“But nobody put anything on the seat of Logan’s wagon to make it ride glorious on the way to his house. It was a lonesome place like a stump in the middle of the woods where nobody had ever been. The house was absent of flavor, too. But anyhow Janie went on inside to wait for love to begin.” At the beginning of Chapter 3
I believe this passage further emphasizes the divide between Janie and Logan, and Janie’s actions versus her feelings are also divided. She was quarrelling with herself if she truly loved Logan, and this passage happens right after they got married. Words like ‘nobody,’ ‘lonesome,’ and ‘absent’ all jump out as being these sad, sorrow words, in strict contrast to marriage. These words reflect Janie’s thoughts, yet she’s trying to convince herself that she’ll love Logan, or learn to love him.
“Spade send tenderly: ‘You angel! Well, if you get a good break you’ll be out of San Quentin in twenty years and you can come back to me then.’ […] He was pale. He said tenderly: ‘I hope to Christ they don’t hang you, precious, by that sweet neck.'”
Hammett, Dashiell. “XX: If They Hang You.” The Maltese Falcon, Vintage Books, 1972, pp. 114–115.
Despite his personal feelings for Brigid, Spade does the right thing and turns her in for the murder. He’s fighting inside of himself on it, but he knows that it is the moral and right thing to do. In the world of crime, and particularly with all the shady characters he’s interacted with in the novel, Spade is the moral man, and he does what must be done. Particularly, when he is pale and speaking tenderly, he’s showing emotion when he mostly hasn’t throughout the novel. Despite being a fairly stoic man, he is hurt here. But he must do it.
“here’s a man wears expensive gold-rimmed pince-nez and has had them long enough to be mended twice. Yet his teeth are not merely discoloured, but badly decayed […] carefully got-up gentleman, with manicured, though masticated, finger-nails, has filthy black toe-nails which look as if they hadn’t been cut for years” (Sayers 39-41).
I think this quote definitely mirrors the juxtaposition of class, in the sense of representing a man who is both put together and most likely wealthy, while his unkempt appearance could also be interpreted as lower-class. At the same time, this interpretation of the man could be viewed as someone middle class – a lower class person attempting to appear wealthy. This blend of classes, and their relation to cleanliness, definitely open the door for how the body of the man could be interpreted later in the novel.
Anse is narrating a conversation he is having with Peabody and Addie.
“I am not sick,” she said.
“You lay you down and rest you,” I said, “I knowed you are not sick. You’re just tired. You lay you down and rest.”
“She’s a-laying down,” I said. “She’s just a little tired, but she’ll –“
“Get outen here, Anse,” he said. “Got set on the porch for a while.” (Page 44)
Faulkner, William. As I Lay Dying. DIGITAL FIRE, 2020.
After their conversation where Anse leaves, he loses track of their conversation. Because he leaves, we as the reader don’t know what happens inside the house from that point on. It’s only three chapters later, when Peabody is narrating, that we find out that nothing was really said. Addie watched him leave the room, but she hasn’t moved except for her eyes.
When Peabody sends Anse out, we could possibly assume that Peabody just needs space to work and that’s why he sends him out. But the grimness of the situation sets in as we see Peabody’s perspective – as Addie doesn’t even have the strength to move except for her eyes, we know that the context of him sending out Anse is that Addie is going to die.
If we had this story solely from Anse’s eyes, we wouldn’t know.
“It was cold autumn weather but in spite of the cold they wandered up and down the roads of the Park for nearly three hours. They agreed to break off their intercourse: every body, he said, is a bond to sorrow. When they came out of the Park they walked in silence toward the tram; but here she began to tremble so violently that, fearing another collapse on her part, he bade her good-bye quickly and left her.”
-Joyce, J. (1914). A Painful Case. In Dubliners (p. 136). essay, Grant Richards LTD.
In this passage, Mr. Duffy and Mrs. Sinico have been involved in an affair for an undetermined amount of time (simply stating their first meeting was the ‘first of many’ (Joyce 134)). She encourages his thoughts on social revolution, discussed books and music, and embraced each other physically and sexually. They were in a complete relationship, all while noting that her husband, the Captain, was not around and not fulfilling her needs. Despite Mr. Duffy and Mrs. Sinico clearly having more possible, they abruptly end their affair, and stop talking. The culture surrounding marriage, and particularly divorce, was not good at the time. It would not have been a good idea for Mrs. Sinico to leave her husband, because such a thing was frowned upon to an extreme. It’s this very culture that leads the two to cease their contact, despite enjoying their time together. This could potentially even be extrapolated further, when looking at her eventual death and wondering if it really was an accident.