Church (which Sutpen rode fast to) in Absalom, Absalom! (Location)

The church where the Sutpen family worships is identified on Faulkner's 1936 map only as "Church (which Sutpen rode fast to)," referring to the practice of racing carriages on the road which the minister puts a stop to (17). No denomination is given, on the map or in the novel, but if plantation families like the Sutpens go to it, it is probably Episcopalian - and it may be the same as the Episcopal Church north of Jefferson that the Sartorises attend in The Unvanquished, written almost simultaneously with Absalom, Absalom!.

The Town, 23 (Event)


The Town, 22 (Event)


The Town, 19 (Event)


The Town, 17 (Event)


The Town, 16 (Event)


The Town, 15 (Event)


Slave Quarters at Sutpen's in Absalom, Absalom! (Location)

This icon represents the many cabins that formed the "quarters" in which, before the Civil War, the slaves who worked on Sutpen's plantation lived, and the single cabin in which Charles Etienne Saint-Valery Bon lives in the early 1880s. The novel does not say how many slaves there were at the time that Sutpen's Hundred was the largest, richest plantation in Yoknapatawpha, but "hundred" is probably not a big enough number.

Garden at Sutpen's in Absalom, Absalom! (Location)

This location represents the two kinds of gardens at Sutpen's Hundred: the decorative, formal gardens laid out by the French architect as one way for the house to assert its status, and the kitchen gardens that produce vegetables for the people who lived at the remote plantation. Rosa Coldfield spends time in both. During a visit in the summer of 1860, she wanders down the "raked and sanded paths" of the formal garden, imagining Bon and Judith's courtship, an image that caused "a child's vacant fairy-tale to come alive in that garden" (117-18).

Gate at Sutpen's in Absalom, Absalom! (Location)

The gate at the entrance to Sutpen's mansion was "half a mile" up a "tree-arched" drive from the house (292). In 1865 it becomes the scene of a crime that the novel's various narrators keep trying to solve. When Quentin Compson goes past it in 1909, all that's left are "two huge rotting gate posts" (291).


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