There are quite a few different burial grounds around the county in the various Yoknapatawpha fictions, but (like the Sartorises and Addie Bundren and her family) the Compsons, or at least Mr. Compson and Quentin, are buried in Jefferson's main cemetery, located on the opposite side of town from their house. It is landscaped with cedars. The bodies in it are racially segregated; during his father's funeral Jason seeks solitude by "going on back toward the nigger graveyard" (202). Going to visit the family graves is a regular Sunday ritual for Mrs.
The "Western Union" telegraph office in Jefferson (226) also serves as a place where residents who want to speculate on the commodities market congregate. The novel suggests the price of cotton futures on the New York market is reported over the wire at intervals, and posted where the local speculators can track its fluctuations. Whenever Jason stops in the office he finds a number of other men there doing just that.
On his way to work, Jason makes a brief stop at the "postoffice" to get the mail (189). In the story "A Rose for Emily," published the year after The Sound and the Fury, Jefferson gets "free postal delivery" to homes before 1924. There the change to home delivery is an important sign of progress, although characteristically Emily herself ignores it.
The barber shop in Jefferson figures as a location in a number of the Yoknapatawpha fictions, where it is depicted as an essentially all-male enclave. Although not made explicit, perhaps that association is meant to be present when in The Sound and the Fury it is outside the barbershop where Quentin runs into Dalton Ames. Ames is "going into" it (158). Quentin waits for him outside, and when Ames comes out Quentin says he needs to see him.
The train station where Quentin is met by his mother and sister in Herbert Head's car is a familiar location in Faulkner's Yoknapatawpha fictions. In this novel Quentin's thoughts when he gets off the train are so entirely taken up by Caddy and her imminent wedding that they do not even mention the train or the station.
Perhaps as another symptom of the "newness" of the town Horace and Belle move to after her divorce, on his way back from the railroad station he notes that the street is "uptorn . . . in the throes of being paved" (376). The "lines of negroes" doing the work "swing their tools in a languid rhythm," singing "snatches of plaintive minor chanting punctuated by short grunting ejaculations" (376). Since they explicitly work in "lines," this may be a chain gang, and the men may be convict laborers, but that is said explicitly.
The black man in whose barn Bayard spends Christmas eve tells him that his "brudder-in-law" borrowed his mules, and so Bayard will have to wait for a ride to the next town (365). When the mules "miraculously" appear later on Christmas day, the narrator refers to the "yet uncorporeal brother-in-law" (366) - seeming to imply that the black man invented him.
After her globe-trotting experiences Joan Heppleton "from time to time" goes home for a visit, where she attracts the stares of the "neighbors, older people who had known her all her life," the younger people she had grown up with, and "newcomers to the town" (322). The narrative never says where "home" is (in Sanctuary we hear that Belle is from Kentucky), but it seems to be like Jefferson in the sense that Joan's obviously modern, emancipated behavior and appearance is something new and disconcerting.
Mentioned only briefly, when the narrator sums up Joan Heppleton's life, the woman who is both her and Belle Mitchell's mother is identified by her "ready tearful uncomplaint" (322).
