In "Dry September," these are the young women of Jefferson are seen by Minnie Cooper when she goes out alone in the afternoons, as they stroll downtown "with their delicate, silken heads and thin, awkward arms and conscious hips" (175). The narrative calls them "cousins" of Minnie Cooper, using quotation marks to indicate that they are not actual relatives (175).
In Requiem for a Nun's description of 20th century Jefferson, children from various neighborhoods all follow the wagon that delivers ice around town, "eating the fragments of ice which the Negro driver chipped off for them" (189).
The white children of Jefferson don't directly appear anywhere in Intruder in the Dust, but Chick thinks of them three times. He remembers when he and the other "children on [his] street" played a card game with "an old lady" who lived nearby (58). And he notes the absence of the children who should have been on their porches on Sunday morning, "fresh and scrubbed for Sunday school with clutched palm-sweaty nickels" - but "perhaps by mutual consent" Sunday school has been cancelled (38).
The local man who built Yoknapatawpha's first automobile in his "back yard on the edge of town" appears in Faulkner's last four novels. That quotation is from Requiem for a Nun, where he is unnamed but described vividly as "a grease-covered man with the eyes of a visionary monk" (190). In the last two novels of the Snopes trilogy he is named Buffaloe. The Town identifies him as the "city electrician" and a "genius" who "in 1904 . . . drove out of his backyard into the street in the first automobile we had ever seen, made by hand completely" (12).
A "shabby man" with "intense, visionary eyes" in Flags in the Dust, he thinks he has perfected a new prototype airplane (384). When he complains that none of "you damned yellow-livered pilots" will test it for him, Young Bayard agrees to fly it (387).
The short story "A Name for the City" and Requiem for a Nun both characterize the inhabitants of Jefferson in the middle of the 20th century fairly negatively. The novel develops that critique in more detail. The boasting about progress done by Jefferson's members of "Rotary and Lions Clubs and Chambers of Commerce and City Beautifuls" (201, 4) is described as "a furious beating of hollow drums toward nowhere, but merely to sound louder than the next little human clotting to its north or south or east or west, dubbing itself city as Napoleon dubbed himself emperor" (4).
In "Delta Autumn" Ike refers to the illegitimate child that the unnamed young woman brings into the tent only as "a child" and "that" - as in "Is that his?" (278, 277). Its gender is not specified. Swaddled in a "blanket-and-tarpaulin-wrapped bundle," its physical appearance is never described, but legally it is "black" like its mother. Since Don Boyd is its father, its last name could be his, but the story makes it clear that the white father will play no role whatsoever in any future the infant might have.
There are various groups of hunters in the Yoknapatawpha fictions. These "hunters" are the essentially transcendent community created by the narrator at the start of the chapter called "The Bear" in Go Down, Moses. In this passage, "hunters" refers not to any specific characters but to an exalted meta-cultural and spiritual category of "men": they are "not white nor black nor red but men, hunters" (181).
Three sets of hunters are mentioned in "Race at Morning": the hunters from Yoknapatawpha, some of whom are named but not all, and the hunting parties at the Hog Bayou and Hollyknowe camps.
