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Chapter 1 Summary and Analysis
Chapter 2 Summary and Analysis
Chapter 3 Summary and Analysis
Chapter 4 Summary and Analysis
Chapter 5 Summary and Analysis
Chapter 6 Summary and Analysis
Chapter 7 Summary and Analysis
Chapter 8 Summary and Analysis
Chapter 9 Summary and Analysis
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Chapter 1 Questions and Answers
Chapter 2 Questions and Answers
Chapter 3 Questions and Answers
Chapter 4 Questions and Answers
Chapter 5 Questions and Answers
Chapter 6 Questions and Answers
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Chapter 8 Questions and Answers
Chapter 9 Questions and Answers
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Absalom, Absalom! Questions and Answers
Compare the novel Absalom, Absalom! by William Faulkner to the biblical story of Absalom.
What is the design of Thomas Sutpen in Absalom, Absalom!?
Where in the actual novel (chapter number, etc.) can I locate Faulkner's longest sentence (1,287 words) in "Absalom, Absalom?"?
How can Thomas Sutpen's story can be interpreted as an allegory of the South itself.
Who is the fourth narrator in Absalom, Absalom!?
Where in the actual novel can I locate Faulkner's longest sentence (1,287 words) in "Absalom, Absalom!"?
What is the book "Absalom, Absalom!" actually about?
Can you analyze the role of the community of Jefferson in Absalom, Absalom!?
In Absalom, Absalom!, how does Mr.Compson's perception of Thomas Sutpen change over the course of the book?
Who is Absalom in the novel?
What other texts are related to Absalom, Absalom! ? Though Absalom, Absalom! is a truly unique text, a complex and self-involved novel, I feel like it's also connected to other novels, specifically Conrad's Heart of Darkness. (Sutpen resembles Kurtz in the first section of Absalom in a number of ways. He also resembles Milton's Satan - a figure who has decided to create his own code, his own morals, and his own wealth out of nothing.) Does anyone else see this connection or see other connections between Absalom and other texts?
Please give me the significance of this quote from "Absalom, Absalom!": "Because there is something in the touch of flesh with flesh which abrogates, cuts sharp and straight across the devious intricate channels of decorous ordering, which enemies as well as lovers know because it makes them both;--touch and touch of that which is the citadel of the central I-Ams private own: not spirit, soul; the liquorish and ungirdled mind is anyone’s to take in any darkened hallway of this earthly tenement. But let flesh touch flesh, and watch the fall of all the eggshell shibboleth of caste and color too. Yes, I stopped dead—no woman’s hand, no negro’s hand, but bridle-curb to check and guide the furious and unbending will—I crying not to her, to it; speaking to it through the negro, the woman, only because it would be terror soon, expecting and receiving no answer because we both knew it was not to her I spoke: “Take your hand off me, nigger!”'