Such classicism is the aesthetic opposite of what Faulkner demonstrates at moments in Mosquitoes and that would go on to become his famously baroque style. In the discussion that follows, I will be asking a number of questions about that development, among them the following: What is the role in Faulkner of a baroque, highly refined language, especially when Faulkner uses it to convey sexuality? And what connections (or disconnections) might that style have to Faulkner’s use of the setting of the city, as in Mosquitoes, or elsewhere of the rural countryside? As we will see, changes in these locations occurred during the period of Faulkner’s modernity that caused their differences to become obscured. As a consequence he fashions a third, textual space of “location” for his more fully realized version of sexuality.

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Copyright © 2010 University Press of Mississippi. This chapter first appeared in Faulkner's Sexualities: Faulkner and Yoknapatawpha 2007.

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