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.
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).
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).
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.
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.
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).
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.
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).
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).
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).
