Absalom, Absalom!
by William Faulkner

Quentin Compson Character Analysis

Quentin Compson is one of the book’s main characters, though he hardly speaks any words of his own. His primary function is to listen to, absorb, and pass down the stories that Mr. Compson and Miss Rosa tell him about Thomas Sutpen. When he later begins his studies at Harvard, he tells the stories of Sutpen to his roommate, Shreve, and listens as Shreve relates the stories back to him. As a Canadian, Shreve doesn’t grasp the weight and significance the stories hold for Quentin, who was born and raised in the South. Meanwhile, Quentin’s relationship to the South is complicated, haunted, and the source of much anguish for him. Indeed, the novel’s recurring imagery of ghosts, demons, and other supernatural entities reflects the symbolic “curse” that the inability to acknowledge the enduring legacy of slavery has cast on the region and its inhabitants. The story that Quentin tells Shreve ends with Rosa and Quentin traveling to Sutpen’s Hundred and finding Henry Sutpen hidden in the old house there. Later, Clytie lights the house on fire, killing herself and Henry and symbolically ending Sutpen’s “design.” After Quentin finishes telling his story, Shreve demands to know why Quentin “hates” the South, and the novel ends with Quentin protesting to Shreve—and later to himself—that he does not hate it.

Quentin Compson Quotes in Absalom, Absalom!

The Absalom, Absalom! quotes below are all either spoken by Quentin Compson or refer to Quentin Compson. For each quote, you can also see the other characters and themes related to it (each theme is indicated by its own dot and icon, like this one:
Storytelling, Perspective, and Truth  Theme Icon
).

Chapter 1 Quotes

Then hearing would reconcile and he would seem to listen to two separate Quentins now—the Quentin Compson preparing for Harvard in the South, the deep South dead since 1865 and peopled with garrulous outraged baffled ghosts, listening, having to listen, to one of the ghosts which had refused to lie still even longer than most had, telling him about old ghost-times;

Related Characters: Quentin Compson, Rosa Coldfield
Related Symbols: Ghosts and the Supernatural 
Page Number and Citation: 3
Explanation and Analysis:

His childhood was full of them; his very body was an empty hall echoing with sonorous defeated names; he was not a being, an entity, he was a commonwealth. He was a barracks filled with stubborn back-looking ghosts still recovering, even forty-three years afterward, from the fever which had cured the disease, waking from the fever without even knowing that it had been the fever itself which they had fought against and not the sickness, looking with stubborn recalcitrance backward beyond the fever and into the disease with actual regret, weak from the fever yet free of the disease and not even aware that the freedom was that of impotence.

Related Characters: Rosa Coldfield, Thomas Sutpen, Quentin Compson
Related Symbols: Ghosts and the Supernatural 
Page Number and Citation: 6
Explanation and Analysis:

Maybe you have to know anybody awful well to love them but when you have hated somebody for forty-three years you will know them awful well so maybe it’s better then maybe it’s fine then because after forty-three years they cant any longer surprise you or make you either very contented or very mad.

Related Characters: Rosa Coldfield, Quentin Compson, Thomas Sutpen
Related Symbols: Ghosts and the Supernatural 
Page Number and Citation: 9
Explanation and Analysis:

Chapter 2  Quotes

It was a day of listening too—the listening, the hearing in 1909 even yet mostly that which he already knew since he had been born in and still breathed the same air in which the church bells had rung on that Sunday morning in 1833 […].

Related Characters: Quentin Compson, Mr. Compson, Rosa Coldfield, Thomas Sutpen
Page Number and Citation: 22
Explanation and Analysis:

He might not have gone out of his way to keep Sutpen in jail, but doubtless the best possible moral fumigation which Sutpen could have received at the time in the eyes of his fellow citizens was the fact that Mr Coldfield signed his bond—something he would not have done to save his own good name even though the arrest had been a direct result of the business between himself and Sutpen—that affair which, when it reached a point where his conscience refused to sanction it, he had withdrawn from and let Sutpen take all the profit, refusing even to allow Sutpen to reimburse him for the loss which, in withdrawing, he had suffered, though he did permit his daughter to marry this man of whose actions his conscience did not approve. This was the second time he did something like that.

Related Characters: Mr. Compson (speaker), Goodhue Coldfield, Thomas Sutpen, Ellen Coldfield, Rosa Coldfield, Quentin Compson
Page Number and Citation: 38-39
Explanation and Analysis:

Chapter 3 Quotes

He brought the two women deliberately; he probably chose them with the same care and shrewdness with which he chose the other livestock—the horses and mules and cattle—which he bought later on.

Related Characters: Mr. Compson (speaker), Clytie, Quentin Compson, Rosa Coldfield, Thomas Sutpen
Related Symbols: Sutpen’s Design
Page Number and Citation: 48
Explanation and Analysis:

That’s what Miss Rosa heard. Nobody knows what she thought.

Related Characters: Mr. Compson (speaker), General Compson, Quentin Compson, Rosa Coldfield, Henry Sutpen, Thomas Sutpen, Charles Bon, Ellen Coldfield
Page Number and Citation: 62
Explanation and Analysis:

Chapter 4 Quotes

There was no time, no interval, no niche in the crowded days when he could have courted Judith. You can not even imagine him and Judith alone together. Try to do it and the nearest you can come is a projection of them while the two actual people were doubtless separate and elsewhere—two shades pacing, serene and untroubled by flesh, in a summer garden […].

Related Characters: Mr. Compson (speaker), Rosa Coldfield, Charles Bon, Thomas Sutpen, Judith Sutpen, Quentin Compson
Page Number and Citation: 77
Explanation and Analysis:

“[…] Oh he was shrewd, this man whom for weeks now Henry was realising that he knew less and less, this stranger immersed and oblivious now in the formal, almost ritual, preparations for the visit, finicking almost like a woman over the fit of the new coat which he would have ordered for Henry, forced Henry to accept for this occasion, by means of which the entire impression which Henry was to receive from the visit would be established before they even left the house, before Henry ever saw the woman: and Henry, the countryman, the bewildered, with the subtle tide already setting beneath him toward the point where he must either betray himself and his entire upbringing and thinking, or deny the friend for whom he had already repudiated home and kin and all […].”

Related Characters: Mr. Compson (speaker), Quentin Compson, Henry Sutpen, Charles Bon, Thomas Sutpen, Charles Bon’s Mistress
Page Number and Citation: 90
Explanation and Analysis:

Chapter 5 Quotes

That is the substance of remembering—sense, sight, smell: the muscles with which we see and hear and feel—not mind, not thought: there is no such thing as memory: the brain recalls just what the muscles grope for: no more, no less: and its resultant sum is usually incorrect and false and worthy only of the name of dream.

Related Characters: Rosa Coldfield (speaker), Quentin Compson, Thomas Sutpen, Mr. Compson
Page Number and Citation: 115
Explanation and Analysis:

Now you will ask me why I stayed there. I could say, I do not know, could give ten thousand paltry reasons, all untrue, and be believed:—

Related Characters: Rosa Coldfield (speaker), Quentin Compson, Goodhue Coldfield, Charles Bon, Thomas Sutpen, Mr. Compson
Page Number and Citation: 123
Explanation and Analysis:

Chapter 6 Quotes

Tell about the South. What’s it like there. What do they do there. Why do they live there. Why do they live at all […]

Related Characters: Shreve McCannon, Quentin Compson
Related Literary Devices:
Page Number and Citation: 142
Explanation and Analysis:

“Yes,” Quentin said. He sounds just like Father he thought, glancing (his face quiet, reposed, curiously almost sullen) for a moment at Shreve leaning forward into the lamp, his naked torso pink-gleaming and baby-smooth, cherubic, almost hairless, the twin moons of his spectacles glinting against his moonlike rubicund face, smelling (Quentin) the cigar and the wistaria, seeing the fireflies blowing and winking in the September dusk.

Related Characters: Quentin Compson (speaker), Shreve McCannon, Mr. Compson
Page Number and Citation: 147-148
Explanation and Analysis:

But you were not listening, because you knew it all already, had learned, absorbed it already without the medium of speech somehow from having been born and living beside it, with it, as children will and do […]

Related Characters: Quentin Compson (speaker), Shreve McCannon, Thomas Sutpen
Page Number and Citation: 172
Explanation and Analysis:

Chapter 7 Quotes

“So he just wanted a grandson,” he said. “That was all he was after. Jesus, the South is fine, isn’t it. It’s better than the theatre, isn’t it. It’s better than Ben Hur, isn’t it. No wonder you have to come away now and then, isn’t it.”

Related Characters: Shreve McCannon (speaker), Quentin Compson, Thomas Sutpen, Mr. Compson, Rosa Coldfield
Related Symbols: Sutpen’s Design
Page Number and Citation: 176
Explanation and Analysis:

“His trouble was innocence. All of a sudden he discovered, not what he wanted to do but what he just had to do, had to do it whether he wanted to or not, because if he did not do it he knew that he could never live with himself for the rest of his life […].”

Related Characters: Quentin Compson (speaker), Shreve McCannon, Thomas Sutpen, General Compson
Related Symbols: Doors and Gates, Sutpen’s Design
Page Number and Citation: 178
Explanation and Analysis:

Chapter 8 Quotes

There would be no deep breathing tonight.

Related Characters: Quentin Compson, Shreve McCannon, Thomas Sutpen
Page Number and Citation: 235
Explanation and Analysis:

That was why it did not matter to either of them which one did the talking, since it was not the talking alone which did it, performed and accomplished the overpassing, but some happy marriage of speaking and hearing wherein each before the demand, the requirement, forgave condoned and forgot the faulting of the other—faultings both in the creating of this shade whom they discussed (rather, existed in) and in the hearing and sifting and discarding the false and conserving what seemed true, or fit the preconceived—in order to overpass to love, where there might be paradox and inconsistency but nothing fault nor false.

Related Characters: Quentin Compson, Shreve McCannon, Thomas Sutpen
Page Number and Citation: 253
Explanation and Analysis:

—Yes. What else can I do now? I gave him the choice. I have been giving him the choice for four years.

Related Characters: Charles Bon (speaker), Henry Sutpen, Judith Sutpen, Thomas Sutpen, Quentin Compson, Shreve McCannon
Related Symbols: Sutpen’s Design
Page Number and Citation: 285
Explanation and Analysis:

Chapter 9 Quotes

Wait. Listen. I’m not trying to be funny, smart. I just want to understand it if I can and I dont know how to say it better. Because it’s something my people haven’t got. Or if we have got it, it all happened long ago across the water and so now there aint anything to look at every day to remind us of it. We dont live among defeated grandfathers and freed slaves […] and bullets in the dining room table and such, to be always reminding us to never forget.

Related Characters: Shreve McCannon (speaker), Quentin Compson
Related Symbols: Ghosts and the Supernatural 
Page Number and Citation: 289
Explanation and Analysis:

“Yes. I remember your grandpaw. You go up there and make her come down. Make her go away from here. Whatever he done, me and Judith and him have paid it out. You go and get her. Take her away from here.”

Related Characters: Clytie (speaker), Quentin Compson, General Compson, Judith Sutpen, Charles Bon, Thomas Sutpen, Henry Sutpen, Rosa Coldfield
Page Number and Citation: 296
Explanation and Analysis:

“[…] Now I want you to tell me just one more thing. Why do you hate the South?”

“I dont hate it,” Quentin said, quickly, at once, immediately; “I dont hate it,” he said. I dont hate it he thought, panting in the cold air, the iron New England dark: I dont. I dont! I dont hate it! I dont hate it!

Related Characters: Shreve McCannon (speaker), Quentin Compson (speaker), Rosa Coldfield, Henry Sutpen
Page Number and Citation: 303
Explanation and Analysis:
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Quentin Compson Character Timeline in Absalom, Absalom!

The timeline below shows where the character Quentin Compson appears in Absalom, Absalom!. The colored dots and icons indicate which themes are associated with that appearance.
Chapter 1
The South  Theme Icon
On a hot afternoon in September, Quentin sits with Miss Rosa Coldfield in Miss Rosa’s stifling, dim room. The blinds to the... (full context)
Storytelling, Perspective, and Truth  Theme Icon
The South  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
Quentin listens to Rosa speak. Her voice sounds as though a ghost is haunting it, and... (full context)
Storytelling, Perspective, and Truth  Theme Icon
The South  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
Miss Rosa says she’s telling all this to Quentin because she figures he’ll pursue a career in writing—it’s what all the “Southern gentlemen and... (full context)
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The South  Theme Icon
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Quentin recalls how earlier that day, Miss Rosa Coldfield sent him a note demanding he see... (full context)
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The South  Theme Icon
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Rosa’s family is famous around Jefferson, Mississippi (where Rosa and Quentin live). Her father, Goodhue Coldfield, was a conscientious objector who hid from Confederate soldiers in... (full context)
Storytelling, Perspective, and Truth  Theme Icon
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When Quentin returns home that evening, he asks his father, Mr. Compson, why Miss Rosa chose him... (full context)
The South  Theme Icon
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Rosa asks Quentin, “Is it any wonder that Heaven saw fit to let us lose?” He says it... (full context)
Storytelling, Perspective, and Truth  Theme Icon
The South  Theme Icon
The Limits of Ambition  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
...the shows—only Henry. Ellen wishes she could believe him. In the present, Rosa explains to Quentin that she didn’t actually witness this scene—she wasn’t there to see Judith and a young... (full context)
Chapter 2 
Storytelling, Perspective, and Truth  Theme Icon
The Limits of Ambition  Theme Icon
The summer air smells of wistaria. It’s twilight, and Quentin sits outside with his father, Mr. Compson, waiting for it to be time to listen... (full context)
The South  Theme Icon
The Limits of Ambition  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
...desperate for a meal after going days without food. General Compson once told his son, Quentin’s father, that Sutpen didn’t raise his voice to his enslaved men—instead, he controlled them by... (full context)
Chapter 3
Storytelling, Perspective, and Truth  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
...at sixteen”—isn’t jealous of Judith. Nor does she feel sorry for herself. (When Ellen told Quentin’s grandmother about Bon, Mr. Compson explains to Quentin, Quentin’s grandmother felt it sounded like a... (full context)
Chapter 4
Storytelling, Perspective, and Truth  Theme Icon
The South  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
It’s still not dark enough for Quentin to go to Miss Rosa’s—not as dark as she’d prefer it, anyway. Quentin imagines her... (full context)
Storytelling, Perspective, and Truth  Theme Icon
The South  Theme Icon
The Limits of Ambition  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
Mr. Compson, still holding the letter, sits with Quentin on the veranda. Continuing his story about the Sutpen saga, he muses that Henry gave... (full context)
Storytelling, Perspective, and Truth  Theme Icon
In the present, Mr. Compson hands the letter to Quentin. Quentin takes it and opens it carefully, as though it’s merely “the intact ash of... (full context)
Storytelling, Perspective, and Truth  Theme Icon
The South  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
The letter is undated, but from its contents Quentin learns it’s 1865. In the letter, Bon talks of the hardship and suffering he’s experienced... (full context)
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The Limits of Ambition  Theme Icon
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In the present, Quentin finishes reading the letter. Mr. Compson explains that Clytie and Judith got to work making... (full context)
Chapter 5
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 The narrative switches back to Rosa telling her story to Quentin, picking up after Wash Jones tells her about Bon being killed. Rosa describes how she... (full context)
Storytelling, Perspective, and Truth  Theme Icon
The Limits of Ambition  Theme Icon
...to him represent[s].” (As Rosa, in the present, relates this part of the story to Quentin, her tone grows vengeful and more bitter.) (full context)
The Limits of Ambition  Theme Icon
But, Rosa assures Quentin, she did forgive Sutpen for the insult. In fact, she feels she “had nothing to... (full context)
Storytelling, Perspective, and Truth  Theme Icon
The South  Theme Icon
Miss Rosa’s story trails off as Quentin stops listening and considers how he, too, cannot walk through “that door.” He imagines the... (full context)
Chapter 6
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The South  Theme Icon
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The narrative picks up in 1910 in Cambridge, Massachusetts. Quentin and his roommate Shreve, a Canadian, are sitting in their dorm room at Harvard. An... (full context)
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Quentin has been telling Shreve what happened after Miss Rosa told him that someone was hiding... (full context)
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The South  Theme Icon
The Limits of Ambition  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
Shreve continues to clarify points of the story Quentin has told him. After turning Henry against Bon, prohibiting Bon’s marriage to Judith, poisoning Henry... (full context)
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The South  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
As Shreve talks, Quentin thinks to himself, “He sounds just like Father.” Quentin observes Shreve, “naked torso pink-gleaming and... (full context)
Storytelling, Perspective, and Truth  Theme Icon
...the present, Shreve halts his retelling of the Sutpen saga to ask about a story Quentin told him about hunting quail with Mr. Compson. The narrative shifts away from the ambiguous... (full context)
The South  Theme Icon
The Limits of Ambition  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
Mr. Compson leads Luster and Quentin into the cedars, and it’s there that Quentin sees the gravestones of Ellen Coldfield Sutpen... (full context)
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As Mr. Compson speaks, Quentin can imagine Sutpen leading his suffering troops into Pennsylvania. Then he led them through the... (full context)
Storytelling, Perspective, and Truth  Theme Icon
Quentin asks Mr. Compson about the other three gravestones, which belong to Charles Bon, Charles Etienne... (full context)
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Social Taboos, Racism, and Inherited Trauma  Theme Icon
...afternoon in the summer of 1870—the summer Judith sold the store. In Mr. Compson’s telling, Quentin’s grandfather witnesses the arrival of Bon’s mistress—whom he assumes has come in response to Judith... (full context)
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Quentin’s grandfather isn’t sure who—Judith or Clytie—tells Charles Etienne he must be Black.  Before this, the... (full context)
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Social Taboos, Racism, and Inherited Trauma  Theme Icon
...his own defense at the courtroom. The justice, Jim Hamblett, is making an indictment when Quentin’s grandfather enters and interrupts Hamblett’s speech. He pays Charles Etienne’s fine and takes Charles Etienne... (full context)
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Judith waits outside Quentin’s grandfather’s office while Charles Etienne and Quentin’s grandfather speak. Quentin’s grandfather asks if Charles Etienne... (full context)
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But nobody really knows what words Judith and Charles Etienne exchanged that day; certainly, Quentin’s grandfather doesn’t know. He only knows the story town gossip has settled on. After speaking... (full context)
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The narrative shifts back to Quentin’s perspective as he, Mr. Compson, and Luster look on the gravestones while Mr. Compson tells... (full context)
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The South  Theme Icon
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The narrative shifts to Quentin’s memory of himself, Luster, and some other boys their age approaching the old cabin and... (full context)
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“Yes,” Quentin says, as the story shifts forward in time to 1910. He and Shreve are at... (full context)
Chapter 7
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It’s cold in Shreve and Quentin’s room in Cambridge. Shreve glibly announces that the point of Quentin’s story is that “he... (full context)
The Limits of Ambition  Theme Icon
Quentin’s story moves back in time to summarize Sutpen’s origins. Sutpen is born in 1808 in... (full context)
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Social Taboos, Racism, and Inherited Trauma  Theme Icon
...the cave-like space under a fallen oak tree. (When Sutpen later recounted the insult to Quentin’s grandfather, Quentin relates to Shreve in the novel’s present, Sutpen insisted that he wasn’t angry... (full context)
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Sutpen apparently conveyed this story of his youth to Quentin’s grandfather as they waited for Sutpen’s enslaved Black men and dogs to track down the... (full context)
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Sutpen told Quentin’s grandfather that he attended school for a few months when he was 13 or 14,... (full context)
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Quentin’s story of Sutpen’s origins continues. Sutpen works his way up in the West Indies, overseeing... (full context)
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In the present, Shreve interrupts Quentin’s story, urging Quentin, “Go on.” Quentin repeats the words he spoke before Shreve’s interrupted him:... (full context)
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Quentin tells Shreve that it took Sutpen 30 years to continue telling the story to Quentin’s... (full context)
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...to ask about Sutpen’s shady business dealings and how Mr. Coldfield was involved in them. Quentin only knows vague details and mentions something about “a bill of lading” and a questionable... (full context)
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Shreve urges Quentin to continue the story of Sutpen’s “design,” and Quentin obliges, telling the story Sutpen resumed... (full context)
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As Quentin speaks, Shreve jokingly remarks that Quentin sounds just like his father. This prompts Quentin to... (full context)
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Back in the past, as Sutpen tells his story to Quentin’s grandfather, he tries to explain his choice to disown his first wife and child. Quentin’s... (full context)
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At this point, Shreve wordlessly rises and goes to put on his bathrobe, leaving Quentin alone at the table with the opened letter. When he returns, he urges Quentin to... (full context)
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Quentin explains that General Compson thinks that Sutpen probably named Charles Bon himself, just as he’d... (full context)
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Shreve interrupts Quentin to ask why Quentin’s father told Quentin that the fight between Sutpen and Henry (and... (full context)
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Quentin continues his story. Upon realizing that Bon is the son he abandoned in the West... (full context)
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...story) that there is no stopping Bon, so he shifts his focus to Henry. Sutpen (Quentin’s grandfather believed) knows that Henry will take “the lie” Sutpen tells him as truth. He... (full context)
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Sutpen, upon returning home from the war, goes to see Quentin’s grandfather to see if he can guess what “mistake” Sutpen made and how it has... (full context)
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Shreve interrupts Quentin’s story at this point to clarify that Quentin’s grandfather didn’t know what Sutpen was talking... (full context)
The South  Theme Icon
Social Taboos, Racism, and Inherited Trauma  Theme Icon
...Sutpen “chose lechery,” making a joke that he would do the same. Then he asks Quentin to continue telling Sutpen’s story. Quentin notes the mocking tone of Shreve’s remark and inwardly... (full context)
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From Sutpen, Quentin’s grandfather learns that Sutpen rode to Quentin’s grandfather’s old regiment’s headquarters and spoke to Henry... (full context)
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In the present, Quentin briefly finds himself unable to speak, becoming consumed with anxiety about “hav[ing] to hear it... (full context)
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The narrative (from a different but still unclear perspective) then documents Quentin’s father’s thoughts on Sutpen’s actions in the aftermath of Bon’s death. Mr. Compson speculates that... (full context)
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Quentin’s story picks up with Sutpen’s efforts to regain his wealth following the Civil War. He... (full context)
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...town flaunting these gifts from Sutpen—beads and ribbons, and even a new dress. One day, Quentin’s grandfather ventures by Sutpen’s store and hears Sutpen and Wash arguing about Milly.  (full context)
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News of Wash’s murder of Sutpen spreads around town. Quentin’s grandfather, Major de Spain (the sheriff), and a group of other men assemble, bringing dogs... (full context)
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...years, could insult Milly, taunting Wash Jones into killing first him and then the baby. Quentin looks up, puzzled, and corrects Shreve: the baby was a girl. Shreve only says, “Oh,”... (full context)
Chapter 8
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Quentin and Shreve sit in a college sitting room.  Shreve continues to make sense of Quentin’s... (full context)
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Quentin and Shreve continue to debate what must have happened in the library that day. Shreve... (full context)
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Next Shreve and Quentin imagine how Bon came to attend college. In their retelling, Bon leaves home to attend... (full context)
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In Shreve and Quentin’s retelling of the story, the lawyer sends a letter to Henry Sutpen, introducing Bon to... (full context)
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In the novel’s present, Shreve announces to Quentin that they’re now “going to talk about love.” In Shreve’s telling of the story, he... (full context)
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Shreve and Quentin continue their story, picking up the Christmas that Henry invites Bon to accompany him to... (full context)
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Quentin and Shreve’s story of Henry and Bon continues. Henry and Bon return to Sutpen’s Hundred—Bon’s... (full context)
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In the present, Shreve stops speaking, and he and Quentin sit together in silence. It’s not even clear which of them has been retelling Sutpen’s... (full context)
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...sugar planter” whose father had lied to Sutpen about her racial background. In Shreve and Quentin’s imagined version of the story, she already knows that Bon is “in love” with Judith—Henry... (full context)
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In Shreve and Quentin’s telling of the story, the lawyer and Bon will finally reach an understanding—if only an... (full context)
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...the Union, and then there are two presidents. Then the Civil War begins. Shreve and Quentin imagine the conversation Henry and Bon must have had around that time. Henry, they imagine,... (full context)
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At this point, Quentin and Shreve imagine Bon and Henry fighting in the Battle of Shiloh. Shreve insists that... (full context)
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Quentin and Shreve’s story skips forward in time. Now it’s the winter of 1864, and the... (full context)
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The narrative shifts suddenly to Shreve’s retelling of what Quentin and Miss Rosa encountered in the old house the night Miss Rosa took Quentin there... (full context)
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In Shreve and Quentin’s retelling, it’s possible that Bon and Henry rode to Sutpen’s Hundred together, approaching the gate... (full context)
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...will have to say to her, I was no good; do not grieve for me.’” Quentin replies only, “Yes,” and then Shreve says it’s time for them to “get out of... (full context)
Chapter 9
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Quentin and Shreve return to their dorm room, where it seems even colder than it was... (full context)
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...imagine coming from the South and having to endure such cold weather. He insists to Quentin that he’s not trying to be funny—he just wants to understand, but he isn’t sure... (full context)
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Shreve returns the focus to “Aunt Rosa,” brushing off Quentin’s correction (“Miss Rosa”). Shreve says that Quentin can’t even know all that much about her.... (full context)
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Though Quentin is currently surrounded by chilly, New England air, he can still feel the dust of... (full context)
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As Quentin and Miss Rosa approach Sutpen’s Hundred, Miss Rosa notes that they’re “on the Domain. On... (full context)
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“She’s going to try to stop me,” Miss Rosa says. Quentin asks what “she” has hidden in the house, but Miss Rosa ignores him. She gets... (full context)
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When Quentin and Miss Rosa arrive at the door to the old house, Miss Rosa urges Quentin... (full context)
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Quentin’s memory continues. The woman (Clytie) doesn’t say a single word to him. Instead, she calmly... (full context)
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Quentin hears Miss Rosa fall, then he hears a man’s voice. The man, who is Black,... (full context)
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The narrative abruptly skips forward. Quentin has stopped the buggy at Miss Rosa’s gate after returning from Sutpen’s Hundred. This time,... (full context)
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As Quentin walks back to the buggy, he’s “breathing deep” and thinking to himself, “Jesus. Jesus. Jesus.”... (full context)
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With no clear transition, the narrative shifts back to Quentin and Rosa’s trip to Sutpen’s Hundred earlier that night. Quentin enters an empty room and... (full context)
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The action returns to the present, to Shreve and Quentin’s cold dorm room in Cambridge. Shreve expresses disbelief that after encountering Henry after all these... (full context)
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Shreve and Quentin relate the rest of the story. Three months after Miss Rosa and Quentin discover Henry... (full context)
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In Quentin and Shreve’s telling of the story, the ambulance can’t get to the house in time—and... (full context)
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Quentin doesn’t say anything as Shreve speaks; he simply stares at the window. Then he reflects,... (full context)
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...killed Henry. Shreve notes that just one Sutpen remains now: Jim Bond. He asks if Quentin still hears Jim Bond wailing at night, and Quentin says he does. (full context)
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Shreve poses one final question to Quentin: “Why do you hate the South?” Quentin insists he doesn’t. Then to himself, as he... (full context)