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Code title biography
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).

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).

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.

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).

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).

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.

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).

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).

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.

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).

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).

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).

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).

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).

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).

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.

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.

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).

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).

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).

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).

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).

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.

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).

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).

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).

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).

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).

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."

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).

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).

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).

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.

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.

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.

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.

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).

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.

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.

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.

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).

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.

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).

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).

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.

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.

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).

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).

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.

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.

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.

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.

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.)

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.

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).

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).

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.

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.

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.

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).

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).

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).

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.

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).

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.

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).

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).

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).

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.

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).

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).

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).

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.

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).

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.

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.

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.

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).

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).

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).

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.

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).

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).

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.

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).

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).

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).

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).

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).

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.

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.

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).

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).

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.

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).

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.

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).

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.

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).

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).