This paper examines smell in William Faulkner’s “A Rose for Emily” in a new perspective by analyzing it with Jacques Lacan’s concept of jouissance. While existing criticisms have judged Emily Grierson as a character fixated on the Oedipus complex and her relationship with Homer Barron as repetition of incest with a surrogate father, this study views her not as being trapped in the Oedipus complex but as experiencing feminine jouissance represented by smell. The townspeople as a whole seek to repress this unacceptable surplus pleasure and to suture the symbolic order. While townspeople are satisfied with placing her as a “fallen woman,” a murderess, and a necrophile, Faulkner recognizes and acknowledges the heroine’s jouissance. Though he explicitly states it nowhere, he shows his acceptance of her jouissance through the restoration of a rosy bridal from the dust and, moreover, through the title of the story itself, “A Rose for Emily.” Instead of translating her psychology into language and appropriately placing it in the symbolic order, the writer as a Lacanian analyst succeeds in achieving a passage to the act made possible by his identification with feminine jouissance.