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By juxtaposing these two paragraphs, with their lengthy descriptions of Jefferson, Faulkner establishes one of the major themes found throughout all of his short stories, the difference between the present and the past, and how that difference affects people in dissimilar ways.We are reminded of section V in "A Rose for Emily," in which that section's second paragraph, composed of a short sentence and then a very lengthy one, describes how old-timers, "confusing time with its mathematical progression," psychologically still live in the past even though a "narrow bottle-neck of the most recent decade of years" separates them from it.Faulkner creates sentences that, through a series of interrupting phrases, emphasize the weather's effect on the townspeople. the ceiling fan stirred, without freshening it, the vitiated air, sending back upon them, in recurrent surges of stale pomade and lotion, their own stale breath and odor . ." Stylistically, these descriptions interrupt the sentence's natural progression of subject-verb and emphasize the weather's negative effect on the men gathered in the barbershop.
Witchcraft in Mississippi / Bernard De Voto -- Poe in Mississippi / Malcolm Cowley -- The itinerary of an ideological dream / Philip Rahv -- Mr. Volpe -- Chronology and genealogy : the authority of fiction and the fiction of authority / Robert Dale Parker -- The biblical background of Absalom, Absalom!
Faulkner adds a cubit / Paula Snelling -- Reviewing reviews / Saturday Review of Literature -- The Sutpen-Bon-Coldfield family. Folsom -- Charles Bon : the New Orleans myth made flesh / Adelaide P. Rosa Coldfield as daughter : another of Faulkner's lost children / Linda Wagner-Martin -- The other Coldfields : gender, commerce, and the exchange of bodies in Absalom, Absalom!
The first paragraph, one long sentence, portrays the town's present condition: The streets are paved, there is electricity, and black women still wash white people's laundry, but now they transport themselves and the laundry in automobiles.
The second paragraph, like the first, is one complete sentence, but it portrays Jefferson's past: The shade trees, which in the present have been cut down to make room for electrical poles, still stand, and the black women who wash for white people carry the laundry in bundles on their heads, not in automobiles.
Oftentimes, a description of an object will be followed by a description of a character: In this way, the object and character, because they have been similarly described, take on the appearance of each other.
For example, at the beginning of "A Rose for Emily," Faulkner describes the Grierson house: "It was a big, squarish frame house that had once been white, decorated with cupolas and spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once been our most select street." Following this, Faulkner then characterizes Miss Emily, and the "heavily lightsome" style of the house parallels her physical appearance: Her skeleton is "small and spare" — "lightsome" — yet, because of her slight figure, "what would have been merely plumpness in another was obesity in her" — "heavily lightsome." The woman and the house she lived in her entire life are inseparable.Sutpen and southern history / Melvin Backman -- Fathers and sons / John T. Davis -- Fathers and strangers : from patriarchy to counterfamily in Faulkner's Absalom, Absalom! The significance of Thomas Sutpen / Carolyn Porter -- Sutpen as patriarch / André Bleikasten -- A brief for Thomas Sutpen / Woodrow Stroble Sutpen's children. "We have waited long enough" : Judith Sutpen and Charles Bon / Elisabeth Muhlenfeld -- The Judith-Henry-Charles triangle : the innermost kernel of Faulkner's Civil War in the heart / Jun Liu -- Silence, indirection, and Judith Sutpen / Claire Crabtree -- What Clytie knew / Loren F. This conflict culminates in Sarty's warning Major de Spain that his father is going to burn the major's barn.It is after Sarty warns de Spain and then runs toward the major's barn that we have one of the best examples of Faulkner's narrative complexity.When he hears the shots, he instinctively cries out to his father and then begins to run. running again before he knew he had begun to run, stumbling, tripping over something and scrabbling up again without ceasing to run, looking backward over his shoulder at the glare as he got up, running on among the invisible trees, panting, sobbing, 'Father! ' " The sentence builds and builds, faster and faster, until it culminates in Sarty's desperate cry to his father, who he fears has been killed.Faulkner intensifies the scene by repeating the verb "run" and quickens the pace by including words that end in "ing": ". The increasing intensity of the sentence mirrors the young boy's increasing concern for his father's safety.Faulkner, William, 1897-1962 -- Characters -- Sutpen family, Faulkner, William, 1897-1962 -- Characters -- Sutpen family, Faulkner, William, 1897-1962, Sutpen family (Fictitious characters), Families in literature, Families in literature, Literature, Sutpen family (Fictitious characters), Southern States -- In literature, Southern States -- In literature, Southern States, English fiction, United Statesxvii, 289 pages,  pages of plates : 25 cm Collection of reviews and critical essays on Faulkner's Sutpen family, who appear in his novel, "Absalom, Absalom! Cash -- Forms of plantation acculturation / Ulrich Bonnell Phillips -- Myth against history : the case of southern womanhood / Sarah N."Includes bibliographical references and index Evangeline ; Sutpen I / William Faulkner -- William Faulkner's Revolt in the earth / Bruce F. Evans -- Southern women, southern households / Elizabeth Fox-Genovese -- Miscegenation / Sidney Kaplan -- The war for states' rights / The Survivors' Association of Lamar Rifles -- Early understandings.What is important to remember is that Faulkner always has a purpose in choosing which different stylistic technique to use at which point in his stories: The narrative devices mirror the psychological complexity of the short stories' characters and settings.One of the most effective ways Faulkner establishes depth of character and scene is by using long lists of descriptions.