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told to Quentin Compson, who will reappear with Caddy and Jason in
The Sound and the Fury
and who will be the narrator of
Absalom, Absalom!
Besides presenting the Compson children, the story also introduces Sam Fathers, the Chickasaw hunter who lived among the Negroes. He too will reappear in later stories, but with other dates assigned to his birth and death; that is one of the inconsistencies mentioned in the Introduction. “The Courthouse” is from the printed version of Faulkner’s play,
Requiem for a Nun
(1951), where it serves as a prologue to the first act. It introduces all the founders of Jefferson, including Thomas Sutpen (of
Absalom, Absalom!
), his French architect, and his wild Negroes from the jungle. “Red Leaves” is the most powerful of Faulkner’s four stories that deal with the Chickasaws (the others are “Lo!” and “A Courtship”). With “A Justice” it was included in
These 13
, his first collection of stories, published in 1931. “Was” is the opening chapter of
Go Down, Moses
(1942). It introduces Uncle Buck and Uncle Buddy McCaslin, the two poker-playing bachelors who lived in a cabin built with their own hands, because—although they had inherited a big plantation—they refused to profit from the fruits of slavery.

1820
A Justice
I
    Until Grandfather Compson died, we would go out to the farm every Saturday afternoon. We would leave home right after dinner in the surrey, I in front with Roskus, and Grandfather and Candace (Caddy, we called her) and Jason in the back. Grandfather and Roskus would talk, with the horses going fast, because it was the best team in the county. They would carry the surrey fast along the levels and up some of the hills even. But this was in north Mississippi, and on some of the hills Roskus and I could smell Grandfather’s cigar.
    The farm was four miles away. There was a long, low house in the grove, not painted but kept whole and sound by a clever carpenter from the quarters named Sam Fathers, and behind it the barns and smokehouses, and further still, the quarters themselves, also kept whole and sound by Sam Fathers. He did nothing else, and they said he was almost a hundred years old. He lived with the Negroes and they—the white people; the Negroes called him a blue-gum—called him a Negro. But he wasn’t a Negro. That’s what I’m going to tell about.
    When we got there, Mr. Stokes, the manager, would send a Negro boy with Caddy and Jason to the creek to fish, because Caddy was a girl and Jason was too little, but I wouldn’t go with them. I would go to Sam Fathers’ shop, where he would be making breast-yokes or wagonwheels, and I would always bring him some tobacco. Then he would stop working and he would fill his pipe—he made them himself, out of creek clay with a reed stem—and he would tell me about the old days. He talked like a nigger—that is, he said his words like niggers do, but he didn’t say the same words—and his hair was nigger hair. But his skin wasn’t quite the color of a light nigger and his nose and his mouth and chin were not nigger nose and mouth and chin. And his shape was not like the shape of a nigger when he gets old. He was straight in the back, not tall, a little broad, and his face was still all the time, like he might be somewhere else all the while he was working or when people, even white people, talked to him, or while he talked to me. It was just the same all the time, like he might be away up on a roof by himself, driving nails. Sometimes he would quit work with something half-finished on the bench, and sit down and smoke. And he wouldn’t jump up and go back to work when Mr. Stokes or even Grandfather came along.
    So I would give him the tobacco and he would stop work and sit down and fill his pipe and talk to me.
    “These niggers,” he said. “They call me Uncle Blue-Gum. And the white folks, they call me Sam Fathers.”
    “Isn’t that your name?” I said.
    “No. Not in the old days. I