnost samoga književnog djela i pripovjednoga čina. Majstor strukturiranja djela na opozicijama i rascjepima pojedinačnih i skupnih figura i značenja: između bijelaca i crnaca, osiromašenih aristokrata i novih bogataša, propadanja i opstajanja, izvanvremenosti i protoka vremena, mimetskoga i simboličkoga, poetskoga i grotesknoga, tragičkoga i ironijskoga, Faulkner razrađeno miješa vremenske planove i pripovjedačka motrišta radi stvaranja dojma trajne prisutnosti prošlosti kao konstante ljudske sudbine: prošlost je u Faulknera po Jean-Paulu Sartreu »uvijek nazočna, neprestana opsjednutost«, u njoj ne obitava spasenje, Faulknerovo je vrijeme, kako je utvrdio njegov biograf André Bleikasten, »sadašnjost u prošlosti i budućnosti«, u kojem leži kob pa su stoga za Faulknerov opus paradigmatske riječi iz Rekvijema za opaticu: »Prošlost nikad nije mrtva. Čak nije niti prošla.« Spojivši provincijalnu zavičajnost američkoga Juga s modernim eksperimentalnim stilskim postupcima, od svih se modernih pisaca najviše približivši Jamesu Joyceu u miješanju stilske izražajnosti i hipertekstualne literarnosti, potvrdio se Faulkner kao jedan od najznačajnijih američkih i svjetskih pripovjedača XX. stoljeća, s opusom u samom vrhu moderne i modernističke književnosti.

*Faulkner, William. Hrvatska enciklopedija, mrežno izdanje. Leksikografski zavod Miroslav Krleža, 2021. Pristupljeno 16. 5. 2022. <>.


  1. Wow, this novel sounds like a work of art. I tend to mostly read easy books for pleasure nowadays, but your review sold me. I actually placed this on hold at my local library so hopefully I'll be able to read it soon.

    Ekaterina | Polar Bear Style

  2. Wow, violence and tragedy, sounds similar to Shakespeare, very intellectual. I can imagine if you started reading this book, you would be totally engrossed. I hope you are having a great week so far Ivana : )

    Sounds like a great book, the family drama is never left alone. Great the books ends on a positive note. I love the book cover too.

  3. This novel sounds really amazing, thank you for sharing!

  4. Thanks for the great biographical part of this author. Yes, he truly did have character driven stories along with a slice of Americana that many Americans would want to forget. I'm not surprised he's not on some condemned list now here in the states, but I always found him inspiring. Lovely outfit in your post too. Awesome academic bag too!

  5. Awesome review. I will confess I was shocked that you wrote about Faulkner. Yes, he is one of my favorite authors. Awesome and bold collages! Such a wonderful post!

  6. I used to read a lot of Southern American authors in my twenties, as I was quite obsessed with the American south at that point. Although I did of course read some of Faulkner's novels, I don't think I've ever attempted The Sound and The Fury. Thank you for the review and reminding me of this awesome author. Stunning photos too, especially the ones with the bridge being built in the background! xxx

  7. Hey Ivana, how you doing? I hope you're having a fantastic week!

    I am happy to read one of your detailed reviews once again! The thing I like the most is that you also include many imaginery related to the book or to the things that you can associate with the literature discussed in the blog post :)

    I have heard about The Sound of Fury, but unfortunately I haven't had the chance to explore the book. It impressed me that you mentioned that the book was not well received back in the day, but many of the artwork (in many areas) tend to be welcomed like that and sometimes we have to see things on perspective. Nowadays this book is mentioned in many lists and studied in many schools and I want to know why!

    Literature from the south of the US has a lot of interesting details to discuss about, since the region had many types of controversial problems during decades, so I am interested to see what William Faulkner has to tell me about it.

    I also loved the look you picked and how you mixed the post with illustrations!

    Perfect idea as usual Ivana :)


  8. As always, you fascinate me with your knowledge of many writers and best explain both the work and the writer himself. Pictures as always - first league :)

  9. Thanks for your sharing.

  10. I like your dress! It doesn't sound like my kind of book if it's a hard read to follow, but it's nice you enjoyed it despite that downside, and that you would recommend it :)

    Hope you are having a good week :)

    Away From The Blue

  11. Nice your review to this wonderful novel "The Sound and the Fury" by William Faulkner and great are your photos as always

  12. It's not easy, but it's worth reading.

  13. Thank you for the recommendations. I send a kiss! This is the plot content I'm interested in.
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  14. I have never read novels by William Faulkner, I started to try it because of your great review! Thank you for sharing those quotes,"The field only reveals to man his own folly and despair, and victory is an illusion of philosophers and fools.” I really think so, too! Love all of your chic and lovely outfits, Ivana! Your portrait illustration, too<3


  15. The book sounds interesting and intriguing.

  16. This is awesome dear Ivana that you reach for classic novels like this one- I didn't read this one yeat but it is on my list book that I have to read .
    Btw so lovely outfit - you look stunning xx

  17. Like Ann, I've had periods of being obsessed with books set in the American Deep South yet I've never read any Faulkner, I shall keep my eyes peeled in the charity shops! Great review and sensational outfits. xxx

  18. Hi,
    I know the author but I don't know the work you refer to. I think it's a book written for you who have already acquired the skills of literature to read a masterpiece! I think the reading must have been challenging for you!
    As for your look, I already know this dress and once again you look very elegant with it and you really look like a teacher!

  19. Very interesting novel. Thank you so much for sharing your reviews.

    Love: Mariann Yip

  20. I love books with streams of consciousness style! I hope to find this book once I make my return to the library here one of these days. Those quotes you shared along with the images are especially delicious to read as they paint quite a picture. I really miss reading books that I can hold in my hands. You've succeeded in making me want to get a few books just to hold them when I pose for my next outfit, lol! :D xoxo

  21. I will definitely give it a read now. Thank you for sharing this with us. P.s you are looking very cute.


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All your comments mean a lot to me, even the criticism. Naravno da mi puno znači što ste uzeli vrijeme da nešto napišete, pa makar to bila i kritika. Per me le vostre parole sono sempre preziose anche quando si tratta di critiche.

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