This character is created in "That Evening Sun" by Mr. Compson, either because of his assumptions about someone like Jesus, or because he desires to reassure Nancy that Jesus won't return; she is the new wife that Jesus has married in St Louis (295).
In "Raid" and then again in The Unvanquished, these are the women and children that Bayard sees along the road who, after the Yankee troops have burned their big houses, now live in cabins that were once used by their slaves, and he and his grandmother also do at Sartoris.
These characters are created by an implication in "That Evening Sun." When Mr. Compson tells Nancy that she should "just let white men alone" (295), he suggests that Mr. Stovall may not be the only white man with whom she has had sex. So by that implication, these are the other men who buy sex from Nancy.
These are "the white men" from whom Charles E. C-V. Bon, a "white-colored man" (167) with a "coal black" wife (166) in Absalom!, deliberately provokes a racial reaction: they refuse to believe he was "a negro," believing instead that his relationship with her proves that he was "besotted" by "sexual perversion" (167).
In The Reivers, this "white man" is the "blackguard" who takes advantage of Bobo's "country-bred" naivete to get him in debt, and then forces him to steal the horse named Coppermine (281).
In "Death Drag" this is one of the first people to arrive at the airfield after the plane appears over town. The fact that he arrives in a wagon and not a car suggests that he might be a farmer.
In "A Courtship" this man is introduced in the discussion of the new laws that came into the "American" part of Mississippi after Issetibbeha and General Jackson signed a treaty. The narrator mentions "the white man [who] disappeared" under suspicious circumstances and the "uproar" that followed, which included rumors that "he had been eaten," presumably by Indians (361). The narrator is quite sure he had not been eaten, because "he had been the sort of white man which even other white men did not regret" (361), but that is all we learn about him.
In The Sound and the Fury the boy who carries suitcases as part of Deacon's ritual way of greeting new Harvard students from the South is white. When Quentin remembers being met this way, he describes "a moving mountain of luggage" that was being carried by "a white boy of about fifteen" (97).
