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1741 Unnamed Town "Squirt"

In one of his memories in The Sound and the Fury Quentin berates Caddy for "letting it be some darn town squirt" who kissed her (134). A "town squirt" is presumably a young man from a lower class than the Compsons - that same implication is there in Quentin's reference to "the town squirts that Father was always teasing her about" (174) - but it's not clear if Quentin is thinking of any one particular boy here, or remembering one particular event.

1742 Unnamed Drummers 1

In The Sound and the Fury Jason rages against the "every dam drummer" that comes to Jefferson, all of whom he imagines have sexual relations with his niece, Quentin (239). "Drummer" is an archaic term for a salesman who travels from town to town. We know that Miss Quentin is sexually active, though these specific partners are products of Jason's imagination.

1743 Unnamed Drummers 3

"Drummers," as traveling salesmen were called, appear three times in Sanctuary sitting in chairs or standing or getting into a "bus" along the curb outside the hotel in Jefferson, first when Horace gets a room for Ruby, again the morning after he speaks with Temple, and then again when he waits in the hotel for a train to take him back to Kinston (124).

1744 Unnamed Owner of the Traveling Show

In The Sound and the Fury, the man who saves Jason from the furious old man who attacks him is the owner the traveling show that just played in Jefferson. He tells Jason that he "runs a respectable show, with a respectable troupe," and has already fired the man Jason is looking for (312).

1745 Unnamed Woman in Doorway

In The Sound and the Fury, when Quentin looks around after Shreve pumps water on his face, he sees a "woman cross the door" of a nearby house, "but she didn't look out" (165).

1746 Butch

In "Dry September" Butch is "hulking youth in a sweat-stained silk shirt" who abrasively advocates vigilante action against Will Mayes (169). He ends up joining the lynch mob.

1747 Minnie Cooper

Minnie Cooper, the central character in "Dry September," is a Jefferson woman, "thirty-eight or thirty-nine" years of age (173); although the story is vague on this point, it is apparently her accusation of assault against Will Mayes the precipitates the lynching. She is described as "still on the slender side of ordinary looking, with a bright, faintly haggard manner and dress" (174). Never married, she lives with her mother and aunt, and has received local derision for her romantic travails and, more recently, her drinking.

1748 Mrs. Cooper

Minnie Cooper's mother is not explicitly named in "Dry September," which mentions her once as Minnie's "invalid mother," who lives with her daughter in "a small frame house" (173).

1749 Henry Hawkshaw|Stribling

Henry Hawkshaw first appears in "Dry September." He is a Jefferson barber, described as "a man of middle age; a thin, sand-colored man with a mild face" (169). He serves as the point of view through which the story's racial violence is presented. He tries to defend Will Mayes' character against the white men who want to lynch him, and even drives with them hoping to prevent the lynching, but in the end only 'saves' himself or at least his sensibility. When he re-appears in "Hair," his liberal sensibilities are again put into action, this time romantically.

1750 Will Mayes

A Negro who works as the night watchman at the local ice plant in "Dry September," Will Mayes is ambiguously accused by a white woman named Minnie Cooper of assault and lynched by a mob of Jefferson men. The lynching is not narrated. Although the barber says repeatedly that "I know Will Mayes" (169), and believes he is innocent, the narrative refers to him mostly as "the Negro" and does not describe him - his age or physical experience - extensively. Nor does story ever say what, if anything, happened between Will and Minnie.

1751 Mrs. John McLendon

Mrs. McLendon appears at the end of "Dry September" as the "pale, strained, and weary-looking" wife of the man who leads the lynching party (182). When he comes home at midnight and finds her reading a magazine, he accuses her of waiting up for him, and strikes her.

1752 Unnamed Aunt of Minnie Cooper

In "Dry September" Minnie Cooper's "thin, sallow, unflagging aunt" lives with Minnie and her mother in a "small frame house" (173). After Mrs. Cooper starts "keeping to her room," this "gaunt aunt runs the house" (175).

1753 Unnamed Man in Barber Shop

This is one of the barber shop clients in "Dry September" who debate whether to take vigilante action against Will Mayes. Unlike the "drummer" and the client who "had been a soldier" (172), he is not individualized in any particular way. Although he worries that the other men are talking too loudly, he goes along with them on the lynching.

1754 Unnamed Neighbors of Minnie Cooper

In "Dry September" over time Minnie Cooper's only social contacts become the women who live in her neighborhood - identified as both "neighbors" and "friends" in the text (175, 180). She occasionally goes to movie with them. While the lynching is going on outside town, a group of them take her to another movie, walking through the streets with her, reassuring her with "voices" that sound "like long, hovering sighs of hissing exultation" that "'there's not a Negro on the Square'" (181).

1755 Unnamed Peeping Tom

This man may exist, or be a figment of Minnie Cooper's imagination, or even an invention of the customer in the barber shop who refers to him, obliquely, as the "man scare" that Minnie reportedly had "about a year" before "Dry September" begins; the customer describes him as "a man on the kitchen roof" who was looking at Minnie "undress" (171). We have labeled him 'white' because from the larger story it seems clear that if the reported voyeur had been identified as 'black,' the white men of the town would have had to punish someone.

1756 Unnamed Drummers 2

In "Dry September" these "coatless drummers" sit in "chairs along the curb" outside the hotel and watch Minnie Cooper as she passes through the courthouse square with her friends (180). 'Drummer' was a well-known term for traveling salesman; these drummers are staying at the hotel while plying their trade in the town.

1757 Unnamed Classmates of Minnie Cooper

The boys and girls who are Minnie Cooper's "contemporaries" and "schoolmates" begin to ostracize her before they are finished with high school, apparently because her "people," while "comfortable," are "not the best" people (174). They grow up to date and marry each other and have their own families, leaving Minnie on the sidelines of the town's life.

1758 Unnamed Soda Fountain Clerk

When Minnie Cooper starts drinking in "Dry September," the "youth" who supplies her with whiskey is identified as "a clerk at the soda fountain" (175). (Selling liquor was illegal in Yoknapatawpha, except that doctors and drugstores could dispense it for medicinal purposes, which probably explains how this clerk has access to the alcohol.)

1759 Unnamed Jefferson Townsmen 1

The "sitting and lounging men" on the town Square appear in "Dry September" twice (175). The first time sums up the way they "do not even follow [Minnie Cooper] with their eyes any more," after she passes a certain age (175). The second time is when Minnie and her friends go to the movie while the lynching is occurring outside town, after the town has heard about the reported assault on her: "even the young men lounging in the doorway tipped their hats and follow with their eyes the motion of her hips and legs" (181).

1760 Doc

Of the three "town boys" who spend time with Gowan in Sanctuary (29), Doc is the only one given a name. He is also the most vividly characterized. He spreads broken glass across the road to show his resentment against the class system, waves a woman's panty around to establish his credentials as a man about town, makes fun of Gowan's references to "Virginia" to his face (33), and at first even refuses to drink with him. Not even the whiskey dissolves his grudge.

1761 Hubert Drake

The youngest of Temple's four brothers in Sanctuary, Hubert is the only one given a name. He is actually given two: Hubert and Buddy. He told Temple "that if he ever caught me with a drunk man, he'd beat the hell out of me" (55). He is a student at Yale, but is there with his brothers at the end of Lee Goodwin's trial as one of the the "four younger men" who move "like soldiers" when they escort Temple out of the courtroom (289).

1762 Judge Drake

Temple Drake's father makes two brief appearances at the end of Sanctuary, but her frequent evocations of him as "a judge" - first smugly, but then when her world collapses as a kind of desperate prayer - occur throughout that novel. When he arrives as a kind of belated savior in the courtroom scene, he has "neat white hair and a clipped moustache like a bar of hammered silver against his dark skin," and is wearing an "immaculate linen suit" (288).

1763 Drake, Brother of Temple 1

One of the two brothers of Temple Drake in Sanctuary who "are lawyers" (54), and one of the four who appear at the end of Lee Goodwin's trial as the "younger men" who move "like soldiers" when they escort Temple out of the courtroom (289).

1764 Drake, Brother of Temple 2

One of the two brothers of Temple Drake in Sanctuary who "are lawyers" (54), and one of the four who appear at the end of Lee Goodwin's trial as the "younger men" who move "like soldiers" when they escort Temple out of the courtroom (289).

1765 Drake, Brother of Temple 3

In Sanctuary one of Temple Drake's brothers is a "newspaper man" (54). But when he finally appears in the narrative, at the end of Lee Goodwin's trial, he is indistinguishable from the other three: one of the "younger men" who move "like soldiers" when they escort Temple out of the courtroom (289).

1766 Fonzo Winbush

In Sancutary Fonzo is one of the "two youths in new straw hats" - both babes in the wood - who attend barber 'college' in Memphis and end up innocently renting a room in Miss Reba's bordello (177). Fonzo is the more concupiscent of the pair in that novel: "always conscious of women, of female flesh," he leaves the door of their bedroom ajar in the hopes that one of Reba's "daughters" will enter (195-96), and he is the one who finds out about another brothel and takes Virgil to it.

1767 Frank

"Frank" is mentioned in Sanctuary by Ruby in the bitter conversation she has with Temple. He was a young suitor who wanted to elope with her, but when he insisted on going back to her house to tell her father about their intentions, "father shot him" (58). As Ruby says, Frank "wasn't a coward" (58). To Ruby's brother, who also wants to kill him, Frank is "the goddam son of a bitch in his yellow buggy" (58) - a detail that suggests Frank might be more prosperous than her family.

1768 Gene

As Gene himself says, "I aint nothing but a bootlegger," but in Chapter 25 of Sanctuary he pays his tribute to Red by making sure there's plenty of free liquor at the funeral. He is described as "a far man in a shapeless greenish suit," with dirty hands, "a greasy black tie" and a very sweaty face (243-44).

1769 Son of Lee and Ruby

The narrator of Sanctuary tells us that Lee and Ruby's child is "not a year old" the first time he appears in the story - sleeping in a box behind the stove, where "the rats cant get to him" (18). Ruby is carrying him or caring for him throughout the rest of the novel. His appearance is another of the novel's unsettling elements. When Horace looks at him lying on a bed, for example, the child is "flushed and sweating, its curled hands above its head in the attitude of one crucified, breathing in short, whistling gasps" (135).

1770 Hershell Jones

In Sanctuary Jenny tells Horace that the last "young man" who tried courting Narcissa was "that Jones boy; Herschell" (24). From that it sounds as if Herschell belonged to a family the Benbows and Sartorises would have known socially, but beyond that we know nothing about him.

1771 Ruby Lamar

Ruby Lamar is a former Memphis prostitute who appears in Sanctuary as the devoted common-law wife of Lee Goodwin and conscientious mother of their very young child. Earlier she moved to San Francisco and New York to wait for Lee while he was serving overseas, and when he is sentenced to prison for killing fellow U.S. soldier in a fight over another woman, she not only moves to Leavenworth to be near him, but hires a lawyer for him, using her body as payment. When Lee is arrested for killing Tommy, she is prepared to pay Horace the same way.

1772 Unnamed Father of Ruby

In Sanctuary Ruby's father's last name may be "Lamar." Popeye calls Ruby by that name once (10). What we can say for sure about her father is that he "runs his family" very aggressively, cursing his son for wanting to be the one to kill Ruby's boyfriend Frank and then shooting Frank himself (58). He calls his daughter a "whore" for wanting to elope (58).

1773 Unnamed Father of Popeye

In Sanctuary the man who fathered Popeye is a professional strike breaker who marries Popeye's mother when she gets pregnant and then, less than three weeks later, runs off - leaving her and the child with a disease that was probably syphilis.

1774 Unnamed Mother of Popeye

Never named, the woman in Sanctuary who gave birth to Popeye is "the daughter of a boarding house keeper" in Pensacola (302-03). She is already pregnant with him, and carrying the disease (probably syphilis) that will leave her an "invalid" (309), when she marries Popeye's father, a professional strike-breaker whom she has only known for 3 days when they decide to marry. They were married less than 3 weeks when he takes off, leaving her to raise the child who is born with the same disease.

1775 Drake, Mother of Temple

During the testimony that Temple Drake of Jackson, Mississippi, gives under oath in Sanctuary, she says her mother is dead (285). In Requiem for a Nun, however, Gowan takes Temple's son Bucky to spend a week "with [his] grandparents in New Orleans" (136) -
which resurrects Mrs. Drake and moves her to Louisiana. While in the first novel Temple often thinks of her father, and she refers to him again in the second, her mother is only mentioned in these two incompatible ways.

1776 Luke

In Sanctuary Luke lives and makes moonshine whiskey half a mile outside of Oxford, up a steep slope alongside "the road to Taylor" (32).

1777 Miss Lorraine

Miss Lorraine is one of the two women in Sanctuary who come back to the brothel with Miss Reba after Red's funeral. (The context suggests they might be madams at other Memphis brothels, but that is not made explicit in the text.) Lorraine is the "thin woman in sober, severe clothes and gold nose-glasses" (250). The narrator refers to her "flat spinster's breast" (256) and several times compares her appearance to that of "a school-teacher" (251, 258).

1778 Popeye Vitelli

The narrator of Sanctuary describes Popeye as someone with "that vicious depthless quality of stamped tin" (4). Although Temple once calls him "that black man" (49), and Horace refers to "Popeye's black presence" (121), Popeye is white. A modern psychologist would label him a sociopath. Horace calls him one of "those Memphis folks" (21), the gangsters who buy homemade whiskey from Lee to sell in the speakeasies of the city. He was born on Christmas, in Pensacola, Florida.

1779 Doctor Quinn

"A fattish man with thin, curly hair," whose eyeglasses seem to be worn only "for decorum's sake" (149), Dr. Quinn treats Temple when she first arrives at Miss Reba's in Sanctuary. Initially he refused to make a house call on Sunday, but Reba reminds him that she "can put him in jail three times over" (148).

1780 Red

Popeye, who is himself impotent, brings Red into Temple's life as a surrogate sexual partner for her - turning Reba's "respectable" brothel, as she indignantly puts it in Sanctuary, "into a peep-show" (255). Red "looked like a college boy" (235), but is part of the Memphis underworld. When Temple tries to run away with Red, however, Popeye kills him. His death is not narrated, but at the raucous funeral service that is held for him in the same speakeasy where he and Temple danced we see the hole Popeye's bullet made in "the center of his forehead" (249).

1781 Shack

On board the third and last train Horace takes on his way to Oxford in Sanctuary are two "young men in collegiate clothes with small cryptic badges on their shirts and vests" (168). One is unnamed, but he calls the other one "Shack," presumably a nickname derived from the confectionery near the college campus (169). "Shack" whistles a "broken dance rhythm" that the narrator calls "meaningless, vertiginous" (169-70).

1782 Tommy

Barefoot, "shambling," with "matted and foul" hair (10) and a "rapt empty gaze" (113), Tommy in Sanctuary helps Lee make bootleg whiskey and, when Lee is not watching, drinks it too. He has been a familiar figure "for fifteen years about the countryside" (113), and occasionally in town, but no one in Yoknapatawpha knows his last name. His behavior disconcerts both Horace and Temple. Lee and Ruby both call him a "feeb" (9, 128). He is feeble-minded but kind-hearted. After Gowan deserts Temple, Tommy loses his life trying to protect her from Popeye.

1783 Uncle Bud

Despite his name, in Sanctuary "Uncle Bud" is a "small bullet-headed boy of five or six" (250), "with freckles like splotches of huge summer rain on a sidewalk" (251). He is related somehow to Miss Myrtle, though he is only staying with her temporarily, and will soon "go back home" (252) to "a Arkansaw farm" (251) - perhaps the same Arkansas orphanage where the four children whom Reba is supporting live. He is adept at "snitching beer" (253); after he breaks into the icebox and drinks a whole bottle, he brings Chapter 25 to a close by throwing up.

1784 Unnamed Enslaved Children 1

In a striking parenthetical passage in both "Skirmish at Sartoris" and The Unvanquished, Bayard describes how Mrs. Compson's husband "would gather up eight or ten little niggers" from among the slaves on his plantation and shoot sweet potatoes off their heads with a rifle (62, 193). It is not clear if Bayard saw this with his own eyes, but he does add that "they would stand mighty still" (62, 193). It's also not clear which Mr. Compson this could be.

1785 Van

In Sanctuary Van is one of the gangsters who works with Popeye to get Lee's whiskey from Yoknapatawpha to Memphis. He is introduced into the narrative by his "harsh, derisive laugh" (53). He stirs up the menace at the Old Frenchman's by fighting with both Gowan and Lee over Temple, and ripping open the raincoat she is wearing, but drives away with a shipment after that.

1786 Ed Walker

In Sanctuary Ed Walker is the county jailer. Apparently he was reluctant to allow Ruby and her child to spend a night in the jail with Lee Goodwin, but his wife, who lives with her husband in the jail and admits them, tells Horace "I dont keer whut Ed says" (181).

1787 Mrs. Ed Walker

While Sanctuary describes the jailer's wife as "a lank, slattern woman," her insistence on giving Ruby a bed after the Baptists got her thrown out of the hotel, despite her husband's reluctance to do so - "I kin always find a bed fer a woman and child," she says; "I don't keer whut Ed says" - is welcomed by Horace (181).

1788 Unnamed Men in Grotto Club

When Temple arrives at the Grotto in Sanctuary, she sees four men "sitting at a table near the door" (234). Two soon leave, but the other two are described with a few details. One is chewing gum with "teeth of an unbelievable whiteness and size" (234). The other has "his coat buttoned across his chest" (235). The two who remain forcibly carry Temple away from the club. All four seem to be cronies of Popeye, working with him to arrange Red's murder.

1789 Unnamed Town Boy 1

In Sanctuary only one of the three town boys - young men from Oxford instead of the university - who spend time with Gowan is named. This entry represents the one whom the narrative refers to as "the first," because he speaks first. He wants to know who "that son bitch" driving Temple away from the dance is (30). We hear the class resentments in that voice he tells his friend Doc things like "you're not good enough to go to a college dance" (30).

1790 Unnamed Town Boy 2

In Sanctuary only one of the three town boys - young men from Oxford instead of the university - who spend time with Gowan is named. This entry represents the one whom the narrative refers to as "the third" (30). Of the three, he seems the least affected either by all they drink or by the way Gowan boasts about his status as a "gentleman" (34).

1791 Unnamed Alabama Bailiff

This bailiff appears in only one sentence in Sanctuary, when the judge at Popeye's trial consults with him about getting the accused man a lawyer.

1792 Unnamed Alabama District Attorney

The District Attorney who tries Popeye in Sanctuary believes the conviction was "too easy," and assumes Popeye will mount an appeal (312).

1793 Unnamed Alabama Judge

This judge in Sanctuary makes sure Popeye has a lawyer, denies him bail, and sentences him to be hanged after the jury convicts him.

1794 Unnamed Alabama Jurors

Before finding Popeye guilty, the faceless jury in Alabama that hears the case against him in Sanctuary deliberates for "eight minutes" (312). "Eight minutes" is exactly how long it takes the jury in Jefferson to decide that Lee Goodwin is guilty too - also for a crime he did not commit (291).

1795 Unnamed Alabama Minister

In the hours before Popeye's execution in Sanctuary, this minister prays for him several times, and repeatedly tries without success to get Popeye to pray for himself.

1796 Unnamed Alabama Policemen

In Sanctuary, when Popeye is jailed in the unnamed Alabama town for murder, this group of men - referred to as "they" but presumably some combination of local policemen and the jailers - talk about how he'll send for his lawyer (310). It is also "they" who take Popeye to the place of his execution, and "adjust the rope" around his neck, "breaking his hair loose" (315).

1797 Unnamed Alabama Sheriff

This is the sheriff in Sanctuary who, with a sarcastic comment, "springs the trap" when Popeye is executed by hanging (316).

1798 Unnamed American Soldiers 1

These soldiers in Sanctuary - presumably cavalrymen like Lee Goodwin - are returning to San Francisco from their deployment in the Philippines when Ruby asks them about what has happened to Lee. When she lets one of them pick her up, he paws her drunkenly while telling her about Lee killing another soldier in a fight over "that nigger woman" (277). American forces were first sent to the Philippines in 1898 to fight the Spanish, but soon were fighting against Philippine nationalists. The Philippines were an American territory from 1898 to 1946.

1799 Unnamed American Soldiers 2

In Sanctuary Ruby worked in New York during the First World War; according to her, the city was "full of soldiers with money to spend" (278). The "New York Port of Embarkation" - the first officially designated embarkation point for soldiers and supplies sent to Europe - included Hoboken and Brooklyn.

1800 Unnamed Amorous Couple

The "two figures" Horace sees locked in an embrace in "an alley-mouth" in Memphis in Sanctuary are probably outside Miss Reba's house, though it is possible they exist only in his mind, which is reeling from his encounter with Temple inside the brothel and the story she tells him about being raped. The behavior of the couple certainly matches Horace's fascinated revulsion with sexuality: the man whispers "unprintable epithet after epithet" caressingly; the woman swoons with "voluptuous ecstasy" (221).

1801 Unnamed Aunt of Temple Drake

The aunt of Temple who lives "up north" in Sanctuary may really exist, though it is clear that when the local newspaper in Jackson publishes the news that Temple's father has sent his daughter to spend time with this woman, that is a fiction intended to cover Temple's disappearance from college (176).

1802 Unnamed Student Barber

This fellow student at the barber school with Fonzo and Virgil is presumably the person in Sanctuary who, twelve days after they have started sleeping at Miss Reba's, tells Fonzo about the existence in Memphis of a house of prostitution. At any rate, he accompanies them to "that house" after Fonzo convinces Virgil to go (196).

1803 Unnamed Baseball Players

When Temple in Sanctuary thinks of the baseball game in Starkville that she is missing, she imagines "the green diamond dotted with players." The description of their playing is unmistakably in Faulkner's words, however, not hers: "encouraging one another with short meaningless cries, plaintive, wary and forlorn" (37).

1804 Unnamed Negro Bellboys

In Sanctuary, while listening to State Senator Clarence Snopes talk about the life he lives in the capital of Jackson, Horace conjures up images of "bellboys" with "bulging jackets" (presumably contained alcoholic beverages) making deliveries to "hotel rooms" (175).

1805 Unnamed Blonde Woman

Standing outside Miss Reba's brothel in Sanctuary, Virgil and Fonzo see this "plump blonde woman" and "a man" get out of a taxi (192). The couple's behavior outside the door causes Fonzo to suck in his breath, and Virgil to assume that they must be married, but while the narrator never says so explicitly, it's clear enough that she is a prostitute and he is one of her customers. She disappears into the house.

1806 Unnamed Boarding House Tenants 1

The narrator of Sanctuary calls the people who board with Popeye's mother "clients" (304). None are described in any detail, but we know they include some "old ones" and one man who finds two fires in his room. The day after firemen discover Popeye's grandmother with a fire in the attic, "all the clients left" (305).

1807 Unnamed Bootlegger 1

In Sanctuary the man who drives the truck carrying the moonshine that Lee Goodwin makes from Frenchman's Bend to Memphis complains about having to wait for Horace, to whom he is giving a ride to Jefferson. "I got a woman waiting for me," he says (21).

1808 Unnamed Bootlegger 2

In Sanctuary the second man who rides in the truck that carries the moonshine that Lee Goodwin makes from Frenchman's Bend to Memphis literally rides "shotgun" - as the truck pulls away from the Frenchman's place, "the second man lays a shotgun along the back of the seat" (22). He teases the driver about his impatience to get back to his woman in the city.

1809 Unnamed Boy with Packard

In Sanctuary Temple tells Gowan that she knows "a boy at home" who owns a Packard automobile like the one that Popeye drives (49).

1810 Unnamed Boys and Negroes

This ambiguously defined group represents the "one or two ragamuffin boys or negroes" who "sometimes" visit Lee Goodwin after he's been convicted of murder and on some of those times bring him "baskets," presumably containing food (115).

1811 Unnamed Boys and Youths

In Sanctuary the group that visits the undertaker's parlor to get a glimpse of Tommy's body consists of boys "with and without schoolbooks" who press against the window and the "bolder" young men of the town who go inside the building, "in twos and threes," for a closer look (112).

1812 Unnamed Taxi Driver 1

In Sanctuary this cab driver outside Miss Reba's slows down to see if Temple is looking for a ride.

1813 Unnamed Brother of Ruby

In Sanctuary, according to Ruby, her brother is just as determined as her father to keep her apart from Frank, the man she loves. He tells his sister he's going to kill him, "in his yellow buggy" (58). His ambush is foiled by her.

1814 Unnamed Chauffeurs

In Sanctuary six "liveried chauffeurs" - all presumably employed by a funeral home - drive the otherwise empty "Packard touring cars" that follow the hearse carrying Red's body to the cemetery (249). The odds are good that Faulkner imagined them as Negroes, like the other drivers and chauffeurs in his fictions, but in this text their race is not specified.

1815 Unnamed Chemist

During Lee's trial in Sanctuary the District Attorney mentions "the chemist" who has already testified, presumably about the blood stain on the corn-cob (283).

1816 Unnamed Cigar Seller 2

One of the three people in Sanctuary who testify against Popeye at his trial for a murder he did not commit is "a cigar-clerk" (311). We learn nothing about his testimony, or whether he is sincerely mistaken.

1817 Unnamed College Band

In Sanctuary, when Temple thinks of the college baseball game in Starkville that she is missing, she imagines, briefly, "the band, the yawning glitter of the bass horn" (37).

1818 Unnamed College Boy 1

One of Temple's many suitors and dates in Sanctuary, this boy is the one that she went out with sometime before the story begins, making the unnamed girl who liked him mad because, Temple says, afterwards "he never asked her for another date" (57).

1819 Unnamed College Boy 2

In Sanctuary this is the young man "at school," whom Temple notices in Dumfries when she stops there with Popeye stops in his car. The reader never sees him, but Temple says "he was almost looking right at me!" (140).

1820 Unnamed College Boy 3

On board the third and last train Horace takes on his way to Oxford in Sanctuary are two "young men in collegiate clothes with small cryptic badges on their shirts and vests" (168). This one is unnamed, but together with "Shack" he outwits the train conductor and jokes crudely about women.

1821 Unnamed College Girl

This is the girl in Sanctuary who told the Dean that Temple was "slipping out at night," in retaliation for the fact that Temple went out "with a boy she liked" (57).

1822 Unnamed College Students

The various college students mentioned in Sanctuary can be assorted into two groups: the ones Temple thinks about and the ones Horace sees. (1) Temple brings her classmates to mind twice during her ordeal at the Frenchman's place: first, while lying in the dark at the Old Frenchman's place, when she thinks of "the slow couples strolling toward the sound of the supper bell" (51); and then, while hiding in the barn from Pap, when she imagines them "leaving the dormitories in their new spring clothes" toward the bells of the churches (87).

1823 Unnamed Committee of Baptists

The "committee" of Jefferson Baptists in Sanctuary who protest against allowing a woman like Ruby to stay in the town's hotel in do not directly appear. The proprietor of the hotel refers to "these church ladies," but it's not clear whether they were the committee - or the group that sent the committee. In either case, the proprietor tells Horace that "once [them ladies] get set on a thing," a man "might just as well give up and do like they say" (180).

1824 Unnamed Congressman

Both times Ruby tells how the lawyer she hired got Lee out of prison in Sanctuary, she says he "got a congressman" (59, 278). Neither time does she go into any more details about the congressman.

1825 Unnamed Taxi Driver 2

Sanctuary provides the "old" Kinston man who drives Horace home from the train with a fairly intricate story. "In the old days" he was at the head of local society, "a planter, a landholder, son of one of the first settlers." But when the town "boomed" into sudden prosperity, he lost his property "through greed and gullibility" and for the last several decades has made a living as a taxi driver. With his "gray moustache with waxed ends" and his "suit of grey striped with red," however, he still gives off an air of gentility (297-98).

1826 Unnamed Taxi Driver 3

The taxi driver in "Death Drag" unsuccessfully tries to get Ginsfarb to tell him who jumps off the airplane in the barnstorming show.

1828 Unnamed Craps Dealer

In Sanctuary the Grotto employee in charge of the "crap table" (as the narrative calls it, though it is usually referred to as a craps table) is called "the dealer" when he speaks his one line in the novel: "'Eleven,' he said" (240).

1829 Unnamed Customers of Goodwin

In Sanctuary Horace refers to Lee Goodwin's "good customers," the men of Yoknapatawpha who regularly bought whiskey illegally from him in the past but turned on him once he was arrested (127).

1830 Unnamed Grocery Delivery Boy

This boy falls while delivering groceries to Popeye's mother on his bike in Sanctuary. By breaking the bottle of olive oil she ordered, he sets off a series of unfortunate incidents - but is himself unapologetic about the original mishap, telling the customer "you ought to buy that oil in cans" and "you want to have that gate fixed" (305).

1831 Unnamed Detective

All we know about this character in Sanctuary is that, when Horace asks the post office clerk at the University if he knows where Temple has gone, the clerk in reply asks him if he is "another detective" - suggesting that a detective of some kind has already been looking for Judge Temple's missing daughter (171). We don't even know if he is a private detective, or a policeman.

1832 Unnamed Drunken Man

In the hallway of the Negro brothel that Clarence takes them to, Virgil and Fonzo see "a drunk white man in greasy overalls" arguing with two Negro men (198). His overalls identify him as lower class, and tell us something about the socio-economic standing of the brothel's clientele, but no other details, about the man or the argument, are given in Sanctuary.

1833 Unnamed Filipino Woman

Lee Goodwin has a relationship with this woman while he is stationed in the Philippines. Ruby calls her a "nigger" when telling Temple about how Lee killed another American soldier in a fight over her (59), but since Ruby would be likely to use that term for any non-white person, Negro or Hispanic, it leaves open the question of the woman's racial identity.

1834 Unnamed Gas Station Clerk

This clerk works inside the "dingy confectionery" in Dumfries where Popeye buys gas, cigarettes, candy and a sandwich in Sanctuary (140).

1835 Unnamed Gas Station Mechanic

The narrator of Sanctuary calls the man who fills Popeye's car up in Dumfries a "mechanic"; he indicates which way Temple went when she got out of the car (140).

1836 Unnamed Governor of Mississippi 1

No name is mentioned when Temple tells Ruby that the "gu-governor comes to our house" for dinner (56). The real Governor of Mississippi when Sanctuary was published was Theodore G. Bilbo, an outspoken white supremacist - but it's not necessary to believe that Faulkner intended readers to think of specifically of him. Temple's intention seems to be simply to assert her caste status as a shield.

1837 Unnamed Governor of Mississippi 3

This is not the Governor in Requiem who appears onstage in Act III but a "Governor of the State" who was once held in the Jefferson jail for thirty days after being sentenced for contempt of court (196). This episode is based on the real experience of former Mississippi Governor Theodore Bilbo, a native of Oxford, who in 1922 spent the same thirty days in jail. (The Governor who does appear onstage has his own entry in the index: see Governor Henry.)

1838 Unnamed Governor of Mississippi 2

The Mississippi Governor in "Monk" is almost surely modeled on Governor Theodore G. Bilbo, who served two terms in that office (1916-20 and 1928-32) and as a U.S. Senator from 1934 until his death in 1947. He, like the Governor in "Monk," is "a man without ancestry" (53), and is charged with trading in pardons for political gain. As a critic of the Governor's "puppet" Pardon Board, Gavin Stevens implies that the Governor is just another crooked politician more concerned with garnering votes than dispensing any actual justice; the Governor seems comfortable admitting that is the case.

1839 Unnamed Grandmother of Popeye

In Sanctuary the mother of Popeye's mother seems normal enough when first introduced, as someone who likes the strike-breaker who is Popeye's father. After being widowed, she has remarried a man who takes good care of her boarding house - until one day he disappears with all the money she had in the bank. Perhaps this event is what triggers her madness, a mixture of pyromania and paranoia.

1840 Unnamed Grotto Club Bouncer

"A thick, muscle-bound, bullet-headed man" wearing a badly fitting dinner jacket (243), the bouncer at the Grotto club in Sanctuary is put to work when he tries to remove a rowdy guest at Red's funeral and is attacked by four men. The funeral ends when they crash into the bier and spill Red's body out of the coffin.

1841 Unnamed Orchestra at the Grotto Club 1

Musicians play at the Grotto club at two different points in Sanctuary. The first time, this regular club "orchestra" provides the soundtrack to the scene in which Popeye and Red compete fatally for Temple. The dance music they play "swirls slowly about her in a bright myriad wave" (238). But the narrative never describes either the musicians or the music more particularly; given the history of music in Memphis, they may be black.