Submitted by garrettm@u.nort... on Mon, 2012-08-13 16:05
Over time Minnie Cooper's only social contacts become the women who live in her neighborhood - identified as both "neighbors" and "friends" in the text (175, 180). She occasionally goes to movie with them. While the lynching is going on outside town, a group of them take her to another movie, walking through the streets with her, reassuring her with "voices" that sound "like long, hovering sighs of hissing exultation" that "'There's not a Negro on the Square'" (181).
Submitted by garrettm@u.nort... on Mon, 2012-08-13 15:58
This icon represents the young women of Jefferson, "with their delicate, silken heads and thin, awkward arms and conscious hips" (175), who stroll downtown in the afternoon when Minnie Cooper goes out alone. The narrative calls them "cousins" of Minnie Cooper, using quotation marks to indicate that they are not actual relatives (175).
Submitted by garrettm@u.nort... on Mon, 2012-08-13 15:52
This icon represents the young men and women in the audience at the movie theater where Minnie Cooper and her friends go. These young couples are described as "scented and sibilant in the half dark, their paired backs in silhouette delicate and sleek, their slim, quick bodies awkward, divinely young" (181).
Submitted by garrettm@u.nort... on Thu, 2012-08-02 12:53
On his way back to Jefferson after leaping out of McLendon's car, Hawkshaw stops and crouches "in the weeds" next to the road until the lynch mob's cars pass. It is unclear how far away from Jefferson he is at this point, but he can see the glare of the town "beneath the dust" (179).
Submitted by garrettm@u.nort... on Thu, 2012-08-02 12:48
In "Dry September" the lynchers drive "out of town" along a "high road" to get to the "rutted lane" that leads to the ice plant and then return to the high road again to drive still further from town before turning into the "narrow road" that leads to the brick kiln (176, 178, 179). The story isn't explicit about where these roads are, or how far the cars travel, but does seem to suggest the high road leads toward the direction of the rising "twice-waxed moon" (175, 177) - i.e. east. At any rate, that's what our plotting of the story assumes.
Although the story's narrative never takes readers to Texas, several of the story's characters leave Yoknapatawpha to spend time there. A few of Eula Varner's suitors are reported heading for Texas after it becomes suspected that she is pregnant, and after their marriage Eula and Flem spend a year there, to try to disguise the illegitimacy of her child. When Flem and his new family return to Yoknapatawpha, they bring with them from Texas the spotted ponies, and "the Texas man" who auctions them off.
Submitted by cornellgoldw@fo... on Sun, 2012-07-29 11:29
"A Rose for Emily" is a first-person narrative, but the identity of its narrator is very hard to establish. It seems very safe to say that his race is "White" - note, for example, how consistently he refers to Tobe as "the Negro" (120, 121 etc.). Our icon also represents the narrator as male; at times the differing actions and motives of "the men" and "the women" are narrated with equal detachment (119, etc.), but a phrase like "only a woman could have believed" mayor Sartoris' fiction about the taxes makes it seem more likely that narrator is a man.
The narrative does not take us to the Bundren place, but the narrator tells us he goes there from Mrs. Littlejohn's on the day after the auction trying to sell Mrs. Bundren a sewing machine. He describes the farm as "up past Whiteleaf" (174), but provides no clue about where "Whiteleaf" might be. The location of the farm on our map assumes "Mrs. Bundren" is Addie Bundren, from As I Lay Dying, and locates the farm where Faulkner himself put it on his 1936 map of Yoknapatawpha.
Henry Tull and his wife, daughters and wife's aunt have a close encounter with Eck Snopes' spotted horse in the middle of this "one-way [i.e. one-lane] bridge" over a creek about a quarter mile from Mrs. Littlejohn's lot (176).
