Southern Masculinity in Faulkner’s The Unvanquished Essay -- Faulkner?

Southern Masculinity in Faulkners The unvanquishedThe fabricator of Faulkners The Unvanquished is apparently an adult recounting his puerility. The first person narrator is a child at the storys outset, that the narrative voice is lucid, adult. tell the story of his childhood allows the narrator to distinguish for the reader what he believed as a child from what he knows better now (10). The difference affords an examination of superior southern masculinity as it is internalized by Bayard and Ringo, and demonstrates the effects on the boys of the impossible ideal.The initial indication that narrator Bayard may be an adult recounting his childhood comes with the past tense in the storys opening line Behind the smokehouse that summer, Ringo and I had a living map (3). Other summers shit passed between the narration and the action of the story this summer is that summer, not last summer or the summer before, presumably. Temporal distance is suggested in personal and divided descr iption, as well Louvinia used to follow us up and stand in the bedroom door and scold us until we were in bedbut this measure she not only didnt wonder where we were, she didnt even think about where we might not be. The differences in language between narrator and purpose are dramatic, as well. Bayards inadequate description of the railroad to Ringo (only hearsay), though not articulated in the narrative, is undoubtedly inferior to the narrators description of the railroadIt was the straightest thing I ever saw, running straight and empty and quiet through a long empty cut down cut through the trees and the ground too and full of sunlight like water in a river only straighter than any river, with the crossties cut off e... .... there are two attainable models of masculinity for Ringo in the story. Joby is defeated, withered, frustrated, subservient even to white women. He can live and function in southern society, but only as a slave. The other, Loosh, is angry, defiant, indep endent, subservient only to the point that he must be until he escapes or is set free. He cannot live in southern society except as a slave, so at first chance, he leaves. The narrator, with appropriate distance from the action, hints that Ringo will shed the stagnant familiarity of slavery, and put on the line reinvention like Loosh has. Ringos infatuation with the railroad appears to the boy Bayard to be part of their regular game of one-upmanship, but the adult narrator knows now it was more than that with Ringoit was the motion, the beat to move which had already seethed to a head among his people (81).