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1842 Unnamed Orchestra at the Grotto Club 2

Musicians play at the Grotto club at two different points in Sanctuary. A second "orchestra," "from a downtown hotel," is hired to provide music at Red's funeral. A dispute arises about what kind of music they should play. "The leader" proposes "the Blue Danube" by "Strauss" (a detail which suggests these musicians are white, 244), another man proposes "jazz." But at the suggestion of the proprietor of the Grotto they first play "Nearer My God, To Thee," and then the "cornetist" plays a solo version of "In That Haven of Rest" (245).

1843 Unnamed Waiters at the Grotto Club

Waiters appear in both scenes set in the Grotto club in Sanctuary. In Chapter 25, describing the funeral for Red, they are clearly identified as "negro waiters, in black shirts beneath starched jackets." In the previous chapter, however, the narrative describes the two waiters who place drinks in front of Temple and Popeye in more racially ambiguous terms: seen from Temple's perspective they appear as "a brown [hand] in a white sleeve, a soiled white one beneath a dirty cuff" (235). Also in Chapter 24, "a waiter" shows Temple to a private room, where Red joins her (238).

1844 Unnamed Gynecologist

Immediately before questioning Temple during Lee Goodwin's trial in Sanctuary, the District Attorney mentions "the gynecologist" who testified earlier about "the most sacred affairs of that most sacred thing in life: womanhood" (283-84). The doctor himself does not appear in the novel.

1845 Unnamed Half-Crazed Woman

This "old half-crazed white woman" in Sanctuary is one of Jefferson's most eccentric inhabitants (200). The physical description of her is equally striking: her "lank grayish hair" hangs beside "the glittering collapse of her face" (201). She is reported to make her living by "manufactur[ing] spells for negroes" (200), though her house was also once raided by "officers searching for whiskey" (201). Horace arranges for Ruby to stay in the "lean-to shed room" attached to her house. (This woman may recur as "Mrs.

1846 Unnamed Men with Gene

Like Gene, the bootlegger they work for in Sanctuary, the two "young men" who bring additional alcohol for the funeral are described as "soiled" (246).

1847 Unnamed Husband of Popeye's Grandmother

The second husband of Popeye's maternal grandmother appears in and disappears from Sanctuary in half a paragraph. We see "an undersized, snuffy man with a mild, rich moustache" who is very handy maintaining the boarding house his wife owns, until the day he walks out with a check to pay the butcher and instead vanishes with all the money she has saved (304).

1848 Unnamed Illegitimate Children 1

In Sanctuary when Horace asks Reba "Have you any children?" she replies "Yes. . . . I'm supporting four, in a Arkansaw home now," though she adds immediately "Not mine, though" (211). If not, they are presumably the children of various women who have worked for her as prostitutes.

1849 Unnamed Mourners

When she imagines herself dead as a way to escape Popeye's sexual assault in Sanctuary, Temple's fantasy includes "all the people sitting around the coffin, saying Dont she look sweet" (219).

1850 Unnamed Jackson Prostitutes

Listening to State Senator Clarence Snopes talk about the life he leads in the state capital of Jackson in Sanctuary, Horace conjures up images of "discreet flicks of skirts in swift closet doors" in various hotel rooms (175). That's all the narrative gives us, but it seems safe to assume that inside the skirts are women, and that the women themselves are prostitutes.

1851 Unnamed Garment Workers

In an odd aside, Sanctuary notes that the "suit of gray" worn by the "old man" in Kinston who drives the taxi was "made by Jews in the New York tenement district" (298). Many different ethnicities worked in the city's garment industry and belonged to the International Ladies' Garment Workers' Union (founded in 1900), but the stereotype of the Jewish garment worker was widespread in the 1920s.

1852 Unnamed Drummers 4

The "drummers" in Sanctuary don't actually appear in the novel, but we know they exist because the "old man" who picks them up in his taxi when they come to town on the train apparently tells them all the epigram that he has come up with to tell the story of his life (297). In Faulkner's time (and in his world), a "drummer" is a traveling salesman.

1853 Unnamed Law Professors

Because they felt sorry about his handicap, the unnamed law professors who taught Eustace Graham at the "State University" in Sanctuary "groomed him like a race-horse" (262).

1854 Unnamed Locksmith

In Sanctuary this Pensacola locksmith is called in to open the bathroom door that Popeye locked on the day of his birthday party.

1855 Unnamed Lynch Mob

In Sanctuary within a few hours after Lee is convicted - formally for Tommy's murder, and in the minds of the townspeople for Temple's rape - the crowd that gathers in the Square turns into a lynch mob of "antic" figures who burn him to death (296). We see the confused scene through Horace's eyes. He registers running men, "panting shouts," a "circle" that has gathered around a "blazing mass" (295-96), but only one member of the mob is individualized: a man "carrying a five-gallon coal oil can" which explodes in his hands.

1856 Unnamed Man outside Reba's 2

In Sanctuary Temple sees "a man in a cap" twice when she leaves Miss Reba's to make a phone call (228). The first time he is "standing in a door[way]" (228), and it seems fairly certain (without being made explicit) that he is a confederate of Popeye who is there to keep an eye on her.

1857 Unnamed Man outside Reba's 1

Standing outside Miss Reba's brothel in Sanctuary, Virgil and Fonzo see this man get out of a taxi with a "plump blonde woman" (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. He leaves in the taxi after dropping her off at the house.

1858 Unnamed Man at Party

Little Belle is at a "house party" somewhere when Horace calls her at the end of Sanctuary (299), with someone whom readers only hear, as a "masculine voice" who interrupts Belle to try to tell Horace something before Belle "hushes" him (300).

1859 Unnamed Man in Shirt Sleeves

In Sanctuary Horace sees but cannot overhear this "gesticulant" man in "his shirt sleeves" haranguing the crowd that gathers in front of the jail after Lee Goodwin is convicted (293). While it seems certain that he is inciting them to violence against Lee, the crowd remains "quite orderly" after he finishes "talking himself out" (293).

1860 Unnamed Married Woman 2

According to Miss Reba in Sanctuary, among the women who have sought attention from Popeye over the years is "a little married woman" who "offered Minnie twenty-five dollars just to get him into the room" (145).

1861 Tull Family

Sanctuary simply refers to the people eating dinner when Ruby comes in to use the phone as "Tull's family" (105). The story "Spotted Horses" (which was published a few months after Sanctuary) is a bit more forthcoming, listing "his wife and three daughters and Mrs. Tull's aunt." On that basis we identify the gender of the family as "female."

1862 Unnamed Memphis Counterman

As Popeye and Temple drive down the Memphis street toward Miss Reba's in Sanctuary, they see "a fat man in a dirty apron with a toothpick in his mouth" inside the diner that they pass (142).

1863 Unnamed Negro Hotel Porter in Memphis

In Sanctuary this porter at the door of the Hotel Gayoso offers to carry Virgil and Fonzo's suitcases, but they "brush past him" (190).

1864 Unnamed Garage Workers 1

Although Sanctuary refers to them at one point as "the garage men" (127), the "white men sitting in titled chairs along the oil-foul wall of the garage across the street" from the jail during the day are associated with only two activities: listening to the convicted murderer sing and chewing, presumably tobacco (115).

1865 Unnamed People at Train Station 1

In Sanctuary the men lounging at the Taylor station who watch Temple as she gets off the train are "chewing slowly" (presumably tobacco) and wearing overalls (36).

1866 Unnamed Men in Square 1

Sanctuary refers to men in the town square several times. In Chapter 17 they are seen "drifting back toward the square after supper" (134). In Chapter 19, looking through the window of Ruby's hotel room, Horace can see "men pitching dollars back and forth between holes in the bare earth beneath and locusts and water oaks" around the courthouse at the center of the square (161).

1867 Unnamed Jefferson Merchants and Professionals 1

When Horace goes downtown on his second day in Jefferson in Sanctuary, he renews his acquaintance with the men he meets around the courthouse: "merchants and professional men," most of whom "remembered him as a boy" (112). They are not otherwise characterized.

1868 Unnamed Mexican Girls

Sanctuary refers to these women at a double remove: Horace is at the Sartoris place when he tells the story of Lee Goodwin at the Old Frenchman place telling him about the "Mexican girls" he met while serving as a sergeant in the U.S. cavalry (109).

1869 Unnamed Middle-Aged Women

On the train to Oxford in Sanctuary are "three middle-aged women" who cannot find seats, because of the "gay rudeness" of the college students who pushed into the car ahead of them (169).

1870 Unnamed Mourners at Red's Funeral

In Sanctuary two of the people in attendance at Red's funeral - "middle-aged women" (246) - are described "weeping quietly," but most seem mainly interested in the free alcohol Gene is providing and in getting the flowers off the crap table so that gambling can resume. They include men in both "dark suits" and "the light, bright shades of spring," and women, the "younger ones" wearing "bright colors" and the older ones "in sober gray and black and navy blue, and glittering with diamonds" (243).

1871 Unnamed Negro Yardman 1

When Temple thinks about her father "sitting on the porch at home" in Sanctuary, she imagines that he is "watching a negro mow the lawn" (51).

1872 Unnamed Negro Yardman 2

The man who works in "the yard" of the Memphis orphanage in Light in August is never named, and appears in the novel only through the story that Doc Hines tells Hightower in Jefferson (383). But when, according to Hines' story, the young Joe Christmas asks him "How come you are a nigger?" (383) his anger is memorable and the response he makes is portentous. Though at first he calls Christmas a "little white trash bastard," he adds, "You are worse than that. You dont know what you are. And more than that, you wont never know . . ." (384).

1873 Unnamed Negro Hotel Porter

The "negro porter of the hotel" where Ruby stays in Sanctuary (135) briefly appears in three separate scenes: showing Ruby to her room in Chapter 16, fetching Horace to the hotel in Chapter 17, and showing Horace where he can wait for a train in Chapter 29. Faulkner may have been thinking of one man in all three cases, or two, or three.

1874 Unnamed Negro Murder Victim

This is the "wife" of the convicted murderer who is in the jail when Goodwin is arrested (114). While Sanctuary never gives her a name, or explains why her husband killed her, the narrative does provide a very vivid description of her death.

1875 Unnamed Negro Murderer

Sanctuary does not name this man, except as the "murderer" (114) who is awaiting his execution in the jail when Goodwin is locked up there. He killed his wife with a razor. According to another unnamed black character, he is the "bes ba'ytone singer in nawth Mississippi!" His constant singing of "spirituals" and blues songs in jail, accompanied by a "chorus" of other blacks outside the window, provides a kind of soundtrack for the novel's main narrative (114-15).

1876 Unnamed Negro Inmate

"Somewhere down the corridor" of the Alabama jail where Popeye awaits trial for murder in Sanctuary "a negro was singing" (310) - not unlike the "negro murderer" who is awaiting his execution in the Jefferson jail where Lee awaits his trial much earlier (114).

1877 Unnamed Negro Prostitutes

The prostitutes who work at the less expensive Memphis brothel to which Clarence takes Virgil and Fonzo in Sanctuary are described as "coffee-colored" (199). Their dresses are "bright," their hair is "ornate" and their smiles are "golden" (199).

1878 Unnamed Negro Waitress

All Sanctuary says about this waitress is that Minnie's husband "went off" with her sometime before the novel begins (210).

1879 Unnamed Negroes outside Jail

Outside the county jail in Sanctuary these Negroes gather in the evenings and sing with the man inside awaiting execution. They wear "natty, shoddy suits and sweat-stained overalls" (114), and have "work-thickened shoulders" (124).

1880 Unnamed Neighbor in Pensacola 1

This is the "neighbor" in Sanctuary who turns in a fire alarm when Popeye's grandmother sets a fire in the attic (305).

1881 Unnamed Neighbor in Pensacola 2

This is the neighbor of Popeye's mother in Sanctuary who reports him for "cutting up a half-grown kitten" (309). It may be the neighbor who reported the fire in the boarding house earlier, but the text gives no indication of that.

1882 Unnamed Officers 1

These "officers" in Sanctuary who search the "ramshackle house" of the "old half-crazed white woman" who manufactures "spells for negroes" may be local policemen, or, since they are looking for whiskey, federal revenue agents (201). In any case, there is nothing alcoholic in the "collection of dirty bottles containing liquid" which they find (201). There must be at least three of them, because two of them "hold" the woman during the search (201).

1883 Unnamed Old Woman in Paris

In Sanctuary, when Temple and her father sit down "in the Luxembourg Gardens" in Paris, this "old woman" comes to them "with decrepit promptitude" to collect the money - four sous - for the seats (316).

1884 Unnamed Oxford Town Boys

The three "town boys" who appear as individuals in Chapter 4 of Sanctuary have separate entries. This entry refers to the aggregate group of young men mentioned in the novel who do not go to the University but do have access to cars which make them desirable dates for Temple on "week nights," between the dances and other weekend social activities on the campus (29). Excluded at those times, these "boys" can only watch Temple from a distance that is socio-economic as well as physical.

1885 Unnamed Negro Men in Brothel

These "two shabby negro men" in Sanctuary whom Clarence, Virgil and Fonzo see arguing with a white man in the hallway of the Negro brothel in Memphis; they may work there (as bouncers, perhaps), or may be customers themselves (198).

1886 Unnamed Parisian Band

The musicians that Temple and her father listen to in the Luxembourg Gardens in Sanctuary are dressed "in the horizon blue of the army" - suggesting they may be a military band, but that is not stated - and play Massenet, Scriabin and Berlioz (316).

1887 Unnamed Parisian Beggars

During Horace's first conversation with Lee Goodwin in his jail cell, the child that Ruby is holding is compared by the narrator of Sanctuary to "the children which beggars on Paris streets carry" (116). Horace has been to France, and is carrying a French novel when the novel begins. The novel's final scene is set in Paris. Still, in the immediate context of the narrow cell that confines Goodwin, the narrative's sudden evocation of life half a world away from Yoknapatawpha comes as a surprise.

1888 Unnamed Parisian Children

The final scene of Sanctuary "in the Luxembourg Gardens" in Paris includes a brief reference to children "shouting" and "sailing toy boats" (316).

1889 Unnamed Parisian Men

Sanctuary's final scene "in the Luxembourg Gardens" in Paris includes a brief reference to "men playing croquet . . . in coats and capes" (316).

1890 Unnamed Parisian Women

Santuary's final scene "in the Luxembourg Gardens" in Paris includes a brief reference to "women [who] sit knitting in shawls" (316).

1891 Unnamed Patrons at the Grotto Club

These are the various dancers and gamblers "at the crap table" (237) who are at the Grotto club the night Popeye takes Temple there in Sanctuary. The dancers are summed up in the phrase about the "movement of feet, the voluptuous hysteria of muscles warming the scent of flesh, of the blood" (233).

1892 Unnamed Pensacola Policeman

The policeman in Sanctuary from whom Popeye's grandmother asks for a match thinks her irrational statements (including the ominous "I bring down the house") are a deliberate effort at humor (307). He tells her three times that she "ought to be in vaudeville."

1893 Unnamed Negro Servant in Pensacola

In Sanctuary this servant works for the unnamed wealthy woman who befriends Popeye's mother. She is not specifically referred to as a Negro, but since nearly all the domestic servants in the fictions are black, we have chosen to identify her that way.

1894 Unnamed People outside Dumfries

As Popeye and Temple approach the town of Dumfries in Sanctuary, they begin seeing other people on the road, though the narrative refers to them in a complex series of phrases. In some cases it cites the means of transportation rather than the people: "pleasure cars Sunday-bent," "Fords and Chevrolets," "now and then a wagon or a buggy" (139). The only occupants specifically mentioned are "swathed women" in the "occasional larger car" and "wooden-faced country people" in trucks (139).

1895 Unnamed Memphis Commissioner 1

Miss Reba's description of the police commissioner who patronizes her brothel in Sanctuary is memorable: "a man fifty years old, seven foot tall, with a head like a peanut" (143). Her description of his behavior with one of her prostitute is even more unforgettable: when his cronies broke into the room "they found him buck-nekkid, dancing the highland fling" (143).

1896 Unnamed Post Office Clerk

The man who works as a clerk in the university branch of the post office in Sanctuary is described as "young," with a "dull face," "horn[-rimmed] glasses" and "meticulous" hair (171). He tells Horace that Temple Drake has quit school. (Less than a decade before he wrote Sanctuary Faulkner himself had been the clerk in this post office.)

1897 Unnamed Residents of Memphis' Restricted District

Sanctuary describes the people who live in "the restricted district" of Memphis through which Red's funeral procession passes in terms of their "faces," which "peer from beneath lowered shades" as it goes by (249). While it is not absolutely clear what "restricted district" refers to, the point of this passage seems to be to juxtapose two worlds in Memphis: the underworld and the respectable (but intimidated) citizenry.

1898 Unnamed People in Downtown Memphis 1

Chapter 21 of Sanctuary describes the various people whom Virgil and Fonzo see in the train station and on the streets of Memphis when they arrive in the city. None are given any individuality, but they are identified as "a stream of people" who "jostle" the newcomers in the depot, where they are also beset by cabmen and a redcap, and, in the Hotel Gayoso and another, unnamed hotel, a porter, bellboys, and "people sitting among the potted plants" in hotel lobbies (188-90).

1899 Unnamed People in Oxford 2

Sanctuary refers generically to the various residents of Oxford who see Temple in the evenings, as she hurries to or from a date. The group includes "townspeople taking after-supper drives," "bemused faculty-members" and graduate students (28).

1900 Unnamed Rich Woman

In Sanctuary, the woman who owns the limousine in which Popeye's grandmother leaves him becomes a kind of godmother to the child, making sure Popeye gets medical attention and often bringing him "to her home in afternoons and for holidays" (308). The narrative does not explain her motives in trying to help, but does show how they come to grief when her attempt to give him a birthday party is defeated by his violent antisocial behavior. Even after Popeye is sent to "a home for incorrigible children" (309), this woman continues to help Popeye's mother support herself (309).

1901 Unnamed Guests at Popeye's Birthday Party

In Sanctuary the people who attend the "children's party" that the wealthy woman in Pensacola holds for Popeye are referred to simply as "guests," and not described at all (309).

1902 Unnamed Shoppers in Pensacola

In Sanctuary the "customers" in the "self-service" Pensacola grocery store are seen "moving slowly along a railing in single file" (306).

1903 Unnamed Spectators in Courtroom 1

Sanctuary describes the people who watch Lee Goodwin's trial from Horace's perspective as he enters the courtroom. From this point of view they are a collection of "heads": "bald heads, gray heads, shaggy heads and heads trimmed to recent feather-edge above sun-baked necks, oiled heads above urban collars and here and there a sunbonnet or a flowered hat" (281). The details suggest that the crowd is mostly male, but drawn from almost all the local social classes. There is, however, no suggestion that any of these people aren't white.

1904 Unnamed Negro Station Porter

The "negro with a broom" in Sanctuary whom Gowan encounters when he wakes up in the Oxford train station is astonished at the young white man's disheveled appearance (35).

1905 Unnamed Store Clerks

In Sanctuary, in order to try to find out where Narcissa went after he sees her in "disappear into a door" in town, Horace asks all the clerks "within the radius of where she must have turned" if they've seen her (261).

1906 Unnamed Suitors of Little Belle

In Sanctuary Horace refers to the various young men who have been calling on his step-daughter Little Belle as "Louis or Paul or Whoever" (13). Horace seems to believe there have been many such suitors, "alert and a little impatient," sharing the hammock in the grape arbor with her in ways he finds very disconcerting (13-14), but Horace's ideas about Belle's sexuality are hardly reliable.

1907 Unnamed Telephone Operator 1

This telephone operator is heard in Sanctuary as "a detached Delsarte-ish voice" that informs Horace his call to Miss Reba has ended (268). (Francois Delsarte was a Frenchman whose instructions for proper pronunciation became famous at the end of the 19th century.)

1908 Unnamed Telephone Operator 2

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

1909 Unnamed Telephone Operator 3

The central office telephone operator - hence called "Central" in The Mansion, at one time a familiar way of referring to telephone operators (413) - who connects Ratliff's long-distance call from Parchman to Gavin Stevens in Jefferson.

1910 Unnamed Telegraph Operator 3

In The Mansion the night telegraph operator lets Mink sleep in the station's waiting room.

1911 Unnamed Telegraph Operator 4

One of the two judges at the horse race in The Reivers is named "Ed" (260). We are assuming he is the judge who is first referred to only as "the night telegraph operator at the depot" (229), but it's just as possible that the first name of Mr. McDiarmid, the other judge, is Ed.

1912 Unnamed Temporary Deputies

In Sanctuary there are "two temporary deputies" at the "entrance to the square" just before Lee is lynched, but although the implication is that they have been deputized to help keep order, they are nowhere to be seen when the lynching occurs (293).

1913 Unnamed Official on Train

The "official" on the train in Sanctuary who "shakes his fist" at Temple for jumping off at Taylor may be the conductor, or perhaps a chaperone from the college (36).

1914 Unnamed Train Passengers 3

In Sanctuary the only occupants of the waiting room at the train station when Horace gets there early in the morning are a couple. The man is characterized by the "overalls" he wears and the "rumpled coat" he carries (167). The woman wears a "calico dress," a "dingy shawl and a new hat" and carries both a parcel and "a straw suitcase" (167).

1915 Unnamed Train Passengers 5

In Sanctuary Horace sees Clarence Snopes talking with "four men" in the smoker car on the train from Oxford to Holly Springs (175).

1916 Unnamed Tulane Student

In Sanctuary, as he tells the men at the Old Frenchman place about his troubles with Little Belle's behavior, Horace mentions a young man whom she apparently met on the train coming "home from school" four days before the novel begins (14). She defends her relationship with him by telling Horace that "he goes to Tulane" (14). Though Horace's objectivity on the subject of Little Belle is not to be trusted, this particular unnamed young man seems to be one of several or perhaps many whom she has brought home; Horace sums them up as "Louis or Paul or Whoever" (13).

1917 Unnamed Alabama Jailer

After Popeye is convicted in Sanctuary, this "turnkey" shows considerable solicitude for him, buying cigarettes for him with the money Popeye gives him, but also sharing information about the murdered man and even, on the day of his execution, trying to give Popeye his change (312).

1918 Unnamed American Soldier 1

This man appears in Sanctuary in the story Ruby tells at two different times, to Temple and and then later to Horace, about how when Lee was stationed in the Philippines he "killed another soldier" in a brawl over a local woman (59).

1919 Unnamed University Dean

The administrator in Sanctuary who puts Temple on academic probation "for slipping out at night," i.e. for dating on weeknights, is referred to simply as "the Dean" (57) - perhaps the Dean of Women Students.

1920 Unnamed University Men

Sanctuary provides a generic description of the male "students in the University" who date Temple on the weekends. They are characterized almost entirely in terms of their clothes - "hatless" even when outside, wearing "knickers and bright pull-overs," or at dances the formally clad "black collegiate arms" and pairs of "black sleeves" (29).

1921 Unnamed Vaudeville Singers

In Sanctuary the "male quartet" hired for Red's funeral from "a vaudeville house" brings "the older women" to tears "singing mother songs" and "Sonny Boy" "in close harmony" (247).

1922 Unnamed White People outside Jail

After describing the convincted "negro murderer" who sings spirituals from inside the jail and the "few negroes" who "gather along the fence" to sing with him (114), Sanctuary goes on to note the "white people" who "slow and stop" to listen (115).

1923 Unnamed Woman in Alley

In Sanctuary Ruby tells Temple that she once gave away a fur coat "to a woman in an alley" (62). Ruby lived in many different places, so there's no way to tell what city the alley might be in - and the text provides no other information about the woman at all.

1924 Unnamed Woman in Grotto Club

While Temple is in the "washroom" of the Grotto club in Sanctuary, she and another woman "examine one another's clothes with brief, covert, cold, embracing glances" (233).

1925 Unnamed Woman in Red Dress

Among the people attending Red's funeral in Sanctuary, this "woman in a red dress" deserves to be singled out. She plays a role that recurs in Faulkner's fiction: the agent of chaos. Just as the crowd "grows quiet" listening to the orchestra play a hymn, she enters "unsteadily"; her first word is "Whoopee" (245). Later, her demand that Joe "get that damn stiff out of here and open the [crap] game," accompanied by "a burst of filthy language" (248), sets off the violence that brings the funeral literally crashing to an end.

1926 Unnamed Negro Woman in Window

In Sanctuary, as Popeye and Temple drive along the street with Miss Reba's on it, they see on the "second storey gallery" of one of the "dingy" houses "a young negress in her underclothes" (142). Her undress and the location of the building suggest she is a prostitute, but that is not made definite.

1927 Unnamed Young Women in New York

During the First World War, Ruby worked in New York City, where according to her description in Sanctuary "even the little ratty girls [were] wearing silk," presumably as presents from all the "soldiers with money to spend" (278).

1928 Aunt Rachel

Aunt Rachel never directly appears in "That Evening Sun." Quentin says she is "old," and lives in a cabin "by herself" near Nancy, smoking "a pipe in the door, all day long" (294). The "Aunt" in her name is clearly conventional, part of the way the Jim Crow culture stereotypes Negroes, but it's not clear whether she is "Jesus' mother": "Sometimes she said she was and sometimes she said she wasn't any kin to Jesus" (294). Quentin's father suggests Nancy could "go to Aunt Rachel's" for safety, but that doesn't happen (306).

1929 Daughter of Mr. Lovelady

Mr. Lovelady's daughter is mentioned in passing in "That Evening Sun." She is described as a "child, a little girl," who lives in the hotel with her father and mother (308). When her mother commits suicide, though, Lovelady "and the child went away" (308). He returns alone, and we learn nothing more about his child's fate.

1930 Mrs. Lovelady

Mrs. Lovelady, the wife of the white man who collects insurance money from the local Negroes in "That Evening Sun," commits suicide "one morning" (308). Quentin's narrative gives no further account or explanation of that act.

1931 Mr. Lovelady

In "That Evening Sun," Nancy tells the Compson children that "I got my coffin money saved up with Mr. Lovelady" - or as Quentin's narrative explains, Mr. Lovelady is "a short, dirty man who collected the Negro insurance, coming around to the cabins or the kitchens every Saturday morning, to collect fifteen cents" toward a fund to pay for their funerals (308). He lives at the hotel with his wife and only daughter. Though he and his family occupy only part of a paragraph, the details of their story are provocative: Mrs. Lovelady commits suicide, and after leaving town with his daughter, Mr.

1932 Unnamed Bad Man

This "bad man" is the antagonist of the story - a kind of grim fairy tale - that Nancy begins to tell the Compson children (302). The question of the racial identity of this man, and the "queen" who also appears in Nancy's unfinished story, is not definitively answerable, but given how closely Nancy's tale is drawn from her own immediate life, it seems appropriate to make both the villain and the heroine of it black.

1933 Unnamed Queen

This "queen" is the protagonist of the grim fairy tale that Nancy begins to tell the Compson children (302). Like Nancy, she "has to cross a ditch to get into her house quick and bar the door," but is afraid of the "bad man" who is hiding in the ditch (303). The question of the racial identity of these characters is not definitively answerable, but given how closely Nancy's tale is drawn from her own immediate life, it seems appropriate to make both the villain and the heroine of it black. This "queen" then is the only upper class Negro character in Faulkner's fiction.

1934 Unnamed Negro Husbands

In the old days described by Quentin's narrative in "That Evening Sun," the husbands of the town's Negro laundresses sometimes "fetch and deliver" the clothes their wives have washed (290).

1935 Unnamed Negro Laundresses 2

Quentin's narrative in "That Evening Sun" begins by evoking the "Negro women" who used to carry the clothes they had washed for their white customers in bundles on their heads (289); now they fetch and deliver it in automobiles or have lost their jobs to commercial laundry services.

1936 Bishop 1

William Avery Bishop (1894-1956) led all Canadian aviators during World War I, being credited with shooting down 72 German planes. The captive German aviator of "Ad Astra" reports that one of his younger brothers, an ace pilot himself, "iss killed by your Bishop . . . that good man" (419).

1937 Das

The name "Das" is a common South Asian name, derived from Sanskrit. One of its meanings, however, is 'servant,' so it may be used by the subadar in "Ad Astra" not as a name but as a kind of title or label. In either case, this character is "the headman" who supervises the native military personnel; after the battalion's disastrous attack on German lines, he reluctantly admits to the subadar that his troops crossed No Man's Land with unloaded rifles, and almost their entire batallion was annihilated (425).

1938 Franz

In "Ad Astra," Franz is the elder of a pair of twins who are younger brothers to the captured German officer. When his older brother refuses to become baron, Franz, as next in line, is passed over because he is already committed to the career of a military officer. Franz becomes baron designate when the younger twin is killed in Berlin by a jealous husband. Franz progresses through the ranks from colonel to "general of staff" (419), but near the end of the War is assassinated by a German soldier in Berlin.

1939 Hume

The character in "Ad Astra" named Hume is probably another Allied aviator, but in the story his role is to narrate the way Sartoris managed to avenge his brother's death.

1940 Monaghan, Grandfather of Buck

This is one of Faulkner's characters who are defined by absence and indeterminacy. In "Ad Astra," when the aviator Monaghan explains his "Shanty Irish" origins, he gives a memorable description of his father, but he cannot trace his ancestry before that: other than saying his father came "out of a peat bog," which suggests the Irish peasantry, Monaghan claims, "I don’t know what my grandfather was. I don’t know if I had one. My father don’t remember one. Likely it could have been one of several" (415).

1941 Monaghan, Father of Buck

An immigrant to the U.S., Monaghan's father brags about his "Shanty Irish" origins, but at the time of "Ad Astra," he is a self-made millionaire who began his rise to wealth by collecting refuse and finally by building municipal sewage systems. Monaghan quotes him: "When you're with your fine friends, the fathers and mothers and sisters of them you met at Yale, ye might just remind them that every man is the slave of his own refuse and so your old dad they would be sending around to the forty-story back doors of their kitchens is the king of them all" (415).