William Gay, much like his literary predecessor William Faulkner, crafts narratives that are deeply entrenched in the terrain of his homeland—Tennessee. However, Gay's work transcends the boundaries of regional storytelling. His tales are haunting explorations of the human condition, reflecting the complex interplay between individuals and the world they inhabit. This world, while beautiful, often appears alien and perhaps even malevolent, echoing the disquieting realities of modern times. Through his evocative writing, Gay captures the universal struggles of humanity, making his stories resonate far beyond the borders of their geographical setting.

“The Paperhanger” serves as a compelling allegory for the New South, portraying a society consumed by materialism, instability, and self-absorption. The narrative unfolds in a world where idyllic beauty and order are relics of the past, giving way to a landscape marked by derelict mansions, ruined foundries, and forsaken graveyards. Here, the presence of affluent foreigners underscores a disconnection from the land and each other, creating a stark backdrop of isolation and dislocation.

These wealthy outsiders, along with sycophantic building contractors and a self-serving sheriff, populate this desolate environment, emphasizing the superficial relationships that dominate the region. Central to this milieu is the paperhanger, a drifter devoid of any ties to humanity or moral values, further highlighting the pervasive sense of alienation.

Rather than focusing solely on the South, the story encapsulates a broader vision of a modern world plagued by violence and chaos, reminiscent of the image conjured by William Butler Yeats in his poem “The Second Coming.” Dr. Jamahl’s invocation of Yeats captures a sense of despair amid this turbulent reality, suggesting a lingering yearning for stability and meaning amidst the unraveling social fabric.

In a world crafted by Gay, identity is a fluid and elusive concept, tethered more to societal roles than to individual essence. People are recognized not by their names, but by their professions and positions—rendering them nameless entities in a landscape of anonymity. This anonymity extends to characters like the doctor's wife, the electrician, the backhoe operator, and the paperhanger, each defined solely by their function in society. Their identities dissolve into a sea of occupational titles, stripping them of personal distinction and individuality.

Contrastingly, a few characters emerge with names, yet their identities remain fraught with complexities. Zeineb, the four-year-old child, possesses a name that signifies her potential for identity formation, yet she stands on the cusp of achieving or losing a true sense of self. Meanwhile, the doctor’s foreign name marks him as an outsider, forever on the fringes of this insular society. Perhaps most notably, the sheriff, Bellwether, carries a name that symbolizes his status and reflects his role as a supposed leader. Yet, his leadership is tainted by self-interest, the very name mocking his position as a guide among the flock. In this way, even when names are present, they do little to anchor the characters in a genuine sense of identity.

Amidst these social dynamics, the narrative portrays a world of loneliness and estrangement. The individuals, adrift in their impersonal roles, grapple with isolation in a society that offers little connection or warmth. Their lives unfold against this backdrop of anonymity and estrangement, creating a haunting image of a world where identity is ephemeral and constantly under siege.

In the narrative landscape crafted by Gay, the bleakness of modern existence is underscored by the presence of malevolent forces that go beyond mere human failings. Central to this chilling tableau is the figure of the paperhanger, a being defined by an icy intellect devoid of compassion or moral compass. His disdain for others, and for...